======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) T h e U n o f f i c i a l C i r q u e d u S o l e i l N e w s l e t t e r ------------------------------------------------------------ http://www.CirqueFascination.com ------------------------------------------------------------ ======================================================================= VOLUME 23, NUMBER 3 April/May 2023 ISSUE #218 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Wow, do we have a great issue for you all! * * * "ECHO" PREMIERES! * * * Cirque du Soleil's ECHO launched in Montreal on Thursday, April 27th to much fanfare; the atmosphere was festive under the Big Top! "It was with great excitement and enthusiasm that numerous political, cultural, and sports personalities walked the red carpet at the grand premiere. The 2,500-seat Big Top was packed to the rafters to applaud the 51 artists of ECHO." ECHO (three years in the making) is the company's 20th creation under the Big Top, distinguished by its bold visuals and contemporary aesthetic that highlight spectacular acts performed by artists at the top of their game. As determined as ever to dazzle us, Cirque du Soleil once again manages to surprise us with a show that combines poetry, performing arts and high-flying acrobatics, exploring the precious balance between humans, animals and the world they share. Future, the protagonist, invites us into a fantasy world where she meets animal and human characters. Driven by the spirit of collaboration, they join forces to rebuild their planet little by little and create a better world. ECHO is a show that plunges the audience into a universe of a thousand and one colors, wonders and possibilities on the themes of inventiveness, hope of youth and the importance of empathy. And you can explore this new world within through a couple of featured articles this month. First, a small collection of reviews of the show's first steps, and then, the full text of the show's Press Kit, which'll take you into the show's creation, and perhaps shedding some light on the show's mysteries. Beware, though, as spoilers abound the show abound here! As a primer, check out Cirque du Soleil's making-of mini-series here: 00: "Preview" -- https://www.youtube.com/watch?v=7xr5N1E_39o 01: "A New Start" -- https://www.youtube.com/watch?v=gnabHar4k1I 02: "Artist Adrenaline" -- https://www.youtube.com/watch?v=bYmIU8qa888 03: "The Cube" -- https://www.youtube.com/watch?v=PgRDiuiuOD8&t=57s 04: "Costume and Staging" -- https://www.youtube.com/watch?v=-KBzzHPB9zQ 05: "Studio's Final Touch" -- https://www.youtube.com/watch?v=yJ4xIjRb4r4 * * * MORE ANNOUNCEMENTS * * * Cirque du Soleil has announced a number of special event shows since we last spoke. First, there's VIZION, the second in the so-called "best-of" series o shows, which opened on Thursday, April 27th at King Adbulla Sports City near Jeddah, Saudi Arabia. This new creation follows FUZION, which played in Jeddah last year. Next, there's "GUY! GUY! GUY!", the seventh in the company's HOMAGE SERIES that pays tribute to Quebec artists. This new creation is a joyful and colorful celebration of hockey legend Guy Lafleur, who "infused his imagination on the ice to create an electrifying game." It will make its debut at the Amphithéâtre Cogeco in Trois-Rivieres, Quebec on July 19, 2023. And Cirque du Soleil invites you to check into extraordinary at FESTA, a make-believe hotel in the heart of the Andorran mountains where wonder and imagination come to play. With celebratory storytelling, colourful characters and epic acrobatics, FESTA will draw you into a world with no limits and leave you feeling uplifted like never before while paying tribute to the vibrant beauty and culture of Andorra. Shows begin July 1st! More exciting news, however, might be Cirque's recent announcement of a partnership with Outrigger Waikiki Beachcomber Hotel to bring a new multi-year resident show to Honolulu, Hawai'i. Anticipated to open in late 20204, the show will "fuse the world- renowned acrobatics and innovation that Cirque du Soleil is known for with the natural beauty and unique culture of the islands." * * * WAIT, THERE'S MORE! * * * And in addition to all the other latest news and finds about Cirque du Soleil online, we're pleased to present the first part of an exclusive interview with with David Wallace, head of PLANS (that's Projections, Lighting, Audio, Networking & Special Effects) at Cirque du Soleil's "Drawn to Life" at the Walt Disney World Resort in Orlando, Florida! So, let's get into it! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | Realy Simple Syndication (RSS) Feed (News Only): | | < http://www.cirquefascination.com/?feed=rss2 > | | | \----------------------------------------------------/ - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News & Highlights o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Fascination! Features * "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 1 of 3] By: Keith Johnson - Seattle, Washington (USA) * "Under the Same Sky" - a Collection of Articles Celebrating ECHO's PREMIERE * "ECHO: The World is Yours to Create!" Texts from the Press Kit o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- CDS Announces Refinancing of Corporate Debt {Mar.08.2023} ---------------------------------------------------------- Cirque du Soleil Entertainment Group ("Cirque du Soleil" or "the Company"), a global leader in live entertainment, announced today that it has successfully closed a US$550 million term loan B issuance to refinance its existing debt, and issued a new US$100 million revolving credit facility. With this transaction, the Company reduced its total debt by over US$100M and further deleveraged its balance sheet. The refinancing will result in significant interest cost savings, which will enhance the Company's financial position and increase cash flow. "We are delighted to have successfully completed this refinancing and established a new credit facility that will provide us with the flexibility to continue to innovate, pursue strategic initiatives, and invest in growth opportunities," said Emmanuelle Leclerc-Granger, Chief Financial Officer of Cirque du Soleil Entertainment Group. "We are grateful for the support of our lenders and investors, who share our vision for the future of the Company, and we are confident in our ability to continue to deliver exceptional experiences to our audience around the world." In conjunction with the refinancing, Standard & Poor's and Moody's have increased their corporate credit rating on Cirque du Soleil Entertainment Group to B+/B2 (stable outlook) from B/B3 (stable outlook), marking the third/second consecutive upgrades received from the agencies in the last year. "We are thrilled to have received these rating upgrades from Standard & Poor's and Moody's, which recognize our ongoing efforts to strengthen our financial position and drive sustainable growth," added Emmanuelle Leclerc-Granger. "This transaction reflects our commitment to maintaining a strong balance sheet and liquidity position, while also investing in our business to ensure a bright future for our audience and partners." { SOURCE: Cision News Wire } ---------------------------------------------------------- CDS and the Aléo Foundation announce a new partnership {Mar.16.2023} ---------------------------------------------------------- Cirque du Soleil Entertainment Group and the Aléo Foundation joined forces today to announce the creation of eight honorary grants to support high-level Quebec student-athletes in their academic and athletic careers. Cirque du Soleil Entertainment Group will provide an annual financial contribution of $40,000 for two years to support the creation of these grants. This means that a potential total of sixteen athletes will share a sum of $80,000 in 2023 and 2024. The initiative is aligned with Cirque du Soleil Entertainment Group's desire to support the athletic excellence of student-athletes who perform in a discipline related to the shows, such as artistic or rhythmic gymnastics, synchronized swimming, diving and trampoline. "We are very proud to support Quebec's sporting excellence and the development of local athletes. We hope that this bursary program will enable the recipients to achieve their sporting goals and showcase their discipline and talent on the highest podiums," said Caroline Couillard, Global Head of Public Relations, Public Affairs and Corporate Social Responsibility at Cirque du Soleil Entertainment Group. This alliance is also intended to be a bridge for the professional transitions of the Aléo Foundation's grant recipients. "Cirque du Soleil has been recruiting high-level athletes at the end of their careers since its creation. There are many similarities between the work of a competitive athlete and the various circus professions, including discipline, rigor, perfectionism, and the search for the perfect moment. From this perspective, it was only natural for us to join forces with the Fondation Aléo to create these grants," adds Richard Lepage, Senior Director of human performance design and management at Cirque du Soleil Entertainment Group. "Cirque du Soleil Entertainment Group is an unparalleled partner for the Aléo Foundation. The Quebec flagship is certainly an employer of choice for our scholarship recipients, not only for the direct link to the circus professions, but also for all other functions in the company. The skills and competencies acquired as athletes are tools that can be applied in the workplace, an extraordinary asset recognized by the company," adds Patricia Demers, Executive Director of the Fondation Aléo. About Aléo Foundation Created in 1985, the Foundation for Athletic Excellence (FAEQ) has awarded more than 20 million dollars in bursaries to nearly 4000 student-athletes from all over Québec. With the objective of solidifying its mission of elevating athletes beyond sports, the FAEQ changed its name and likeness in 2022, becoming the Aléo Foundation. In addition to continuing to provide financial support through its various bursary programs and services, Aléo aspires to provide a personalized approach to helping student-athletes flourish in a safe environment and in every aspect of their lives. