======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ------------------------------------------------------------ E X P A N D E D I S S U E ------------------------------------------------------------ ======================================================================= Issue #25e "What if Anything Were Possible?" September 2003 ======================================================================= We're off and running again! It's amazing to think that Fascination! has been a monthly publication for the past 24-months. When we started I never thought we'd be as successful and as well appreciated as we have. We have you, our readers, to thank because without you Fascination! serves no purpose. So, thank you for making us a big success. With this 25th issue our third year begins, and we think that's a milestone worth celebrating! To mark our celebration we thought a few changes were in order. One of the first is above, with our new Fascination! text logo. It's a bit more eye catching than the generic text we had before, but with the limitation of being a text-based newsletter, this is about as sophisticated as we can become. Other changes are awaiting your discovery as well as some wonderful features this month. Zumanity premiered in August and our Wayne Leung took a trip and has filled us in! You'll find that, as well as a special treat -- a transcript of our on-line chat with BJ, percussionist from Quidam! There are many other great things to explore as well. Let's get to it! /// EXPANDED ISSUE: In this issue we have a series of articles that were predominately published in the Las Vegas press about Cirque's then newest spectacle: Zumnanity. Originally we noted the title and linked to the article, but time has not been kind - they've all disappeared! Thankfully, we were able to rescue the text and now present these articles to you in this expanded issue. You'll find them under the EXPANDED SELECTION column in our monthly FEATURES section - second from the last entry this time. /// - Ricky =========== CONTENTS =========== * Cirque Buzz -- News, Rumours & Sightings * CRQ-TV -- Cirque on Television * CRQ.NET -- Cirque du Soleil Online * Itinéraire -- Tour/Show Information * Didyaknow? -- Facts About Cirque * Le Spectacle: "A Romp in the Garden of Delights: Zumanity Review" By: Wayne Leung, Staff Writer * Special Engagement: "An Evenings Chat with BJ, Quidam's Percussionist" By: Ricky Russo, Chief Editor * Behind the Curtain: "An Introduction to Automation, Through the Eyes of the Techie Geek" -- By: Jen Waldman, Staff Writer * Le Spectateur: "Fix du Cirque" By: Paul Roberts, Senior Writer * The Cirque Connection: "Cirque Music Hits the Field" By: Katie Valadez, Guest Writer * Expanded Selection "Links to the News: 'Oh, the Zumanity!'" By: The Las Vegas Press * Beyond the Bigtop: "A Few Parting Words..." By: Ricky Russo, Chief Editor * Parting Quote * Subscription Infomation * Copyright & Disclaimer ----------------------------------------------------------------------- ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Varekai DVD Details Released! ----------------------------- Details of the DVD release of Cirque du Soleil Presents: Varekai are now available and they're sure to cause excitement within any fan! Cirque du Soleil Presents: Varekai is slated to be released on October 7, 2003 with little fanfare, but the disc is sure to be packed full of fan-friendly features that will warrant a frenzy: -- Multi-Angle Performances -- A "Meet the Artists" Featurette -- In-depth Interviews -- The "Making of an Angel" Documentary -- "Fire Within" Series Previews -- Cirque du Soleil Promos -- 115 minute Run Time -- Anamorphic Widescreen Presentation -- Dolby Digital and DTS Audio -- Hi-Definition Video Remastering You can see the artwork for the DVD at Sony's Website: < http://www.sonypictures.com/homevideo/catalog/catalogDetail_DVD0 43396017207.html> or pre-order the DVD through Amazon.com: < http://www.amazon.com/exec/obidos/ASIN/B0000B1A51/qid%3D10624305 87/sr%3D11-1/ref%3Dsr%5F11%5F1/103-5314136-0036604>. And don't forget, also on that day will be the US domestic release of Alegría, previously available only in Canada. In addition, a new version of the Dralion DVD will also be released as part of Columbia's "Superbit" collection. This process uses every bit of the available DVD datastream "real estate" to present the program in the best video and audio quality possible. Both of these are also available through Amazon.com. [Source: Rachel Siemens, Sony Pictures; Keith Johnson; Ricky Russo] CDS Presents: La Nouba? ----------------------- Following on the heals of the (as yet to be released) Varekai DVD, Cirque du Soleil Images (CDSi) currently has an exciting new entry on its "in-development" slate, one that has taunted the wills of fans across the globe. "Cirque du Soleil Presents: La Nouba," appears at first glance to be exactly what fans have hoped for -- a complete filming of La Nouba that will premiere on Bravo. But this isn't necessarily the case, Fascination! learned. La Nouba, Cirque's permanent production at the Walt Disney World resort in Orlando, Florida, is going to be filmed, but for a special television production partnered with the BBC. It is currently not scheduled to air on the BRAVO network, but this may change. Those interested in owning the full show on DVD will also have to wait, as we understand the show will eventually be available for purchase, however, the time frame for this release has not been set. One would imagine that once La Nouba was filmed, other permanent shows like Mystère and "O" would follow suit, right? Wrong. While we are sure Cirque du Soleil would enjoy capitalizing on its Las Vegas shows, the MGM Mirage Company controls the marketing for those shows and it is their wish never to have them filmed for public distribution. So my friends, it appears we may never get to see Mystère and "O" in our living rooms, but La Nouba may soon be coming! [Source: Cirque du Soleil; Ricky Russo] Cirque du Soleil