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- Seventh Edition of CDS' Tribute Series: GUY! GUY! GUY! {Mar.21.2023} ---------------------------------------------------------- (Translated from the original French via Google Translate) Cirque du Soleil Entertainment Group (" Cirque du Soleil ") has made the Cogeco Amphitheater in Trois-Rivières its summer home for seven years now. The arrival of spring heralds the announcements for the tribute show to the mythical number 10 with the presentation of part of the creative team working on this new production as well as the unveiling of the title and the poster. Entitled "GUY! GUY! GUY!", as a nod to the victorious slogan chanted by the supporters, this seventh edition of the Tribute Series promises a highly acrobatic, joyful and generous celebration in the image of the blond demon. This project is of particular importance for Cirque du Soleil with the mobilization of more than a hundred collaborators. Indeed, paying tribute to a popular figure as legendary as Guy Lafleur is a great responsibility and an incredible opportunity for the creative director, Daniel Ross, and the director, Fernand Rainville. "With "GUY! GUY! GUY! », we wish to touch the hearts of Quebecers who sang, chanted, applauded with one voice and the same unifying momentum, the exploits and highlights of this genius hockey player. "says Daniel Ross. "Don't expect a biographical work or a hockey show. We are inspired by the career of Guy Lafleur to bring back the joy, the feeling of pride and the pleasure of the game that he gave us, all this through the circus arts. adds Daniel Ross. What struck Fernand Rainville, director, was the very close proximity that the public maintained with Guy Lafleur. As soon as he began his research work, testimonies poured in. "His accessibility, his authenticity and his resilience coupled with an extraordinary physical nature and an undeniable talent are a great source of inspiration for me as a director, but also for the people of Quebec. reveals Fernand Rainville. "That's why we invite the public to open their memory box and share their story with Guy Lafleur. ". A platform, accessible here , has been launched to collect these valuable testimonies. As with each Tribute Series, the Quebec musical repertoire is honored and this year will be no exception. The musical direction and the arrangements have been entrusted to Philippe Brault, who has worked for more than twenty years as a producer and accompanying musician for many local singers. The soundtrack of the show will draw mainly from Quebec talents of the 70s such as Gilles Valiquette, Boule Noire, Gerry Boulet or Loco Locass. Finally, some musical novelties will seduce the audience: an original musical creation, a multi- instrumentalist musician on stage and sound work based on audio archives. This 75-minute show, created exclusively for the Cogeco Amphitheater, will bring together 29 artists in a staging orchestrated by Fernand Rainville, assisted by Vincent Côté, under the musical direction of Philippe Brault. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- Cirque du Soleil X Outrigger {Apr.11.2023} ---------------------------------------------------------- Outrigger Waikiki Beachcomber Hotel and Cirque du Soleil Entertainment Group broke the news last night that they have teamed up to bring Honolulu residents and visitors a bespoke new multi-year resident show, exclusive to Hawai‘i. Executives from both organizations were joined by Honolulu Mayor Rick Blangiardi to make the exciting announcement. Anticipated to open in late 2024, the show will fuse the world- renowned acrobatics and innovation that Cirque du Soleil is known for with the natural beauty and unique culture of the islands. Native Hawaiian Aaron J. Sal?, PhD has been retained as the creative cultural producer to assist in creating this show's storyline along with other prominent Hawaiian artists, musicians and dancers. A joint venture is being made by both parties to create this opportunity and transform the 20,000 sq. ft. showroom venue at Outrigger Waikiki Beachcomber Hotel, previously used by Magic of Polynesia. The necessary permits for renovation work to commence and create the nearly 800-seat theater with state-of-the-art audio-visual system are now in the process of being submitted. The venue architect is Hawai‘i-based G70 with project estimating done by RLB in Honolulu. "Cirque du Soleil is an iconic company at the apex of entertainment; we are confident that the show created for Outrigger Waikiki Beachcomber Hotel will delight and astound our guests and residents. This collaboration with Cirque was years in the making and perfectly aligns with Outrigger's brand elevation strategy, which includes a promise to provide authentic live music and signature experiences in renowned beach locations," said Jeff Wagoner, president and CEO of Outrigger Hospitality Group. "We are thrilled to partner with a company as prominent as Outrigger to bring a brand new world-class immersive experience to life in Honolulu," said Eric Grilly, Cirque du Soleil president of resident and affiliate shows. "We look forward to having a new home in Hawai'i and drawing on the rich culture of the islands as inspiration for the show." "In addition to bringing new vibrancy to Waik?k?, this project will produce significant economic impact through job creations in redeveloping the theater space and ongoing show operations; I'm honored and excited to welcome Cirque du Soleil as the newest Honolulu resident," said Mayor Rick Blangiardi. Cirque du Soleil now has 4,000 employees from 80 nationalities that contribute to 32 shows presented around the world and 9.5 million tickets are sold annually. More details will be shared in the coming months regarding the partnership, the show's name and creative concept as well as on-sale dates, with a target of December 2024 for the show's debut. { SOURCE: Outrigger } ---------------------------------------------------------- Shock and Outrage that CDS flies Russian Flag in Toronto {Apr.11.2023} ---------------------------------------------------------- Cirque du Soleil returned to Toronto this week with the April 7 arrival of its KOOZA show. For the first time, the Canadian entertainment company is hosting its big top on the site of the former Mr. Christie's Factory in Etobicoke, but some neighbourhood residents are alarmed by one aspect of the production. The big top standing on the former factory site features a collection of flags at its entrance, including the flag of the Russian Federation — a symbol that has triggered many in the community, an area home to a concentration of Ukrainian diaspora. An area resident, Maria Vasserman, tells blogTO, "I live in Mimico (Humber Bay Shores) – a very Ukrainian community. Recently, Cirque du Soleil put up its tents and displayed a Russian flag on top of it." "This triggers many community members, including those who had to flee from war just recently. They feared waking up and seeing the Russian flag above their heads. Now they see it, only in Canada." Similar comments have been posted to other social media platforms, calling out Cirque du Soleil for its inclusion of the Russian flag, a move the entertainment company vigorously defends. Vasserman says that, along with other community members, she "contacted Cirque du Soleil to explain the situation," but explains that she was frustrated by the defensive response. She provided a statement issued by Cirque du Soleil in response to community concerns, which reads, "Cirque du Soleil Entertainment Group is a global entertainment company that performs in over 90 countries in front of diverse audiences and employs an international cast of artists from over 70 countries." "As a creative company, we are non-political, and we deeply believe in open-mindedness, diversity, inclusion and respect. These values guide us in our interactions with our artists, employees, partners and fans, and are reflected in all our productions. Art has no geographical boundaries. Through our shows, our goal is always to inspire the local population where we perform." "We are very sorry if you have seen this as anything other than a celebration to highlight the unique and inclusive atmosphere the organization is known for." The statement goes on to say that "the Russian-born artists whom we employ are not officials of their government." "Therefore, in the vision of our mission to invoke the imagination, provoke the senses and evoke the emotions of people around the world, including all artists —which is the very core of our existence— Russian-born artists are a part of our family and will always be allowed and welcomed to perform on our shows." "They keep claiming that they're not siding with the enemy and are staying away from politics," says Vasserman. "Unfortunately, this represents siding with Russia," she continued, adding, "I think something needs to be done." { SOURCE: BlogTO } ---------------------------------------------------------- How CDS Evaluates and Deploys New Technology {Apr.25.2023} ---------------------------------------------------------- In this Acceleration Economy Digital CIO Summit Moment, Cirque du Soleil VP of IT Philippe Lalumiere tells Bob Evans how the live entertainment company evaluates and deploys new technology. CHECK OUT THE VIDEO HERE: https://accelerationeconomy.com/ai/how-cirque-du-soleil-evaluates-and- deploys-new-technology/ Highlights 00:05 — Philippe says that, as an IT leader, his challenge is to "steer the organization with the technology choices." Virtual reality is still a nascent technology, but he and his organization cannot wait for it to mature. For now, Philippe is taking a use case-based approach and deploying technology in a proof of concept or proof of value before expanding to other business units within the company. 00:52 — Artificial intelligence is something that Philippe wants to use internally. The first use case would be for end-user services as a front to Cirque du Soleil's ticketing system. A specific use case is password resets. 01:21 — A chatbot could fix most password reset issues, which would improve customer service and relieve pressure on Philippe's team. His analysts and technicians could concentrate on more interesting problems, and their jobs would improve. "It's a win-win," he says. { SOURCE: Acceleration Economy } ---------------------------------------------------------- One Skater's Journey from Learn to Skate to CDS and Back {Apr.25.2023} ---------------------------------------------------------- As a toddler, Madeline Stammen was on the front page of her local newspaper, photographed as a participant in one of the first Learn to Skate USA® programs offered by a brand-new rink in her suburban Chicago hometown. After a lengthy competitive career, she skated in professional shows around the world – including with Cirque du Soleil. Now, she's experiencing a full-circle moment teaching Learn to Skate classes at a brand-new rink in Savannah, Georgia, where she's a first-year student at the Savannah College of Art and Design. Growing up, Stammen described herself as a nervous skater, someone whose early career in skating didn't earn her spots at advanced levels of competition. But her coach was familiar with show skating, and thought she may be a good fit. At 18, she signed her first professional skating contract, deferring college. She skated for Royal Caribbean on four ships over four years, which took her around the world, before performing in overseas shows in other troupes. "Sometimes skaters retire from competing and then they do shows for fun," she said in a recent interview. But she took the opposite approach. "I took shows really seriously and that was my Olympics," she said, noting that skating in shows improved her skating immensely. "I flourished as a skater in my 20s. I've always been a really good performer, really artistic. I finally started skating consistently. That really helped me on ships." After a six-year professional career, Stammen began to consider her next steps, such as returning to school. But a buzz was circulating in the show skating world: Cirque du Soleil was creating a new type of show, based around the ice. Those in Stammen's circle suggested that she audition, but she had not planned to apply. A friend called her from his own audition, urging one final time. After sending in a demo tape, she heard back from the team, who requested that she skate to a piece of music from the movie "Moonlight." They only wanted to see something artistic, nothing technical, she recalled. "That was perfect for me; it was right up my alley," Stammen said. She was hired. On the first day she arrived, she saw all the skaters' headshots on the wall, but not her own. She kept walking down the hall, and under "main character" she was surprised to see her own face. "I guess I am leading this show!" she remembered thinking. "It was one of those meant-to-be moments because the role I was hired to do was both technical and artistic, and also heavy in acting. Those were all my strengths." Unlike her other professional experiences, where she was hired for a role that already existed, one of the most rewarding parts of being part of the Cirque process, she said, was being able to participate in the show's creation. A mix of about 40 artists made up the cast, including about 10 skaters. The goal of the show was to mix disciplines and try and do something different. "We taught the acrobats how to skate and they taught us how to do aerial," she said. "In the show, I was skating, acting and flying." CRYSTAL was created in Montreal, where Cirque is headquartered, in about four months – their fastest show creation ever. The skating sequences were created with input from Kurt Browning, Ben Agosto and Alissa Czisny, familiar names to those who follow skating at the national and Olympic levels. "[Those three] were the three skating people that were helping us," Stammen said. "They did some of the choreography, but most of my track was self-made. That was so rewarding because I got to perform it on stage every night. It was something I made. That was incredible. I never was given that creative freedom in other shows." After the pandemic hit and Cirque was unable to tour, Stammen moved home to Chicago and was recruited to coach alongside Rockne Brubaker and Stefania Burton at the rink she grew up in. Two years later, school beckoned. She selected the Savannah College of Art and Design for their major in production design for themed entertainment, because she wants to create and produce ice shows. But moving to Georgia was scary because she thought the closest ice was a two-hour trek to Jacksonville, Florida or to Charleston. When she got to Georgia, though, she noticed that a semi pro hockey team had formed. Where there is hockey, there must be ice, she figured. She eventually connected with the Ghost Pirates and reached out to the skating director. The Learn to Skate program launched that same week, and Stammen has taught those classes. All types of new skaters have arrived at the rink, Stammen said. Some even saw CRYSTAL when it toured through Savannah. Without Stammen knowing, the cast performed in Savannah the same week she was visiting to evaluate how she liked the campus. "A lot of the skaters that come in say, ‘Oh yeah, we saw the show. Did we see you skate?' or, ‘We saw the Cirque show in April! It came here!'" she said. "Then they get really excited when they find out I helped create it. That's been pretty cool." One of Stammen's goals while she is in Savannah is to continue to build the skating culture at the Ghost Pirates and throughout the city. At Savannah College of Art and Design, she's working towards creating a figure skating club. But her experience, her degree and her time in Savannah are leading towards one thing – getting the message out that there are many types of skating careers, including show skating. "The world of ice shows is an amazing career path to pursue," she said. "I traveled the world for 10 years and got paid to skate. I felt like when I was training competitively, I didn't know about those opportunities, so I never thought that was an option for me." For Stammen, it's about "spreading the word that ice shows are still alive and well, and they provide an amazing quality of life. They can also be a goal for a skater to work toward." { SOURCE: US Figure Skating } ---------------------------------------------------------- Cirque du Soleil to perform at Jeddah events (VIZION) {Apr.26.2023} ---------------------------------------------------------- Jeddah Calendar has announced the start of its first events for 2023, with the return of the world-renowned circus, Cirque du Soleil, as part of its Fusion shows. The circus, which opens on Thursday, April 27 and runs until Friday, May 26 at King Abdullah Sports City, will present performances by some of the world's most skillful performers and acrobats, featuring stunning performances suitable for the entire family. Cirque du Soleil is a contemporary circus, which means they are limited to human performers and do not involve the use of animals. Each show is a combination of designs from different parts of the world, presented in one frame, accompanied by music. Curtains are not used and performers enter and exit with each new segment. ---------------------------------------------------------- CDS President says AI a Low Risk to Company {May.02.2023} ---------------------------------------------------------- The head of Cirque du Soleil says artificial intelligence poses a low risk to the renowned Quebec company, even as debate is emerging about intellectual property protection for artists. "We don't have all the answers yet, but I would be lying if I said I'm very worried, given the strength of the brand," president Stéphane Lefebvre said in an interview Tuesday. "There are a lot of people in the past who wanted to do things that looked like Cirque du Soleil, even without artificial intelligence," he said. "There may be a lot of people who want to create similar circus shows, but without having the Cirque brand, the Cirque's seal of quality, it would become more complicated for people." Artificial intelligence has raised hackles throughout the art and entertainment world, with AI platform users now able to create images, text and music inspired by — and sometimes nearly indistinguishable from — the pros. Recently, a fake duet imitating the voices of Drake and The Weeknd went viral on social media, causing a stir in the recording community. On the sidelines of a speech delivered to the Canadian Club in Montreal, Lefebvre acknowledged he's enjoyed experimenting with AI chatbots to tell a story or two to his kids. He also said Cirque du Soleil would not completely close the door on the technology, but that he views it more as an administrative aid than an artistic one, pointing to potential legal pitfalls. "We're trying try to see how we can use artificial intelligence to help us outside of the creative sphere," he said. In his speech, Lefebvre discussed Cirque du Soleil's recovery and current strategy. The 39-year-old circus troupe scrapped performances around the globe and cut nearly 3,500 employees after the COVID-19 pandemic struck, but began to add shows again in the summer of 2021. The Montreal-based company aims to see its brand on other platforms beyond live entertainment, including video distribution and video games, he said, teasing an announcement in the latter industry for later this month. MGM Studios has produced a documentary about Cirque du Soleil's return to the stage. Other video projects are in the pipeline, Lefebvre said, but he declined to offer specifics. After the pandemic-induced shutdown, Cirque exceeded "all our expectations," Lefebvre said in his address, which was capped by a short acrobatic performance by Cirque artists. In late 2020, Cirque was sold to a group of its creditors led by Catalyst Capital Group after the Montreal-based outfit was forced to file for creditor protection, having racked up a debt of US$1 billion. The company now finds itself on more stable financial footing. In March, it managed to reduce its debt by US$100 million and to refinance it at lower rates, despite monetary tightening by central banks. Cirque du Soleil's total debt stood at US$550 million as of last month. Lefebvre said demand remains strong for Cirque shows, despite the ongoing economic uncertainty. He attributed the interest to an entrenched desire for spectacle in the flesh, rather than to a post- confinement pendulum swing. "People want to live experiences, to live them and to show everyone that they have had this experience. I think it's a strong trend and we're not going to go back." { SOURCE: The Toronto Star } ---------------------------------------------------------- This Summer Cirque is Back in Andorra! {May.12.2023} ---------------------------------------------------------- Cirque du Soleil celebrates ten years of collaboration with Andorra with the creation of the new show FESTA, a show of impossible acrobatics, music and great staging, which you can only see in Andorra. Cirque du Soleil invites you to check into extraordinary at FESTA, a make-believe hotel in the heart of the Pyrenees mountains where wonder and imagination come to play. With celebratory storytelling, colourful characters and epic acrobatics, FESTA will draw you into a world with no limits and leave you feeling uplifted like never before while paying tribute to the vibrant beauty and culture of Andorra. The festive story opens with the concierge, an endearingly eccentric character who is taking a nap on his lunch break and dreaming of love. With their boss distracted, the hotel staff get busy planning a surprise party to mark the hotel's 10-year anniversary. The arrival of the vacationers kicks off a colourful and chaotic adventure, with the hotel team and guests coming together in a feel-good celebration of friendship, life and love. A great celebration where you'll relive some of the best acrobatics that you've enjoyed over the past ten years awaits. Cirque du Soleil's tent, which is fully covered, will be pitched in the Prada Casadet communal car park in front of the government building in the centre of Andorra la Vella, with several car parks nearby. It will take place from Tuesday to Sunday, with a special performance on Sunday, July 30. As usual, it lasts 1 hour and starts at 10pm with animations scheduled before the start time. Take note that since last year it has changed its location and is now located in the Prada Casadet car park (in front of the administrative building of the Government of Andorra). { SOURCE: Cirque du Soleil, Visit Andorra } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria INAL, Koozå, Kurios, Luzia, Bazzar} o) ARENA - In Stadium-like venues {Crystal, Corteo, Messi10, OVO} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", LOVE, MJ ONE, JOYA, X: The Land of Fantasy, and Mad Apple} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Alegría-In a New Light: Tokyo, JP -- February 8, 2023 to June 25, 2023 Osaka, JP -- July 14, 2023 to October 10, 2023 Madrid, ES -- November 16, 2023 to December 17, 2023 Barcelona, ES -- February 9, 2024 to March 3, 2024 Koozå: Toronto, ON -- April 7, 2023 to June 18, 2023 Denver, CO -- July 5, 2023 to August 13, 2023 Calgary, AB -- August 25, 2023 to October 8, 2023 Vancouver, BC -- October 21, 2023 to December 31, 2023 Kurios: Milan, IT -- May 10, 2023 to June 25, 2023 Knokke, BE -- July 27, 2023 to August 27, 2023 Brussels, BE -- September 7, 2023 to October 8, 2023 Paris, FR -- November 16, 2023 to December 17, 2023 Luzia: Vienna, AT -- April 12, 2023 to May 29, 2023 Frankfurt, DE -- June 13, 2023 to July 16, 2023 Bazzar: Buenos Aires, AR -- June 24, 2023 to July 9, 2023 Oaks, PA -- September 26, 2023 to October 22, 2023 San Antonio, TX -- November 5, 2023 to December 3, 2023 Charlotte, NC -- December 16, 2023 to January 14, 2024 ECHO: Montreal, QC -- April 20, 2023 to August 20, 2023 Washington, DC -- September 6, 2023 to October 22, 2023 Atlanta, GA -- November 5, 2023 to January 21, 2024 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Christchurch, NZ -- Jun 16, 2023 to Jun 25, 2023 Auckland, NZ -- Jul 4, 2023 to Jul 9, 2023 Brisbane, AU -- Jul 21, 2023 to Jul 30, 2023 Sydney, AU -- Aug 3, 2023 to Aug 13, 2023 Melbourne, AU -- Aug 17, 2023 to Aug 27, 2023 Adelaide, AU -- Aug 31, 2023 to Sep 3, 2023 Perth, AU -- Sep 15, 2023 to Sep 24, 2023 Windsor, ON -- Nov 30, 2023 to Dec 3, 2023 Oshawa, ON -- Dec 7, 2023 to Dec 10, 2023 Hamilton, ON -- Dec 14, 2023 to Dec 17, 2023 Montreal, QC -- Dec 22, 2023 to Dec 31, 2023 CORTEO: Los Angeles, CA -- Mar 23, 2023 to Apr 30, 2023 Frisco, TX -- May 17, 2023 to May 21, 2023 Kansas City, MO -- May 25, 2023 to May 28, 2023 Hoffman Estates, IL -- Jun 1, 2023 to Jun 4, 2023 Boston, MA -- Jun 8, 2023 to Jun 11, 2023 Newark, NJ -- Jun 15, 2023 to Jun 18, 2023 Columbus, OH -- Jun 22, 2023 to Jun 25, 2023 Ottawa, ON -- Jun 28, 2023 to Jul 2, 2023 Kingston, ON -- Jul 6, 2023 to Jul 9, 2023 Saint Paul, MN -- Jul 13, 2023 to Jul 16, 2023 Sacramento, CA -- Aug 3, 2023 to Aug 6, 2023 San Jose, CA -- Aug 9, 2023 to Aug 13, 2023 Oakland, CA -- Aug 17, 2023 to Aug 20, 2023 San Francisco, CA -- Aug 23, 2023 to Aug 27, 2023 Palm Springs, CA -- Aug 31, 2023 to Sep 3, 2023 San Diego, CA -- Sep 6, 2023 to Sep 10, 2023 Phoenix, AZ -- Sep 13, 2023 to Sep 17, 2023 Wichita, KS -- Nov 9, 2023 to Nov 12, 2023 Dayton, OH -- Nov 16, 2023 to Nov 19, 2023 Cleveland, OH -- Nov 22, 2023 to Nov 26, 2023 Omaha, NE -- Nov 30, 2023 to Dec 3, 2023 Winnipeg, MB -- Dec 7, 2023 to Dec 10, 2023 Regina, SK -- Dec 14, 2023 to Dec 17, 2023 Saskatoon, SK -- Dec 21, 2023 to Dec 24, 2023 Edmonton, AB -- Dec 27, 2023 to Dec 31, 2023 MESSI10: Salta, AR -- Jul 14, 2023 to Jul 29, 2023 Buenos Aires, AR -- Oct 5, 2023 to Nov 5, 2023 OVO: Prague, CZ -- May 3, 2023 to May 7, 2023 Malmo, SE -- May 11, 2023 to May 14, 2023 Stockholm, SE -- May 18, 2023 to May 21, 2023 Gothenburg, SE -- May 25, 2023 to May 28, 2023 Tallinn, EE -- Jun 1, 2023 to Jun 4, 2023 Vilnius, LT -- Jun 8, 2023 to Jun 11, 2023 Riga, LV -- Jun 15, 2023 to Jun 18, 2023 San Sebastian, ES -- Jul 19, 2023 to Jul 23, 2023 Gijon, ES -- Jul 26, 2023 to Aug 6, 2023 Gran Canaria, ES -- Aug 12, 2023 to Aug 20, 2023 Amsterdam, NL -- Sep 7, 2023 to Sep 10, 2023 Rotterdam, NL -- Sep 14, 2023 to Sep 17, 2023 Bordeaux, FR -- Sep 21, 2023 to Sep 24, 2023 Turin, IT -- Sep 28, 2023 to Oct 1, 2023 Berlin, DE -- Oct 5, 2023 to Oct 8, 2023 Zurich, CH -- Oct 11, 2023 to Oct 15, 2023 Bratislava, SK -- Oct 19, 2023 to Oct 22, 2023 Pesaro, IT -- Oct 26, 2023 to Oct 29, 2023 Bologna, IT -- Nov 2, 2023 to Nov 5, 2023 Florence, IT -- Nov 8, 2023 to Nov 12, 2023 Lyon, FR -- Nov 15, 2023 to Nov 19, 2023 Toulouse, FR -- Dec 7, 2023 to Dec 10, 2023 Granada, ES -- Dec 13, 2023 to Dec 17, 2023 Lisbon, PT -- Dec 20, 2023 to Dec 30, 2023 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Variable Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) May 12 thru 16, 2023 o) July 21, 2023 o) September 8 thru 12, 2023 o) November 10, 2023 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Friday, Dark Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) June 18, 2023 o) August 16-20, 2023 o) October 22, 2023 o) November 29-30, 2023 o) December 1-3, 2023 o) December 6-10, 2023 KA: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) May 6 - 10, 2023 o) June 14, 2023 o) August 16, 2023 o) October 21 - 25, 2023 o) November 18, 2023 o) December 13, 2023 LOVE: Location: Mirage, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm Age Requirements: - Children under 5 not permitted. 2023 Dark Days: o) May 2-6, 2023 o) July 4 & 11, 2023 o) September 5-9, 2023 o) September 12-16, 2023 o) November 18, 2023 o) December 25, 2023 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) May 18 – 22, 2023 o) June 5, 2023 o) August 10 - 14, 2023 o) October 16, 2023 JOYÀ: Location: Riviera Maya, Mexico Performs: Tuesday through Saturday, Dark: Sunday/Monday DRAWN TO LIFE: Location: Walt Disney World Resort, Orlando, Florida (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 5:30pm and 8:00pm MAD APPLE: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm Age Requirements: - Children under 16 not permitted. - Children under 18 must be accompanied by an adult 2023 Dark Days: o) June 9 - 13, 2023 o) August 21 – 22, 2023 o) October 27 – 31, 2023 o) November 3 – 7, 2023 o) December 18 – 19, 2023 ======================================================================= FASCINATION! FEATURES ======================================================================= o) "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 1 of 3] By: Keith Johnson - Seattle, Washington (USA) o) "Under the Same Sky" - a Collection of Articles Celebrating ECHO's PREMIERE" o) "ECHO: The World is Yours to Create!" Texts from the Press Kit ---------------------------------------------------------- "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 1 of 3] By: Keith Johnson - Seattle, Washington (USA) ---------------------------------------------------------- All art forms are in the service of the greatest of all arts: the art of living. – Bertolt Brecht A life lived in service to the arts – facilitating creativity – is a life well lived. – Me The process of artful creation is an easy concept to grasp, though it may be impossibly difficult to define. Where does inspiration come from, and how do you interpret that inspiration and make it whole? We know the "stars" of creativity, be they musicians, actors, painters, sculptors, or even circus artists. We recognize them and their works and accomplishments easily. But there are always those behind the scenes that assist in the creation of art. The artist may get the credit, but they never do it alone. Who are these people? They are the people you don't see. The producers, engineers, cinematographers, costumers, gaffers, set constructors, even spouses, agents and personal assistants. Those that support the act of creating. They may not be in the spotlight's glow, but they are the ones lighting and focusing it. One of those crafts is sound. They control what you hear, which is just as important as what you see. And in a Cirque du Soleil show, as we've said in this space several times before, it is the music (or the SOUND) that prepares the mind for the wonders about to unfold before the eyes. For Cirque du Soleil's Drawn to Life, playing now at their custom-built theater in Disney Springs in Walt Disney World in Orlando, Florida, there are more than 100 people who nightly support those who appear onstage. They don't appear onstage, by and large, you don't see them, but without them, the show wouldn't go on. SOMETHING FUNDAMENTALLY MAGICAL ------------------------------- Monitoring the sound of the show, as he has for almost a quarter- century and more than 5,000 performances covering La Nouba as well as Drawn to Life, is Mr. David Wallace (https://www.linkedin.com/in/ davidwallace411/). Mr. Wallace hails from Winnipeg, Canada and began his career in theater there. He started with Cirque as Assistant Head of Sound for La Nouba during its creation and has been with the company, and the Disney Springs Cirque Theater, ever since. In early May 2022, we first asked the 54-year-old Davenport, Florida resident about his educational background. His LinkedIn profile says in part: "A strong Theatre Arts and Design professional with a Master of Business Administration and extensive experience in production, management, and operations." He got an MBA? "I did," Mr. Wallace explained. "Part of that was, of all things, for my father, [who] wanted to see his kids do well. My brother got a bachelor's degree in political science, did really well and just retired from 30 years working for the Canadian federal government. My father had a master's in public administration, and he wanted us to get master's degrees. He was always concerned about me being in theater, he felt that I didn't have anything to fall back on, as strange as that [seems], because I'd never worked outside of theater since my teenage years." "[At the time] La Nouba was in its maturity and I was functioning on a really [stable] schedule, we weren't doing overtime anymore. I had a little bit of time on my hands and I've always [been] interested in developmental education. The week I graduated with my MBA I called him up and said, "Dad, I've graduated! I've got my degree!" And his [response] was [This 78-year old father talking to his 46-year-old son], "David, now you don't have to worry if this theatre thing doesn't work out." And I thought that was just lovely because, you know, fathers never lose that concern for their children." Another sentence on his LinkedIn profile states: "I can read, and understand, the financial statements and run the show. Achieving the client's vision while maintaining design intent within budget guidelines is the goal." Having an MBA and working in a theatrical technical function puts him in a rare position. "Yes, certainly for budgeting purposes. And understanding that side of the business as well as the business models of, not just Cirque, but most entertainment companies. Moving forward it's so important to have a really strict eye on costs. As the costs of systems grows, it's becoming incredibly expensive to mount shows. So being financially aware and conscious of the decisions you make is becoming increasingly important." His passion for sound began at an early age. "My father had an Akai reel-to-reel recorder and played back a lot of his music on reel-to- reel. Of course, I'm dating myself. It came with two microphones, you could record stereo left and right, and it was quite an expensive and fancy unit. The first thing I learned to do as a kid was record using reel-to-reel [with] those microphones. Then somewhere along the way in my youth I picked up guitar." It was here the flame of his life's path was sparked. "Those first moments when I realized that you could take acoustic sounds, turn them into an electrical signal, and then capture them on a magnetic tape and play them back. There was something fundamentally magical about that! And I still haven't quite shaken the wonder that I have, even though now it's all digital." "When I was fairly young, I got a 4-track recorder, a Fostex X-15, a 4-track cassette. [See a picture at: http://www.muzines.co.uk/ articles/ fostex-x-15-multitracker/6000 ] and started recording with that. I had local friends that were 13 or 14 years old at the time that were in bands. I started recording them and eventually got an eight-track reel-to-reel, a Fostex A-Series Model 80, (see a picture at https://reel-reel.com/tape-recorder/fostex-model-80/ ) and expanded my little home recording studio. We lived in an old house that was three stories, and the third story was this open attic space and that's where I would record. As long as I didn't go past a certain time (in the evening) my parents were very supportive. If I went too long my dad would throw the circuit breaker and the power would go off, and that's how I knew I had crossed the line!" "I tell that story because somewhere [around that time] it dawned on me that [sound recording] was a necessary thing. Because people were saying, "Hey, can you record this?" Or "I have a song I want to record." So even as a kid I was just kind of playing, [which] was just what I really liked to do. Along the way I realized what I really loved was not necessarily playing guitar. (I can still trash the guitar into submission, not that anyone would ever want to listen to me.) But I realized I enjoyed the creative process, the relationships, the direction as a team heads somewhere. Whoever the songwriter was, their vision for that song, and helping them create that, that journey. I think that was