Open House! ---------------------------- It only comes once a year, but during the Fall, Cirque du Soleil opens the doors to its formidable fortress in Montreal for guided tours of its facilities. Those lucky enough to visit during this time will see the Props, Costume and Set workshops, where they create all of the wonderful things you see on stage. And, in addition, you may get to see the artists train in one of the two huge training bays! Open house is two days only -- Saturday, September 27th and Sunday, September 28th from 12:00pm until 5:00pm. The Cirque du Soleil's Headquarters is at 8400 2nd Avenue. To get there, take the Mètro (Orange Line) in the direction of Henri-Bourassa and get off at Jarry station. From there, take bus #193. New Musique Releases? --------------------- Is a Varekai "Special Edition" CD and a Zumanity Live CD coming soon to a music store near you? According to a mention on the Cirque du Soleil website, the answer is... probably. These two titles have been quietly announced as upcoming projects on the Musique side of the Cirque du Soleil Images webpage, two projects that have the tongues of fans wagging. Details about both projects are scarce, but Fascination! believes certain live tracks that did not appear on the Varekai studio CD will make their way onto this "Special Edition" CD (which has been previously alluded to in the Cirque sites' Music FAQ). As for the Zumanity Live CD, only good things should come from it! The release date for the Zumanity CD was released as September 22nd, while the date for the Varekai "Special Edition" CD is not yet available. [Source: Cirque du Soleil, Roderick; Ricky Russo] Les 7 doigts de la main! ------------------------ "Doigts" (dwah) n.pl. - the fingers, the founders... but what are they? "Les 7 doigts de la main" or "the 7 fingers of the hand," are a unique performance group that is a success story of innovative art and performance. Currently, six Cirque du Soleil alumni are "doigts", Samuel Tetreault (Hand-balancer/Alegría), Isabelle Chassé (Contortion, Tissu/Saltimbanco, Quidam), Foan- Shane (Spanish Web/Quidam), Sébastian Soldevila (Diabolo/Saltimbanco), Shana Carroll (Solo Trapeze/Saltimbanco) and Gypsy Snyder. Their current tour schedule is: -- Sep 25, 2003 to Oct 12, 2003: Station Postale C, Montréal -- Nov 2003 -- Belgium -- Nov 29, 2003: Viva Quebec en Mexico, Guadalajara, Mexico -- Dec 15, 2003 to Dec 31, 2003: Palace of Fine Arts, San Francisco, CA Visit their web site < http://www.les7doigtsdelamain.com/ > for further information on each of the founders, the show, and its upcoming tour schedule! [Source: Roderick, Les 7 Doigts de la main; Ricky Russo] Solarium --------- In the past we reported on a remix album that Cirque du Soleil Musique was working on that featured lounge remixes of some of its more recognizable songs. This CD is out and is called "Solarium." Solarium currently is only available as a VIP gift for patrons who attend the VIP Experience at Cirque du Soleil productions, but word has it the CD will be available through the Cirque du Soleil boutique in the fall. A track listing is below, however, a full review is forthcoming! 1. "Ombra" - Ibizzare Remix 2. "Alegria" - A Man called Adam's Magical Remix 3. "A Tale" - Chilluminati Mix 4. "El Pendulo" - Fenomenon "Northern Comfort Mix" 5. "Africa" - Cottonbelly Remix 6. "Nocturn" - Christophe Goze Remix 7. "Le Reveur" - Thievery Corporation Remix 8. "Gamelan" - Cantoma Remix 9. "Ombra" - Afterlife Remix 10. "Africa" - Banzai Republic "Equator Bound Mix" Premiere Date of MGM 2004 ------------------------- According to recent rumors, the MGM 2004 show, which is currently still unnamed, is scheduled to premiere June 25, 2004 at the MGM Grand Casino-Hotel in Las Vegas, Nevada. Get your Zumanity souvenirs here! --------------------------------- With every new show comes - merchandise! And Zumanity is no exception. In addition to the program ($12.00USD and comes in a black plastic bag), and the requisite Zumanity-logo'd T-shirts (4 mens styles, 4 womens, $20-30), there are several other products. They have a Tank Top, long sleeve T-shirt (Mens $34, Womens $45) a black dress or sweat pants (both $36), keychains and candles. Among the more "esoteric" branded items are Zumanity baby oil ($20), Massage oil ($15), Powder ($29), and a bar of Zumanity soap made out of chocolate! The shop also sells several other non-Zumanity-branded items. And all of it is available mail order! They take Visa/Mastercard/American Express/Discover cards, and their shipping charges start at $6.00 and increase with the total dollar value of the order. Call the Zumanity shop at 1-800-693-6763 and ask for extension 3125 between the hours of 10am and 1am. [Source: Zumanity gift shop; Keith Johnson] Psst! Wanna see pictures of Olga, um, fully clothed? ---------------------------------------------------- So what's a Cirque artist to do when they finally want to escape the big top? In Olga Pikhienko's case, they might try modeling. A poster at CirqueClub sent out the citation of a site that has several modeling shots of Olga. To check them out, go to < http://www.onemodelplace.com/photographer_list.cfm/P_ID/23657 > (The pictures are on the bottom half of the page - note there are some topless shots of other models on the page.) They aren't racy, but the idea of having a *very* flexible athlete modeling clothes gives us pause. [Source: CirqueClub; Keith Johnson] Son of the Alegria Musician In-Store ------------------------------------ They did it again! The Alegría musicians (minus Black Singer Nathalie Noel, who we heard was sick at the time) made another in-store appearance, in Seattle, Washington at the Barnes and Noble Bookstore at University Village on Saturday afternoon, August 23. The setup was the same as their in-store in Vancouver (which we covered last month), playing their way through the store, playing "Vai Verdrai" and "Querer" on a small makeshift stage, and finally signing autographs and pictures. Unfortunately, the audience