the key; where it was not so much about being a professional in the monetary sense, but I could be a "Professional"." It was the social and teamwork aspect of sound work that inspired him, more than the button-pushing and knob-twirling. "The skill set to being a professional in this kind of work is communication, relationships, trust and comprehension. That was really enticing to me because I was someone who liked social engagement. I like developing things as a team, I tend to not be a lone wolf. Later I found theatre and it put the two together, the technical stuff [and the teamwork]. At the time I came out of university theatrical sound design was quite minimalist, if you had a theatre that had decent stereo speakers you were doing pretty well. I thought there was a lot of room for creative work and that's where I found my niche; I realized that I could do this and get paid and begin to make a living at it." He first started his professional audio career in local theater. "As the head of audio I did theatrical sound design for plays and musicals that were being produced by the Royal Manitoba Theatre Centre [in Winnipeg] (https://royalmtc.ca/ ) [in their John Hirsch Mainstage and Tom Henry Warehouse Theatres]. But back when I was there it wasn't "royal" yet, it was just the Manitoba Theatre Centre. And we would often produce shows that would preview in Manitoba, get their legs, and then we would send them off to Toronto. And during the summer, I would mix musicals at the Rainbow Stage (www.rainbowstage.ca )" "I was already involved with The Manitoba Theatre Centre during college (The University of Winnipeg (https://www.uwinnipeg.ca/ ) where he got a bachelor's degree in Technical Theatre/Theatre Design and Technology from 1985-1989). I was working part time when I could as a technician, but once I graduated that led to a full-time position in technical direction. There was no sound position available, so my first job was as assistant technical director." OFF TO FLORIDA -------------- After working with the theater company for almost 10 years, the possibility of working for Cirque du Soleil would enter his life around the latter part of 1997. "I was working in Canada at the time. I was a much younger man and had applied to Cirque for assistant head of audio. The person who was [going to be] head of audio, Cliff Bonnell (https://www.linkedin.com/in/clifford-bonnell-0537698/ ) had started on Quidam. We had two sound designers on La Nouba originally, Jonathan Deans and Francois Bergeron who had worked with Cliff. I received an interview and Cliff and I spoke on the phone. The interview went well, and I got the job. That's what initially brought me to La Nouba, and from there I went on to head up the department." "My plan was to stay for two years, and there was an Asian tour that was going out that I was looking at. But then I thought, "Do I really want to uproot and go on the road?" And I decided I really liked this show and was happy, the show schedule was five days a week and I'm used to a six-day theatre schedule. And there were so many opportunities here that I just decided to stay. The show evolved so much, and over the years the music of the show evolved. That's one thing I can count on with Cirque, we never stop developing, never stop evolving. There was new music at times, adjustments to the arrangements, adjustments to the mix. We upgraded our consoles, upgraded our systems. Over the course of those years, I never found I was lacking for projects, knowledge, or education; we just kept training, evolving and learning." La Nouba was a well-running juggernaut performing year after year, and Mr. Wallace was there for all of it, beginning to end, over 5,000 shows where he was in the theater at the front of house or monitor mixing position, running the boards for the show. "We seemed to be running OK, we knew what we were doing. We knew the cycle, the ebb and flow [in attendance] between March break and summer and we'd have some ups and downs, but we always did quite well for ticket sales." DRAWING THE SHOW TO LIFE ------------------------ La Nouba closed, but what to replace it with? It would be a natural fit at Walt Disney World if Cirque could create a collaborative show utilizing Disney animation. They've had extensive experience with collaborations, especially musical ones, with The Beatles Love, Viva Elvis, Michael Jackson Immortal and One, and Soda Stereo Sept7mo Dia. But this would be a story of animation. And Mr. Wallace would be a part of it all. "When La Nouba closed I was the head of audio, and Cirque approached me about staying on through the gap phase. I then took on the title of Project Manager SVC for Sound Video and Communications, and my scope was looking after the sound system and closed-circuit TV (what we call CCTV, not the projections but the systems we use internally for [show operations], and any technical communication systems). And during [creation] I was at the sound console working with the sound designer and his assistants on the development and mix of the show." "By the time Drawn to Life opened I [was made] head of PLANS which stands for Projections, Lighting, Audio, Networking and Special Effects, that's my new role. I think it's an interesting model for Cirque because certainly my expertise is in the audio realm. As a manager I don't have a [deep] background in lighting [but] I can certainly comprehend the equipment, the systems, the operations, and I have a little bit of projections experience. But I have subject matter experts that are leading those teams. I'm not managing the day-to-day operations or the show systems I'm just the technical manager for the department. I would describe it as sort of a regimented, technical direction position, the overarching manager for those teams. It's a new model that Cirque has been trying. We've done a little bit of it in Vegas, but this is the first show on its own that is trying this new model for management, and so far, it's been working really, really well." The show was originally planned to open in March of 2020, with several months of rehearsal and the maelstrom of creation prior. "It was interesting because we had gone into Creation. Jonathan's assistant, Brian Hsieh, had shown up to tune the system in early December. We started in earnest with everybody in the building right after Christmas, on December 27th, 2019. So, we had been in Creation at that point for all of January, all of February and three quarters of March." "And the show was ready to go, it was ready to open. Like a lot of Cirque productions, of course, [before] it opened we were in a little bit of "creative chaos," is how I would describe it. And that's absolutely normal; we were no different than La Nouba at that same point. We were trying to do some pretty tremendous things. And some of them you only get a shot at a couple of times. You know you're going to open a show but it's like, "Well, we've run it successfully a couple of times, let's see how this goes." Because sometimes we fly without a safety - not literally, but figuratively - and I think that's where we were; we were ready to open the show we had. And it was good, it was interesting, I think it had some great moments." But, as it did throughout the world, COVID soon overshadowed everything. "We were scheduled to open the show on March 20, 2020. When we temporarily closed on March 17, we were three days from opening, that day was our third preview. I remember friends had texted me and said, "Hey, we're on our way." And I was at the theater and my initial text was, "Great, see you tonight". And about an hour later I had to text them back to say, "No, you might want to turn around, we're not going to be doing a show tonight"." "We were trying to be optimistic. Company management said we're going to do it in two-week chunks, because at that point we didn't know, no one knew. And when it was looking like it was going to be longer and longer, they extended that. Eventually it was, okay, we know we're not coming back for six months, or whatever it was. So, everybody sort of found other things, or they hunkered down, and we all managed to find ways to get through COVID. I was off [starting] March 17th, 2020 and I returned to the theater in June of 2021, so 15 months for me. I think some of our employees were off for 18 months at the most. So, between 15 and 18 months was the general timeline for people being out." As with so many businesses and industries when the world shut down, what would happen and who would come back to work when the world woke again was a big question. But in the end the draw of being part of a resident Cirque du Soleil show was powerful. "It was such a unique, unique situation. I don't have a percentage, but I [believe] we are in the high ninety percent of people that returned to Drawn to Life. It was just incredibly emotional, lovely to see. You hear stories of people quitting their jobs and leaving companies, and our people couldn't wait to get back. And we had the same thing with La Nouba, the retention rate was incredible. I, for one, never thought I would stay with a show for that long. My initial plan was to be here for two years and then go off onto another project, and I ended up staying for 25 years now." "Along with me there are two other people that closed La Nouba that are now part of the sound technical team. (They are David Medairos- Sound Technician and David Porier, who was the Sound Technician for La Nouba and came back as Audio Lead for Drawn to Life.) And one of our original people on La Nouba, Robert Mele (who was the Audio Technician from La Nouba), has come back to head up our entertainment network department as Lead Networking person, he's a powerhouse of technical and programming chops. With the retention of [talent] and having those people here, there isn't a better team that I [could hope for]. That gave me great confidence, as well as excitement about getting through all the technical challenges, to create a system & team that can handle what Cirque dishes out. It's interesting because all of those people and knowledge from La Nouba and other Cirque projects just carried through to Drawn to Life." "[During COVID] I was very fortunate to find some other work; I taught film mixing at an institute in Florida, so I was able to use my time to do that. Which was interesting, it was fun to do and it was nice to work with students. That kept me busy and kept me mixing, kept those creative juices flowing, which was most important." [We'll discuss his film mixing experience, and experiences teaching, later on.] "But I couldn't wait to get back into the theater. When I came back in June [2021] we heard that we were going back into Creation. We started back at the end of September, had six weeks of Creation, and opened on November 20th, 2021." The extra down time allowed for reflection on the show and what it meant, which would give Drawn to Life something rare for Cirque; a reassessment and second creation period before the show debuted to audiences. * * * Next time, we discover the opportunities the COVID break provided, for the acts, music and tech. To Be Continued! ---------------------------------------------------------- "Under the Same Sky" - a Collection of Articles Celebrating ECHO's PREMIERE" ---------------------------------------------------------- CIRQUE DU SOLEIL PREVIEWS ECHO AT OLD PORT BY: Christine Long | CTV Montreal | April 6, 2023 It has a spare, modern look and an emphasis on dance. The performance explores the link between