was much lighter than the estimated 200 that attended the Vancouver event. We estimated there were less than 50 attendees for the performance. However, that led to a little more one-on-one time with the performers. And yes, Aplets and Cotlets were in the house! [Source: Keith Johnson] ======================================================================= CRQ-TV -- CIRQUE ON TELEVISION! ======================================================================= * CIRQUE DU SOLEIL: FIRE WITHIN ----------------------------- Network: Bravo Footprint: United States) Website: http://www.bravo.tv/ Note: All times are Eastern * October 3rd (Friday): 01:00pm -- Fire Within, Episode 2 01:30pm -- Fire Within, Episode 3 02:00pm -- Fire Within, Episode 4 02:30pm -- Fire Within, Episode 5 03:00pm -- Fire Within, Episode 6 03:30pm -- Fire Within, Episode 7 * October 10th (Friday): 01:00pm -- Fire Within, Episode 8 01:30pm -- Fire Within, Episode 9 02:00pm -- Fire Within, Episode 10 02:30pm -- Fire Within, Episode 11 03:00pm -- Fire Within, Episode 12 03:30pm -- Fire Within, Episode 13 Network: Vitaya Footprint: Belgium (Europe) Website: http://www.vitaya.be/ Note: Every Thursday at 9:00pm Network: Odyssey Television Footprint: Australia Website: http://www.odysseytelevision.com/html/default.asp Note: Every Wednesday at 9:30pm * NOTE: Check your local listings for complete information. Schedule is subject to change. ======================================================================= CRQ.NET -- CIRQUE DU SOLEIL ONLINE ======================================================================= This Month in Cirque Club (By: Keith Johnson) ------------------------- Just as we went to press last month with our report on the Alegría musician in-store in Vancouver BC, CirqueClub posted their own report, including two pictures. In a surprising note, they mention the Aplets and Cotlets we brought up from Seattle to give to the musicians. They also cover the creation of show lighting designs (speaking with designer Luc Lafortune), and new stilts for Mystère (including a performer profile of Micheline Doucette). Zumanity adds three new entries in Madame's Diary this month, as well as a 30-second quick-shot narrated preview video. The small picture under the "X days to the International Gala Premiere" on the home page has also been changed every day, a fun small extra. On The Web (By: Ricky Russo) ------------------------- Every now and then, as I wander about the World Wide Web, I come across something interesting relating to Cirque du Soleil. Usually it's some fact I can use in an article or an interesting picture that may get used at a later time. Sometimes, though, I'll come across something so interesting that mere mention won't do it justice. This month, I'm pleased to be able to share an interesting creation by a Cirque fan - the "Myumee Cirque du Soleil Dolls". What is a Myumee Doll? Myumee Dolls (My + You + Me[plural]) are crafted by Sean Tataryn, who has been creating these dolls for 15 years in tribute to those who have filled him with inspiration. The dolls created for Cirque du Soleil thus far represent Alegría, and you will find them to be interesting tributes indeed. Represented are: a fast-track artist, the manipulation artist (complete with ribbon), and a contortionist. View these interesting dolls at Sean Tataryn's website: and . For more information on these "Myumee" creations, visit www.myumees.com, but please no inquiries about purchasing the dolls, they are not for-sale! ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= This month, we're continuing our experiment. Using our trusty calendar, previously published tour rumours, our fair-to-middling knowledge of Cirque touring patterns, and conversations with some friends, we've incorporated into this month's listings speculation on some possible extensions to currently announced engagements, and some approximate dates that have yet to be "officially" announced. Don't worry, everything we're speculatng on is CLEARLY marked with brackets []. Of course, as we always say, Cirque is ever-changing and these dates could change (extensions especially, as they are dependant on ticket sales). Note that any information in brackets [] is UN-official information and subject to change. [Touring Shows] Alegría: * Seattle, Washington -- Renton Boeing Plant Dates: Aug 21, 2003 to Sep 21, 2003 EXTENDED! * Portland, Oregon -- SW Moody Avenue Dates: Oct 2, 2003 to Oct 26, 2003 * San Francisco, California -- Pacific Bell Park Dates: Nov 6, 2003 to Dec 7, 2003 [May extend to Dec 21, 2003] * Miami, Florida -- Bicentennial Park (Downtown) Dates: Jan 9, 2004 to Jan 25, 2004 [May extend to Feb 8, 2004] * St. Petersburg, Florida -- Tropicana Field Dates: Feb 19, 2004 to Mar 7, 2004 [May extend to March 14, 2004] * Atlanta, Georgia -- TBA [Possible Dates: March 25, 2004 to April 18, 2004 / Tickets may go on sale about Late Sep 2003] * New York City, New York -- TBA [Possible Dates: April 29, 2004 to June 13, 2004 / Tickets may go on sale Early Oct, 2003] * Philadelphia, Pennsylvania -- TBA [Possible Dates: June 24, 2004 to July 25, 2004 / Tickets may go on sale Early Dec, 2003] * Toronto, Ontario -- TBA [Possible Dates: Aug 5, 2004 to Sep 12, 2004 / Tickets may go on sale Early Dec, 2003] [* Japan Possible Dates: Oct, 2004 to Nov 2005] Dralion: * St. Louis, Missouri -- Highlands at Forest Park Dates: Aug 23, 2003 to Sep 14, 2003 * Mexico City, Mexico -- TBA Dates: Oct 2, 2003 - Nov 2, 2003 [May extend to Dec 14, 2003] * London, United Kingdom -- Royal Albert Hall Dates: Jan 9, 2004 to Feb 1, 2004 * Amsterdam, Netherlands -- TBA Dates: Feb 27, 2004 to May 2, 2004 Quidam: * Osaka, Japan Dates: Jul 19, 2003 to Sep 30, 2003 [May extend to Oct 5, 2003] * Fukuoka, Japan Dates: Oct 22, 2003 to Dec 7, 2003 * Tokyo, Japan Dates: Dec 24, 2004 to Feb 8, 2004 [May extend to Apr 4, 2004] [* Vancouver, BC, Canada -- TBA Possible Dates: May 6, 2004 to June 13, 2004 / Tickets may go on sale Mid Oct, 2003] [* Calgary, Alberta, Canada -- TBA Dates: June 24, 2004 to Aug 1, 2004 / Tickets may go on sale Mid Oct, 2003] Saltimbanco: * Zürich, Switzerland -- Glatt Shopping Center Dates: Sep 19, 2003 to Oct 26, 2003 [May extend to Nov 16, 2003] * Valencia, Spain -- Valencia Port Dates: Nov 28, 2003 to Dec 21, 2003 [May extend to Jan 04, 2004] Varekai: * Los Angeles, California -- Staples Center Dates: Sep 12, 2003 to Oct 19, 2003 [May extend to Nov 23, 2003] * Pomona, California -- Fairplex Dates: Dec 4, 2003 to Dec 28, 2003 * Orange County, California -- Orange Co Fair Grounds Dates: Jan 16, 2004 to Feb 8, 2004 [May extend to March 7, 2004] * San Diego, California -- Qualcomm Stadium Dates: Mar 18, 2004 to Apr 4, 2004 [May extend to Apr 18, 2004] * Phoenix, Arizona -- TBA [Possible Dates: Apr 20, 2004 to May 23, 2004 / Tickets may go on sale Early Oct, 2003] * Denver, Colorado -- TBA [Possible Dates: June 3, 2004 to July 11, 2004 / Tickets may go on sale Mid Oct, 2003] * Boston, Massachusetts -- TBA [Possible Dates: July 28, 2004 to Sep 5, 2004 / Tickets may go on sale Early Dec, 2003] * Washington, DC -- TBA [Possible Dates: Sep 16, 2004 to Oct 24, 2004 / Tickets may go on sale Mid Mar, 2004] * Dallas, Texas -- TBA [Possible Dates: Nov 10, 2004 to Dec 19, 2004 / Tickets may go on sale Early Dec, 2003] [Resident Shows] La Nouba: * Two shows Nightly - Tuesday through Saturday * Times: 6:00pm and 9:00pm * Location: Walt Disney World Resort, Orlando * No performances Sunday and Monday * 2003 Dark Dates: - October 26th through 29th - December 7th through 15th Mystère: * Two shows Nightly - Friday through Tuesday * Times: 7:30pm and 10:30pm * Location: Treasure Island, Las Vegas * No performances on Wednesday or Thursday * 2003 Dark Dates: - October 7th through 10th - December 3rd through 18th "O": * Two shows Nightly - Wednesday through Sunday * Times: 7:30pm and 10:30pm * Location: Bellagio, Las Vegas * No performances on Monday or Tuesday * 2003 Dark Dates: - October 12th through 15th - December 1st through 16th * ADDED PERFORMANCES: Tuesday, October 7th (normally dark on Tuesdays) Zumanity: (Unveiled August 14, 2003) * Two Shows Nightly - Tuesday through Saturday * Times: 7:30pm and 10:30pm * Location: New York-New York, Las Vegas * No performances on Sunday or Monday * 2003 Dark Dates: Not Available ======================================================================= DIDYAKNOW? -- FACTS ABOUT CIRQUE ======================================================================= -- Until Alegría visited, Cirque hadn't been to Vancouver, BC in 17 years. -- The last Cirque show to visit Vancouver wasn't a show at all, it was a special performance at Expo 86! -- Alegría travels with its own laundromat. 4 Maytag commercial washers and dryers! -- They also use ERA detergent to wash the costumes. -- Each "Old Bird" Mask is custom-made and worth about $10,000 CDN. -- The White/Black Singer's Costumes have more than 1,000 buttons, Jewels and Pearls on it. -- The Alegría Soundtrack reached Platinum twice in Canada and was on Billboard Magazine's "hit parade" for 55 weeks in the World Music Category. ======================================================================= LE SPECTACLE: "A Romp in the Garden of Delights: Zumanity Review" By: Wayne Leung, Staff Writer ======================================================================= I've been an avid fan of Cirque du Soleil for years. I've seen almost every current production live and own practically the entire audio- visual collection. Just when I thought I had seen it all and nothing Cirque could do would surprise me, along comes Zumanity. For those of you in the dark, Zumanity is the daring, provocative and sexy "other side of Cirque du Soleil" which opened to the public on August 15, 2003 at the New York-New York Hotel and Casino in Las Vegas. From Cirque du Soleil's humble beginnings on the streets of Baie St. Paul, Quebec, the company has created 14 spectacular live productions while meticulously honing its style and technique with each subsequent show. The past few shows especially exhibit a new and different style (a necessary result of the introduction of new creative teams). Zumanity continues the trend of trying new styles and themes and takes its concept of an erotic cabaret version of Cirque du Soleil to bold new levels. If the past few shows were about the coming-of-age of Cirque du Soleil, Zumanity is about being of age at Cirque du Soleil. Zumanity is a show, which celebrates sex and human sexuality. On a deeper level the show explores themes of love and life and celebrates both as a physical manifestation by the human body and its interaction with other humans. It is very risqué and definitely not recommended for the faint-of-heart or narrow-of-mind. Firstly, it is NOT a circus. Don't go in expecting one or you'll be disappointed. What Zumanity is is an erotic cabaret incorporating some circus elements with music, dance (much are more prominent in this show than in any other previous Cirque production), costumes/fashion and comedy. And, to answer the question on everyone's mind; no, there is no actual full-frontal nudity in the show, however some of the costumes are very revealing and most of the female cast members perform topless (as do the males for that matter). Zumanity obviously shows a lot more skin than before, but the baring of flesh is done in an artistic context, the performers' bodies are shown so the audience can admire their beauty. In my opinion the show succeeds in being sexy without being sleazy. Immediately after I saw the show I was completely floored and dumbfounded. It was a complete sensory overload, which is typical of Cirque shows, but Zumanity seemed to overload different senses than the other shows. The performance I attended was nearly 2 hours long (the show ran over time) yet it is one of the most thoroughly engrossing and intense shows I have ever seen from Cirque du Soleil or otherwise. Having just opened (I attended the first public performance), the show does have some rough edges; not