the animal and human worlds with storytelling in fluid motion. Author and director of ECHO Mukhtar Omar Sharif Mukhtar emphasizes his background in dance. "The movement aspect of things, I think it's very important for me. Also, with dance you get a lot of emotion, and I really want to put that sense of emotion into the acrobats because I think that's what brings them to become artists rather than just gymnasts." Cirque du Soleil always wants to push the boundaries of circus in their shows, and ECHO has — with the first-time-ever "hair-hang duo". Charlotte O'Sullivan is one-half of the act in which two aerial acrobats are suspended by their hair. "We always make sure our quality of movement stays smooth, synchronized, elegant, sort of as if we're floating on air, and it's important to us in the style that we do. We don't want to portray something painful or freaky. We want to show something angelic and elegant," said O'Sullivan. The other acts are also bright and energetic, and so is the music. "We have seven musicians live on stage, and all of them are singing," said ECHO creative director Chantal Tremblay. "That's the difference. Also, a lot of vocals and strings, so we have a different sound and everything to support the acrobatic performance." The band is part of the show, not tucked away in the wings. Local artist Pascale Brigitte Boilard makes her debut in ECHO. She grew up being in the audiences for Cirque du Soleil shows, and now she's part of the action. "I'm from Longueuil! Just on the other side of the shore. I grew up seeing the big top during the summer, I've been to many different shows, and I was the kid in the bleachers saying, ‘One day it's going to be me.' And apparently it's today. Here I am!" The show will take place at the Jacques-Cartier Pier in the Old Port of Montreal. Performances of ECHO begin on April 20 and run through to August 2023. # # # # # CDS LOOKS TOWARD A BEAUTIFUL FUTURE WITH NEW SHOW ECHO BY: Brendan Kelly | The Montreal Gazette | April 24, 2023 As the show's author and director, Mukhtar Omar Sharif Mukhtar knows all about the long and winding road that's been travelled to make it to the première of Cirque du Soleil's Echo. The world-renowned Montreal-based circus's first original production since the pandemic began is set to officially open under the blue-and- gold Cirque big top in the Old Port on Thursday. The show was originally called Under the Same Sky and was meant to open in Montreal in March 2020. We all know what happened next. The COVID pandemic hit and everything shut down, including all live entertainment. The original writer-director was British artist Es Devlin, but even before the pandemic nixed the production, there were behind-the-scenes creative issues. Mukhktar was called in from his Las Vegas home in the spring of 2020, just before the show was cancelled. In a phone interview last week from his apartment just a short walk from the big top, Mukhtar went out of his way to say that Echo still includes many of the creative elements Devlin brought to the table. "The universe, the signature style of the show, had already been started on when Es Devlin was on the show," said Mukhtar. "I wanted to get a feel for what Es Devlin wanted to say to the audience, what was her inspiring message. Then I took that and I built from that. There were a lot of good things she did in the show and we just came in and added extra layers to it, to where it is today." Mukhtar knows the pressure is on the Cirque with this show. It's all part of the post-pandemic comeback for the circus, which had to close all of its shows around the world during the health crisis and was forced to seek bankruptcy protection. But the Cirque was already struggling to remain relevant nearly 40 years after it was founded by Guy Laliberté, to find ways to connect with a 21st-century audience with so many more entertainment choices. "The Cirque is always looking for ways to connect with the audience now," said Mukhtar. "What is the audience like now? What are audiences looking for now? (The Cirque is) trying to see what's happening in the world but also stay a few steps ahead of it. They're trying to set trends like they did two decades ago. That's also why they worked with Es Devlin at the beginning. Es Devlin is at the top of her game with what she does visually. They want to push those boundaries." Part of the visual design brought by Devlin is the giant two-storey cube that plays a central role in the show. Performers do their stuff on the surface of the cube and inside the cube, and it is also used for video projections. Longtime fans need not worry, though. It's not all newfangled concepts. There's plenty of classic Cirque du Soleil entertainment, too. "We definitely have high-level acrobatic performances in the show," said Mukhtar. "We have to. It's the Cirque's DNA. You can't have a Cirque show without having high-level acrobatics. But we had to approach the performances and the acrobatics and make sure they fit this universe that we're creating. We didn't want to bring in an act just because it was cool." No one goes to a Cirque show for the story, but there is always at least a semblance of a narrative and a central theme, and Echo is no exception. "It's more of a concept in this show," said Mukhtar. "It's really about coming together, rebuilding after the mistakes we've made, to eventually create the world we all want to live in. The world we live in right now is so fast, we all live at such a fast speed, and we roll with it. And we forget about the beautiful things that are right in front of us because of our commitment to our everyday life. And this show really looks at life from the point of view of youth. The main protagonist is Future and we see it through her eyes." Mukhtar is excited that his wife and their eight-year-old twin girls will be coming to town to see the show, and it means a lot to him that his daughters will be there. "I can't wait for them to see it, especially because the main protagonist is a young female," he said. "It will be fun and inspirational for them to see that." # # # # # ECHO REVIEW: CIRQUE DU SOLEIL RALLIES ITS TROUPS BY: Victor Evlogiev | Wire News Fax | April 28, 2023 The first real creation under the marquee since Volta, in 2017, Echo, officially launched on Thursday evening, is a response to the (forced) silence of recent years. An ambitious, modern and unifying show, which relies on the strength of the group. Expectations were still high. The Cirque has been working on this acrobatic piece for almost four years. If he had to miss his target... First strangely baptized Under the same sky, the argument summed up by creative director Chantal Tremblay in 2020 has nevertheless remained the same: "The adventure of a show under a big top. A show where we are all gathered under the same roof, in the same tent, connected to each other." Somali-born director Mukhtar Omar Sharif Mukhtar – who took over from English choreographer Es Devlin along the way – added during a media encounter: "It's a piece centered on this idea of connection, unity and collaboration." Here's what to remember about the "spirit" of this new Cirque du Soleil production. For the rest of the narrative explained to yours truly over the past few months, our disconnection from the animal world, our threatened survival, our reconnection with nature, etc., let's say that we are more in the inner dialogue. You will tell your own story, no one will judge you. Echo therefore opens in a very pretty way with the appearance of a huge cube, which will be the main scenographic element of the room (designed by Es Devlin). The four faces of the moving cube serve as projection surfaces while acrobats (wearing white paper clothes and animal heads) perform an acrodance number on it – suspended by harnesses. Note that about twenty minutes after the start of the show, a technical problem led to a five-minute interruption. A little later, another group of acrobats will steal the show – Ethiopian artists. First with a breathtaking number of Icarian games – a discipline very little practiced here (and very difficult!) where a carrier lying on his back launches a flyer in the air with his feet. This issue also received a well-deserved ovation. Then, with a number eleven of banquine, human frame and other ground-air acrobatics. With pastel- colored costumes that exude happiness! The enthusiasm, energy and smiles of these artists are undoubtedly what brings us closest to the collaborative spirit of Echo, punctuated by the sound of electroacoustic music by Jade Pybus and Andy Theakstone, who also sing in chorus. Flying mast number seven (wow!) is the same caliber, as is soft wire number two inside the burning cube (beautiful!) or capillary suspension number (ouch!). Throughout the duration of the show, the cube will crack, open, empty, fill, close… A bit like the world in which we live. This theme of the collective did not prevent the Cirque from presenting a few individual numbers such as a number of elastic straps (nice), where the Brazilian artist Lucas Coelho was first surrounded by the rest of the troupe (a simple idea, but effective). Unfortunately, he found himself alone after a few minutes... Same scenario during the Washington trapeze number (a motorized trapeze on which the French artist Louana Seclet performs head- balancing figures). When the troupe surrounds the trapeze artist, there is a tremendous energy that emerges from the stage towards the room. Moreover, the contortion number (not necessary) appears to us as an error. Just like the diabolo number, even if it is well executed. These numbers are, in our humble opinion, derivatives of Echo. We'll get over it. A word about the comedy duo of the night: Double Trouble. The Franco- Italian pair essentially have fun stacking cardboard boxes. They are rather funny, and above all, their presence is well balanced. The final number with (three!) seesaws – even if it is performed by nine artists – is impressive, we are of course in the prowess, but the disembodied prowess, which struggles to anchor itself to the narrative of Echo. This number could have been presented in any Cirque show, which is never a good observation. Fortunately, there are still those small symbolic gestures that reinforce the theme of unity and connection, such as that of the main character, who climbs a giant at the end of the first part (we will not say more for not spoil the surprise), and which will place a small cube in the big one at the very end, revealing a thousand images of this strained nature. A great way to end this show under an abundant marquee, which is certainly one of the most ambitious in recent years. # # # # # CIRQUE DU SOLEIL'S "ECHO" FINALLY PREMIERES AFTER PANDEMIC DELAY BY: Web Desk | The International News | April 29, 2023 Cirque du Soleil's Echo premieres in Montreal under the big top in the Old Port after a pandemic delay. The original production, titled Under the Same Sky, was supposed to open in March 2020 but was cancelled due to the COVID-19 pandemic. Es Devlin was the original writer-director, but Mukhtar Omar Sharif Mukhtar was brought in to take over creative direction just before the show was cancelled. Mukhtar however ensured fans of the show that Echo still includes many of the creative elements Devlin brought to the table. "The universe, the signature style of the show, had already been started on when Es Devlin was on the show," said Mukhtar. "I wanted to get a feel for what Es Devlin wanted to say to the audience, what