all the performers are entirely into their characters yet and not all the scene transitions are seamless. However, this roughness gave the performance a raw quality that didn't entirely detract. The imagery presented on stage continually evolves, one scene melts into the next and each tableau is more provocative than the previous one. Zumanity is a huge departure from what we've come to expect from Cirque. It's not what I would describe as whimsical or magical, but the show definitely has its sublime moments and I thought it was spectacular for altogether different reasons. Admittedly, at first I wasn't too sure how I felt about it, I was just so surprised at how different it was. But when I started describing the show to others I would get very excited and I realized how much I really enjoyed Zumanity precisely because it is so different. Let me share with you my show experience with these tiny caveats; the usual song and dance about spoilers (the following review is replete with them so skip over to the next part if you want to be surprised), and the fact that Zumanity has not yet officially premiered (it will on September 20th). The performances from August 15 until the premiere are part of the show's "soft opening", they are preview- performances and the show is still in a state of flux, the creation process continues so the performance I saw will not be the same as the performances you will see. Those warnings aside I invite you to "sit back and relax, open your mind and your soul and let your senses feast on this garden of delights." ---------------------------------------------------------------------- ** SPOILER WARNING ** The following reveals the intimate details of Zumanity, Cirque du Soleil's newest production. If you prefer not to know, or are under 18-years of age, please skip ahead. There will be an advisory ending this spoiler warning. ---------------------------------------------------------------------- Part I: Ambience ---------------- As I made my way down the Las Vegas Strip to the New York-New York Hotel and Casino I walked past the faux Statue of Liberty, under a crowd of screaming thrill-seekers riding the looping "Manhattan Express Roller Coaster", over a scaled-down, ad-covered, pedestrian- only version of the Brooklyn Bridge and into a hotel/casino just as campy and over-the-top as any other on the infamous Las Vegas Strip. Yet this pseudo New York City had a distinctively vibrant atmosphere pervading from its young (20-something) clientele. This place hardly seemed like the host for the latest Cirque du Soleil show, but as I would soon discover, the choice of venue was not the only different aspect of Zumanity; a very different form of entertainment which serves as both antithesis and complement to the traditional Cirque shows. Discreetly tucked away in a quiet corner of the otherwise bustling casino complex lies the petite and elegant Zumanity theatre, box office and gift shop. The lush European décor is more than a hint of the sensuality within the theatre. By 7:00PM a long line had formed outside the lobby for the first public performance after the "soft- opening" of the show the previous night. The first thing that struck me about the crowd was how utterly ordinary it looked. It was the typical cross-section of middle-America that usually attends Cirque du Soleil shows, not a dominatrix or drag queen in site. There was no distinguishing this crowd from the ones I watched Mystère, Quidam or Varekai with. . .with one important exception of course, the absence of children. Shortly after 7:00PM the theatre ushers, dressed in black t-shirts or dresses airbrushed with bikinied male and female torsos respectively (actually not as ridiculous looking as it sounds), escorted us into the elegant theatre lobby adorned with red upholstery and a crepe- paper ceiling which allowed the dim ambient lighting to filter through, creating a dark but sensuous atmosphere. There were small display areas with little video monitors, the requisite concession stand and a grand staircase leading to the balcony. Every element of the theatre was meticulously designed and crafted by Cirque du Soleil. The theatre itself becomes a character; sleek, feminine and beautiful. The Zumanity theatre also has a bar where you can order small finger foods such as sushi (although I doubt its freshness since it comes pre-packaged in boxes). I ordered the show's signature drink, the "Zumanitini". It came in a red sugar crystal rimmed plastic martini glass that you can keep (although it doesn't bear the logo of the show or company on it, those glasses are available in the gift shop for an additional $10 each). The Zumanitini had a sweet fruit punch taste to it although for a $9 drink it wasn't very strong. Real martinis (even stylized variations of them) are supposed to be all liquor; this one had way too much bar mix and was served pre-prepared out of a pitcher (the proper way to serve martinis is to mix them per-order). But if the refreshments were unimpressive the showroom was anything but. The theatre has an elegant European (French) Art Nouveau style. It is very curvaceous and feminine, simply ornamented and highly stylized. The auditorium is intimate though not quite as intimate as the Grand Chapiteau (if you've ever sat beside a stranger in the tiny armrest-less seats in the Big Top you know how "intimate" it can get). The Zumanity theatre is comfortable and is interestingly laid out with rows of barstools, traditional theatre seats as well as couches and love seats for couples dispersed throughout. The thrust stage used in the performance features a turntable and a platform that can raise or descend into the stage. The stage is slightly smaller than the ones used in the touring shows and is framed by a winding metal sculpture proscenium and staircases on either side that evoke images of intertwining tree branches and strands of DNA. The top of the proscenium arch is the bandstand; it can be lowered and raised to showcase the musicians. When you walk in, the theatre is dimly lit and there is a baby grand piano on stage with a candelabra sitting on top. A patterned red velvet curtain closes off the rear of the stage hiding the large rotating screens/sculptures used to display photographic projections during the show. From the moment you enter the theatre you're enveloped in its sensual atmosphere, the setting for the show is perfectly established before the show even begins. Slowly, the theatre starts to come alive, a pianist walks onstage, lights the candles and starts to serenade us with soft piano melodies, and characters slowly trickle down the spiraling staircases and into the crowd. The svelte Venezuelan dancer Antonio Drija wades through the crowd as viewers are being seated and flirts with the women, posing for Polaroid pictures with them. "Call me Papito," he says and the audience obliges every time he walks by. The full-bodied identical twins, the Botero sisters, Luciene and Licemar of Brazil, walk deep into the audience. Dressed in French maid outfits they bear large trays of strawberries to serve to the guests. Unfortunately while bending over to serve one guest the sisters inevitable give a neighboring guest a face full of posterior. A dark and mysterious character (played by Spanish actor Almukatab) watches the audience from centre stage with a snake draped around his neck. The piano music continues, there are faint whispers throughout the theatre, characters slowly emerge. The scene is very similar to the Varekai pre-show, if you were to replace the Varekai forest with a burlesque house. The sensuous atmosphere envelops the viewer and sets the tone perfectly. The impeccable establishment of a show's setting is one of Co-director Domenic Champagne's signatures. Part II: Le Show ---------------- Amidst the bustle of the pre-show Madame makes her way onstage. Our hostess for the evening is played by famed New York drag queen Joey Arias. She carries a microphone ornamented with a long ponytail of hair and croons into it with a sultry voice reminiscent of Billie Holiday. Madame wears a long bottom-baring dress, she greets the crowd and welcomes them to open their minds and discard their inhibitions; "Sit back, relax, have a cocktail, because the more you drink the more beautiful I look. . .and the more f**ked up you get!" No sooner has Madame welcomed us to Zumanity than the theatre is invaded by Puritans who are opposed to such wanton displays of carnal sin. Dressed in pilgrim costumes the show's resident "clowns" of the British comedy troupe Spymonkey wield pitchforks with protest placards attached and plead with the audience to leave, "you can still save your souls. . ." The crowd has a good laugh at the vaguely Monty Pythonesque antics of the Puritans. As the prudes are escorted out of the theatre by security the show begins. The theatre rules are sung to the audience by the powerfully voiced Lonnie Gordon who shares the shows singing duties with Joey Arias and Canadian Kinnie Starr. The show begins with a flourish, as thundering house music fills the theatre we are treated to a fashion show of characters, but this is no ordinary fashion show. Each character to come down the catwalk is more strange and exotic than the last. We meet a centaur character named Jésus, two Las Vegas showboys, an alien/robot, a slim masked girl and a host of other fascinating characters. The fashion show evolves into a dance sequence. Dance is infused throughout the entire show, not only are the majority of the acts dance oriented but dance is also used in all transitions and, in choreographer Debra Brown's signature style, the show flows like a ballet, each image fading into the next, the show continuously evolving. One by one, a flamenco dancer, an African dancer (similar to Dralion's Gaia), and the Dark Lord character (who wears a long flowing cape) all take the stage. A beautiful contortionist named Olga rises and descends on a Spanish web apparatus. As we start to take everything in Madame returns and invites us to quench our thirst with a drink of water, motioning to the center of the stage where a clear glass pool rises out of the stage with two beautiful and slim women swimming inside like sirens in a fishbowl. The act that ensues is gorgeous and sensual. Our sirens are Zorigtkhuyag Bolormaa and Gyulnara Karaeva, contortionists from Mongolia and Russia respectively. They emerge from their small pool to perform balances and contortion on the edge eventually diving back in to frolic in the water. While the caliber of the contortion is not as high as in other Cirque shows what makes this act strikingly beautiful is the flowing choreography. Characters sit on stage during the act as if to frame it. The water adds a fascinating element to the art of contortion. Next, a deep male voice from the rear of the stage asks, "Who wants some roses?" The Rose Boy (buff Cuban Alex Castro) struts on stage and starts stripping to a brassy jazz tune. Bikini-clad female dancers surround Rose Boy as he strips and tosses roses to ladies in the audience. The extraordinary physique of the Rose Boy is contrasted by the absolutely ordinary appearance of the next performer. Russian Moukhtar Gusengadzhiev appears wearing boxers, socks and garter belts. His ordinary appearance gives no hint of his extraordinary talents. Moukhtar is a dislocation artist. To an upbeat brass-heavy jazz accompaniment Mouktar performs an act I describe as extreme contortion, not only do his bones bend in ways they're not supposed to but the performer has a unique ability to dislocate some bones altogether to shocked amazement of the audience, which gasped audibly throughout this act. Mouktar turns himself into a human pretzel before our very eyes. This is quite literally the most twisted act of the show and I couldn't shake the feeling that this performance would be more suitable for Ripley's Believe it or Not instead of Cirque du Soleil. Following the extreme contortion comes another dance act, this one a pas de deux performed by