was her inspiring message. Then I took that and I built from that. There were a lot of good things she did in the show and we just came in and added extra layers to it, to where it is today." "We definitely have high-level acrobatic performances in the show," said Mukhtar. "We have to. It's the Cirque's DNA. You can't have a Cirque show without having high-level acrobatics. But we had to approach the performances and the acrobatics and make sure they fit this universe that we're creating. We didn't want to bring in an act just because it was cool." Cirque du Soleil shows combine circus styles from various parts of the world and are built around a central theme and narrative. The productions feature live music throughout, and performers are responsible for moving the props instead of stage crew. END ---------------------------------------------------------- "ECHO: The World is Yours to Create!" Texts from the Press Kit ---------------------------------------------------------- "ECHO is about connecting everybody together, and working together to create the world we want to live in. It's not just a concept. It's something I truly believe in." - Mukhtar Omar Sharif Mukhtar, Author-Director Cirque du Soleil brings surprising new twists under the Big Top with ECHO, a story of connection, intention, and the symbiotic unions between humans and the animal kingdom. Fueled by the power of change, the hope of the youth, and the value of empathy, ECHO follows an inquisitive young woman named FUTURE as she wanders into a fantasy world that explores our sacred bond with animals and nature. When FUTURE and her best friend the DOG encounter a mysterious CUBE, they quickly learn how their actions have the power to shape this world, and if we come together, we can rebuild our planet to create the world we all want to live in. Cirque du Soleil's 20th Big Top show brings bold new visuals and a unique aesthetic on tour. Packed with vibrant characters, inspiring music, astounding lights and projections, and never-before-seen acrobatic feats, ECHO invites audiences on a journey through a universe of color, wonder, and infinite possibilities. THE CONCEPT ----------- The underlying theme of ECHO is the symbiotic connection between humans and the natural world. The show explores how the actions of man can ripple out to the animals and planet we treasure so much. "ECHO" is a fitting title because the audience discovers this effect in different metaphors throughout the show. We experience an echo through humanity and the way our actions have a resounding impact on the surrounding world. This concept is brought to life by how artists and characters interact with the CUBE. As the massive structure is extracted and rebuilt, we come to understand that empathy and compassion can restore our relationship with animals and the natural world, and ultimately lead us to a space of hope, love, and connection. An echo is also expressed through choreography. Many of the show's performances are inspired by the notion of repetition, telling stories through continuous movement, and exploring the dynamic between organic, free-moving animals and the structured uniformity of scientific thinking. As Author-Director Mukhtar Omar Sharif Mukhtar says, "I think it's important when people come to ECHO to be blown away by the performances and acrobatics, and at the same time, I want them to leave feeling empowered." ECHO AT A GLANCE ---------------- o) ECHO is the 20th Big Top creation from Cirque du Soleil and its 51st overall, with a cast of 51 artists representing 19 different nationalities. o) Aesthetically, ECHO brings bold new visuals and an innovative approach to the Big Top, weaving together high-level acrobatics in a modern and contemporary visual universe. o) ECHO performs up to 10 shows a week, and visits approximately 6 different cities per year. o) Several of the cast and crew of ECHO have been involved in other Cirque du Soleil productions, including Volta, MJ ONE, OVO, and many more. Even the Author-Director was originally an artist in The Beatles LOVE. o) ECHO is the first ever Cirque du Soleil show to feature 6 live vocalists, with most of the musicians also singing at some part in the show. o) A full performance of ECHO pushes the envelope with 5 acrobatic winches and 3 double lines that can support 2 artists each. o) ECHO uses an impressive 10 video projectors to cover the CUBE, the stage, and the artists, which marks the most ever for a Cirque du Soleil Big Top show. o) The mysterious CUBE at the heart of the show is essentially the size of a 2-story apartment building that rotates on the central pivot, moving from upstage to downstage, and even floating above stage. CHARACTERS ---------- FUTURE --- FUTURE is the curious and caring protagonist of ECHO. Representing the energy and awareness of today's youth, she sees the world through the eyes of a new generation. Her natural curiosity inspires her to seek out her place in the world, and with her playful companion, the DOG, she wanders upon an enigmatic CUBE, setting in motion a journey of life, discovery, hope, and connection. EWAI THE DOG --- A symbol of unconditional love, the DOG is FUTURE's selfless companion whose only wish in life is to make her happy. Thanks to his playful and curious nature, the DOG helps FUTURE make unique connections with the animal characters they encounter on their journey. When he gets carried away chasing the hopeful light of the FIREFLIES, he loses track of FUTURE, and searches urgently to get back to her side. THE CARTOGRAPHER --- The CARTOGRAPHER is a mysterious character with an inventive mind. With his bright energy and vibrant colors, he flies around the CUBE casting vivid light projections with every movement. In constant pursuit of new ways to move forward and look at things the CARTOGRAPHER introduces FUTURE to the concept of science. Like an inquisitive scholar, he is there to offer FUTURE knowledge and options, but will never tell her where to go or what to do, because he knows that on a journey of discovery, it's up to everyone to decide their own path. DOUBLE TROUBLE --- Representing an era of industrialization, DOUBLE TROUBLE pride themselves on productivity, but the more they try to maintain order, the more they lose control. The comedic duo consistently pushes to keep the work moving, recruiting the characters of ECHO (and even members of the audience) to stack boxes, build structures, and help them achieve their ambitious goals. Despite their demands, something always seems to go awry, leaving DOUBLE TROUBLE visibly annoyed. When they grow impatient with the pace of work, they decide to take matters into their own hands. THE FOSSORIAL --- The FOSSORIAL is an introverted creature who lives alone underground. Once in a while he pops his head above the surface to see what's going on, because any action taking place above ground has a direct impact on his home and livelihood. Having to mold himself to so many circumstances beyond his control has turned the FOSSORIAL into a master of improvisation, but also makes him distrustful of others, including a young girl named FUTURE and her friendly companion the DOG. THE FIREFLIES --- When the CUBE gets stripped away by the efforts of DOUBLE TROUBLE, two beautiful FIREFLIES appear to return hope to the world of ECHO. Suspended by their hair, they soar above the stage in a spiritual performance of acrobatics and light projections. THE ACTS -------- ECHO beautifully blends story with a spectacular range of acrobatic performances, all taking place on, in, around, or throughout the mysterious CUBE. You'll witness performances like bungee straps, banquine, icarian games, double hair suspension, slackwire, triple teeterboards, and a never-before-seen chrysalid pole structures act. SYMBIOSIS: ACRO-DANCE OF THE ANIMALS --- Animals hang in a vertical position on the CUBE, performing an acro-dance routine where we see them meeting each other as animals who share this world, discovering life, and living in harmony. THE CARTOGRAPHER'S BUNGEE STRAPS --- As the CARTOGRAPHER flies into the story, light projections track his every movement, leaving behind marks that influence the world. The animals move away from him, not knowing his intentions, but his energy and presence demand the respect of the stage. INDUSTRIALIZATION AND ICARIAN GAMES --- Two performers come to the stage in an act of flipping and rotation that spins the story forward. Their motion acts as a machine to help DOUBLE TROUBLE extract boxes from The CUBE, moving faster and faster to speed up the process of extraction. DOUBLE TROUBLE'S BOXES --- Discontent with the pace of work, DOUBLE TROUBLE take matters into their own hands. Using all the boxes at their disposal, they attempt to streamline their work, but quickly find out that it's easier said than done, and the mess is bigger than when they first started. THE FIREFLIES DOUBLE HAIR SUSPENSION --- When some troubling questions arise, the lights reveal two FIREFLIES, beautiful artists who soar through the air suspended by their hair. Their grace and power inspire FUTURE and the DOG, giving them hope that the world can be rebuilt. BANQUINE AND HUMAN CRADLE TO RESIST AND EXPRESS --- The COLOR PAPER PEOPLE come together in a thrilling mix of banquine and human cradle acts. With the help of the CUBE and the encouragement of FUTURE, they learn to collaborate and realize the importance of having fun in a dizzying array of stunts. DOUBLE SLACKWIRE OVER FLAMES --- Smoke billows from the floor, flames break out within the CUBE, and a tense double slackline act ensues, as two animals stand on a line between life and death. They will give everything they can to survive as long as they both have each other. REBUILDING ON CHRYSALID POLE STRUCTURES --- This flying poles act features a first-of-its-kind pole apparatus named Chrysalid that is semi-attached to the stage floor. This groundbreaking performance requires exceptional strength, and signals the rebuilding of The CUBE. THE DOG'S DIABOLO MANIPULATION --- In an act of love and gratitude, the DOG breaks into a fascinating diabolo manipulation act that catches the eye of an unseen character. The FOSSORIAL appears above ground, approaching the DOG with caution and curiosity, and pushing him to be more and more creative with his flicks and tricks. DOUBLE TROUBLE'S HUMILITY --- Seeing the consequences of their actions, Double Trouble want to help recreate the CUBE. They chase after all their boxes in a comical manipulation act that leads them to build an impossibly tall tower of boxes. THE FOSSORIAL'S CONTORTION --- he FOSSORIAL puts his flexibility and adaptability on full display in an act of contortion and dislocation that will leave audiences stunned. FUTURE AND THE WASHINGTON TRAPEZE --- When FUTURE looks up to see the final missing box flying in the air, she realizes it's up to her to place the missing piece back into the CUBE. The Washington trapeze descends towards her in a poetic moment, as the animals return to stage to orchestrate her flight. CELEBRATING CONNECTION ON TRIPLE TEETERBOARDS --- In a high-flying performance, the paper animals celebrate connection and coexistence through an exhilarating triple teeterboard act. As the playful birds take flight from their teeterboards, they inject a palpable energy into the air, overjoyed by the feeling of togetherness. SET DESIGN ---------- IN, ON, AND AROUND THE CUBE --- The imaginative set design of ECHO revolves around the CUBE, a simple yet profound set piece that blends a spectacular