two men to a Spanish tango. Johan King Silverhult of Sweden and Ugo Mazin of the UK perform an aggressive and violent dance. Underlying the machismo is a strong homoerotic undercurrent and the building sexual tension between the dancers crescendos at the end of the act when the two men share a kiss. This daring and provocative act is a prime example of Zumanity's use of dance and movement to convey powerful images and develop a strong sense of visual lyricism. This visual lyricism and narrative of movement continues in the next act. The stage fills with men seated on chairs intently watching a football game on a television. A female dancer in a red bikini intensely and passionately dances to attract their attention but the men ignore her. As Kinnie Starr sings a soft yet edgy rock ballad, the dancer thrashes on top of the TV and eventually lunges towards the men who are still oblivious to her creating a lyrical, poetic and intense dance performance. When the dust settles, a man and a woman emerge (Americans Stéphan Choinière and Sara Joel) wearing skimpy costumes so that they appear to be naked. The two perform an acrobatic dance/hand-to-hand act called body2body. This act reminded me of the Statue act in Quidam but with more fluid choreography and an intense sexual passion expressed in the movement. As Joey Arias sings a love ballad to a soft brass arrangement, the two dancers intertwine in a beautiful expression of love. Up to this point, the show is very intense. For some comic relief the Puritans return and slowly shed their sexual apprehensions. One of them carries a blow-up doll on stage. When the others chastise him for it he runs off, returns carrying a larger doll and takes a seat in the audience. The doll then comes to life and starts to chase the puritan around the theatre. The others briefly emerge on stage to quickly spoof some of the preceding acts with visual gags (much like a short version of the Dralion clown act). When all of the silliness subsides it is time to turn up the heat, literally. As trance-techno music plays, the sado-masochism tableau begins. A flame erupts from the stage and two sexy leather bikini-clad fire artists; Americans Jila Alaghamandan and Heidi Good cavort on stage with fire batons and perform a dangerously seductive dance where they literally light themselves on fire and eat flame. Following the dance a cage lowers from the rafters and a man and woman inside dance violently as masked characters descend from the ceiling and flail about in chains. This intense scene gives way to the re-emergence of the Puritans. This time they are nude carrying only cheerleader style pom-poms placed to strategically conceal their nudity. In a Vaudeville style comedy act the four Spymonkeys line up in a row and march to the music while quickly switching the positions of the pom poms; at times not quick enough to seamlessly hide their (prosthetic) genitals. The number elicited a good deal of laughter from a crowd grateful for a brief repose from the intense show. The next act is perhaps the greatest Cirque du Soleil aerial act I have ever seen bar none. It is a romantic aerial dance between a woman (the strikingly beautiful Russian Olga Vershinina) and a dwarf (Brazilian Alan Jones Silva). This is the one act that will make your jaw drop and elicit gasps of awe. The apparatus is a combination of the Aerial Silks and the Cloud Swing. Olga begins by performing aerial contortion in the flowing white fabric while incorporating some extremely dangerous looking Spanish Web style drops on the silk and the Cloud Swing. Alan performs an Aerial Silk solo with the same skills as the performers in La Nouba and Dralion. And, to a beautiful piano melody the pair flies over the heads of the audience in a touching and romantic moment. This act is by far my favourite of the entire show. Then, in a change of pace, the couple from the cage in the S&M sequence are now in a bathtub and, while they perform a dance/pantomime the entire cast files onto the stage and sprawls across the floor. The turntable spins to show the cast in a variety of seductive poses. Madame then sends two characters to invite a man and a woman up on stage to join in the "Garden of Delights". Joey Arias' sharp wit is apparent when speaking to the guests. When the 30-something man pulled up on stage told her that he was a screenwriter Joey replies, "Oh, so you're a waiter," to the laughter of all. The young girls invited on stage (both students) seemed thrilled to be there. As Madame continues to work the crowd she stumbles upon an elderly couple (in their 70s) seated on one of the couches in the front row. She congratulates them for not being scared away by the content of the show and encourages them to come on stage to slow- dance. Just when the frail old couple start to dance they pull off the top layer of their clothes to reveal costumes; they are audience plants. The crowd cheers with delight as Danes Flemming and Brigit Thomsen, known as "The Pacemakers" perform an acrobatic dance routine, which would be impressive for a couple a fraction of their age. Their dance is a touching reminder of the endurance of love. As The Pacemakers wind down their dance the cast of Zumanity joins them on stage for their curtain call. The audience cheers enthusiastically. The journey through the Garden of Delights is over but what a memorable journey it was. ---------------------------------------------------------------------- END SPOILER WARNING ---------------------------------------------------------------------- Having seen the show would I recommend it? Definitely. IF you're interested in seeing something different, an alternative to the traditional Cirque show and something for those who don't necessarily enjoy the traditional shows. However, I would warn those who are not so open to new experiences to stay away. This is certainly not a show for everyone. Would I see it again? Definitely. I really enjoyed the show, for different reasons than I enjoy other Cirque shows. I