range of audio, visual, and tactile media. Measuring 23' x 23' (7 m x 7 m), the CUBE sets the stage for a wide range of acrobatics and theatrics. At different points, it may be dismantled, stripped, and rebuilt, scaled by animals, swung from by artists, and used as a mesmerizing projection surface. Surrounded by a stage that resembles water in a lake, every interaction with the CUBE creates a unique effect that ripples into the future. With so many elements involved in a single set piece, ECHO Author-Director Mukhtar Omar Sharif Mukhtar says the CUBE is up to interpretation. "It's not just as literal as ‘this is the world'," he says. "It could be anything: a relationship, love, something you cherish… It could represent the world, or the planet, but it's really a symbol. The more we take away from it, the emptier it becomes, and the more we put into it, the fuller it becomes. That's what I would love for people to see when they see this." ONE CUBE, SO MANY DIMENSIONS --- Designing the CUBE was a massive undertaking. Not only does it need to support the acrobatics and theatrical performances of the show, but it also has to meet the technical requirements of a traveling Big Top show. Here are a few highlights: o) The CUBE measures 23 square feet and weighs roughly 12 tons. o) It's built to track upstage to downstage on a single central pivot. o) The roof of the CUBE contains a lightbox with 2.7 km of LED strips. o) Lighting it from within instead enables the technical team to highlight performers and characters with greater precision than relying strictly on outside lighting. o) It takes 10 projectors to project imagery on the rotating CUBE and throughout the stage–the most ever for a traveling Cirque du Soleil show. o) Each video projector tracks a single zone of the stage, and crossfades projections between zones as the CUBE moves and rotates. o) These projectors can create 3D effects on the surface of the CUBE to appear like it's deconstructing and constructing while never moving an inch. o) To ensure so many projectors could meet the mobility demands of a Big Top show, Cirque technical teams had to design a special self- standing infrastructure just for this equipment. o) The primary structure of the CUBE is mostly made of steel with some aluminum trussing. o) There are 40 lightweight blocks that fill in the CUBE, which are made of different materials based on their use. o) There are soft blocks made of foam so they can be easily dropped from various heights, while "acro blocks" are made of carbon fiber or fiberglass to support the requirements of the performers. o) At one of the most surprising points in the show, one of the CUBE's walls supports 40 artists. o) In a first-of-its kind performance, a dual slackwire act takes place within the rotating CUBE. o) Meanwhile beneath the slackwire performance, at the base of the CUBE are real flames, which means everything had to be made fireproof. Yet despite so much built into one impressive structure, Production Director, Serge Côté says the biggest challenge when designing the CUBE was integrating it in a way that brings theatricality to the performance–not attention to its technical feats. "We want people to forget about the technicality… to come into the Big Top, which is kind of a magical space, forget about everything that goes on [behind the scenes], and step out with a smile." COSTUMES & MAKEUP ----------------- Conceptually, the costume and makeup design for ECHO are slick, contemporary, and clean, with fewer flourishes than most Cirque du Soleil productions. Costume Designer Nicolas Vaudelet uses color to draw a contrast between animals and humans, with more than two dozen animal heads fabricated in white, and 26 brightly colored outfits for ECHO's human characters. While Makeup Designer Julio Cesar Da Silveira's concepts incorporate a subtle yet powerful geometric touch to create a connection point between the two groups. Together they strike the perfect balance between fashion, circus, and story. FUTURE & THE CARTOGRAPHER --- Each costume and makeup concept was presented to ECHO'S Director for approval to ensure they connect to the larger concept of the show. For the protagonist FUTURE, makeup designers tested hundreds of shades of makeup before perfecting on the cloud concept, which adds an emotional touch with sparkles that appear like raindrops or tear drops. For the CARTOGRAPHER, there's a unique pencil stroke that appears to be connecting the dots. The perfect touch for a character who makes maps, draws connections, and represents the possibilities of scientific discovery. TWO FAMILIES CONNECTED BY CRUMPLES --- For the PAPER ANIMALS and COLOR PAPER PEOPLE, Costume Designer, Nicolas Vaudelet has clad all characters in white fabric made to resemble crumpled paper. The wrinkles give the feel that these characters' lives are still being crafted. While the PAPER ANIMALS wear white head to toe, the COLOR PAPER PEOPLE wear white suits featuring a rainbow of different colors. If you look closely though, you'll see that all of these artists are wearing the same style of suit. THE MUSIC OF ECHO ----------------- Music and sound play a key role in driving the emotional arc of ECHO. Featuring 14 eclectic show tracks inspired by a mix of pop, electronic, vocal, and classical stylings, the music of ECHO defies any single genre. It is uniquely layered with depth and textures inspired by our relationship to the natural world. As Band Leader, Michael Lieberman describes it, "Our most natural instrument is the human voice, and so it makes sense conceptually to use vocals to establish a symbiotic relationship between humanity and the environment." This is followed closely by strings and percussion, which represent the sounds, rhythms, and beating heart of nature. A MUSICAL FIRST FOR CIRQUE DU SOLEIL --- Like many Cirque du Soleil productions, ECHO features a live band incorporated into the performance, but for the first time in Cirque history, the band features 6 vocalists who also play instruments. A SOUNDSCAPE THAT DRIVES EMOTION --- As one might expect from a show titled "ECHO," each performance builds on a repetition of sound effects, but with a slightly different intention depending on the emotional curve in the show. Taken together, these unique sounds have a huge effect on the storytelling and audio experience for the audience. THE CREATIVE TEAM ----------------- "What really excites me most about this beautiful project is the ability to push the boundaries of what can be achieved in a Big Top setting and deliver a joyful experience, full of surprises, to millions of people around the world." AUTHOR-DIRECTOR – MUKHTAR OMAR SHARIF MUKHTAR Mukhtar O.S Mukhtar has been directing, choreographing and dancing for over 20 years. Prior to directing ECHO, Mukhtar spent 8 years with Cirque du Soleil (2005–2013) as a performer in The Beatles LOVE in Las Vegas, later returning to the show as a creator/choreographer for the successful 10th anniversary refresh in 2015. Mukhtar has also been in writing and directing roles for "One Night for One Drop" (Las Vegas), Messi10 (a touring show), and more recently FUZION (Saudi Arabia). "The start of Cirque is the chapiteau–the Big Top... The smell, the canvas, the leather, the sound of the bleachers, you can feel you're on tour. You have a [close] proximity to the start of what the circus was. To do a project under the chapiteau, it's always great to get back and feel the connection." CREATION DIRECTOR – CHANTAL TREMBLAY In the late 1980s, Chantal Tremblay joined Cirque du Soleil as a performer after seeing one of the company's shows. Tremblay quickly rose to become an assistant to choreographer Debra Brown during the creation of Mystère. She became senior artistic director on Alegría, La Nouba, and Mystère. In 2006, she was asked by the company to become the director of creation for The Beatles LOVE, followed by OVO in 2009, Michael Jackson THE IMMORTAL World Tour in 2011, KURIOS: Cabinet of Curiosities in 2014, and SEP7IMO DIA - No Decansaré in 2017. She's now been acting as ECHO's Director of Creation since its inception. o) PRODUCTION DIRECTOR – Serge Côté o) COSTUME DESIGNER – Nicolas Vaudelet o) CO-COMPOSERS – Jade Pybus et Andy Theakstone o) CO-COMPOSER AND MUSIC ARRANGEMENTS – Hugo Montecristo o) MUSIC CONSULTANT AND MUSIC ARRANGEMENTS – Thierry o) SOUND DESIGNER – Jacques Boucher o) LIGHTING DESIGNER – Martin Labrecque o) PROJECTION DESIGNER – Jérôme Delapierre o) HUMAN PERFORMANCE DESIGNER – Daniel Cola o) ACROBATIC EQUIPMENT AND RIGGING DESIGNER – Jaque o) ACROBATIC CHOREOGRAPHER – John Cartin o) MOVEMENT CHOREOGRAPHER – Andrew Skeels o) MAKE-UP DESIGNER – Julio Cesar Da Silveira o) PRODUCTION TECHNICAL DIRECTOR – Christian Laflamme CAST AND PERFORMERS ------------------- o) FUTURE, CHARACTER – Louana Seclet--Monchot (France) o) THE DOG, CHARACTER & DIABLO – Philippe Dupuis (Canada) o) THE CARTOGRAPHER, CHARACTER – Piotr Kopacz (Poland) o) DOUBLE TROUBLE, MANIPULATION – Clement Malin (France) & Caio Sorana (Italy) o) THE FOSSORIAL, CONTORTION & DISLOCATION – Strauss Serpent (Congo) o) SLACKWIRE – Taras Hoi (Ukraine) & Antino Pansa (French Guiana) o) HAIR SUSPENSION – Charlotte O'Sullivan (Canada) & Penelope Elena Scheidler (Austria) o) ICARIAN – Seife Desta Buser & Abiy Saleamlak Negash (Ethiopia) o) BANQUINE/HUMAN CRADLE – Taye Gebeyehu Yemam (Leader), Sammy Mededu Mohammed, Yared Wolde Chraga, Asnake Shimelis Dinberu, Abel Matiyas Disasa, Teka Bacha Debele, Abeselom Demeke Kebede, Bruktawit Lijalem Wondiyfraw, Hayder Nuredin Badeg, Getaw Mamo Tekeda, Getnet Feleke Ayele (Ethiopia) o) FLYING POLES – Lucas Coelho Costa (Brazil), Neal Courter (USA), Ethan Lottman (USA), Ivan Tushnov (Russia), Iana Lebedeva (Russia), Denis Degtyarev (Russia), Lucas Matias Suarez (Argentina) o) TEETERBOARDS – Aleksandr Zebrov (Russia), Thomas Leask (Australia), Campbell Clarke (Australia), Joseph McAdam (UK), Cooper Ayton (Australia), Luan De Souza Vieira Pretko (Brazil), Daniel Alejandro Aguilar Briceno (Mexico), Maxim Laurin (Canada), Alexey Ozerov (Kazakhstan), Sergey Ozerov (Kazakhstan) o) BACKUP FUTURE, CHARACTER – Evelyne Lamontagne (Canada) o) DIABLO – Peng Chan (Taiwan) o) BAND LEADER – Michael Lieberman (USA) o) FEMALE VOICE – Edyta Krzemien (Poland) o) MALE VOICE + KEYBOARDS – Jonathan Stombres (USA) o) FEMALE VOICE + KEYBOARDS – Pascale Brigitte Boilard (Canada) o) CELLO + VOCALS – Lizzy Munson (Canada) o) VIOLIN + VOCALS – Anna Follia Jordan (Spain) o) PERCUSSION + VOCALS – Agata Kruszewska (Poland) And there you have it! ECHO is currently playing in Montreal until August 20th! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 23, Number 3 (Issue #218) – April/May 2023 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2023 Ricky Russo, published by Vortex/RGR Productions, a subsidiary of Communicore Enterprises. No portion of this newsletter can be reproduced, published in any form or forum, quoted or translated without the consent of the "Fascination! Newsletter." By sending us correspondence, you give us permission (unless otherwise noted) to use the submission as we see fit, without remuneration. All submissions become the property of the "Fascination! Newsletter." "Fascination! Newsletter" is not affiliated in any way with Cirque du Soleil. Cirque du Soleil and all its creations are Copyright (C) and are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights Reserved. No copyright infringement intended. { May.15.2023 } =======================================================================