would love to see Zumanity again especially down the road to see all of the changes that the creative team will implement between now and the official opening. Seeing Zumanity is like making love for the first time. You go in curious, excited, maybe even a little nervous not really knowing what to expect. The experience itself is intense on many different levels, there are surprises and things that are not necessarily what you had expected or imagined. Then afterwards you're left exhilarated and wanting more. . .enjoy your stay in the Garden of Delights! And that's not all! Next month Wayne will be continuing his examination with further details about the theater, printed program, gift shop, even the restrooms! So check back for a "deeper exploration" of some of Zumanity's more "intimate" details. ======================================================================= BEHIND THE CURTAIN: "An Evenings Chat with BJ, Quidam's Percussionist" By: Ricky Russo, Chief Editor ======================================================================= It was a daunting challenge involving weeks of planning and several authorizations but we finally achieved our end result... a chat with a Cirque du Soleil musician! How would it be done? Which communication program would we use? How would I keep control over the chat? These and many more questions arose as those weeks began melting away. But, on August 17, 2003 at 8:00pm Eastern Daylight Time, the chat began and all the troubles of bringing it together were quickly forgotten. With a "Good Morning from Japan," our guest, BJ, a percussionist with the Quidam tour currently in Japan, joined us for about 2 and a half hours that Sunday night and spoke about who he is, what he's doing, and where he may be headed next, not to mention that he enjoys Sushi, Sake, Pocky and a good Irish Pub! At one point the chat was opened up to everyone in attendance to get a chance to speak directly to BJ - it proved not only successful, but a highly active time. Now, I would like to share with you the log of our chat in a more easy to read Question and Answer format. So, take it away BJ: BJ: With pleasure. BJ: As you said, my name is BJ. I am 29 years old and currently with Quidam in Osaka, Japan. I am the drummer since December 2000 and therefore did parts of the European tour, the entire second North American tour, and now the Japanese tour. I was born in Germany; I am German, grew up in Spain for a couple of years and then moved back to Germany. I also have family in the Boston area. And my favourite colour is blue. Richasi: In the Quidam Japan programme, your name is listed as simply "BJ". Does BJ stand for something? Is it your full name? BJ: It does indeed stand for something: My middle initials. Richasi: Fellow Fascination writer Keith Johnson wanted to know: What first attracted you to drums? Who gave you your first drum kit? BJ: That is a complicated story. I started drumming when I was six. My mother is a music teacher and I had a lot of music around at home. At five she put me in some elementary music education course. After a couple of months the teacher told us that she was from a bigger music school and that we could all learn an instrument if we wanted. I instantly shouted "drums", ran home and told my mom. She sighed and there we went. It is not clear what made me say that. Richasi: Wow, so at a pretty early age then. Were drums the only instrument you wanted to play? Do you know how to play others? BJ: I was never really interested in any other instrument until the age of maybe 15-16. Then I started to learn the guitar and a little later the piano. Richasi: Multi-talented then. :) Do you just play drums with Quidam or do you double with another instrument? BJ: I hope there's talent involved... I just play drums. In Quidam that is already a pretty busy job. Richasi: No doubt. Sometimes twice a night, etc. Do you ever get tired of it? Do you ever tire of playing the same music all the time? BJ: That is a deep question because when I feel tired it is hard for me to tell what I get tired of. I have spent quite a great deal of time thinking about that one. I still enjoy playing Quidam. Most mornings I wake up and get really excited to play on that day. When I get tired of it all it is mostly due to the circumstances. The travel, the pace of different cultures that I have to get used to, the unbalanced way of life. Richasi: Do you enjoy the travel or is it something you'd rather not have to deal with? BJ: The drumming part is a pleasure 99% of the time. The surrounding stress might be hard on us. I love traveling, seeing things, and exposing myself to different surroundings. But sometimes the culture in the country we go to is so different that the adjustment alone will eat a great deal of energy. Richasi: When you feel the stress, and as you say you enjoy playing the show, is there a piece you enjoy more above others? One you look forward to playing each night? If so, what is that piece? BJ: I used to see the show as a collection of numbers with individual pieces of music. But as I grew into it my perception changed. I see and feel Quidam more as two halves with waves of intensity and energetic levels. I really love German wheel for the way it gets me into it. If I get through German Wheel all right then I am pretty much set for the rest of the show. I love diabolo, Tissue. Gee, just about everything. Richasi: Most fans would say that as well. Do you find yourself being caught up in the emotion of the show? BJ: On certain days I might enjoy Banquine less than Cloud swing. But generally I try to look at it from a larger perspective - as one thing. Various emotions. Every day is a new emotion. Mostly - due to my specific job - I try to feel intensity. It's not a specific emotion I try to have but I try to be as intense as possible in my performance. The drums are a very powerful component of Quidam. I better make it right. ;-)) Richasi: Is the emotion of the performance/music what drew you to Cirque du Soleil and Quidam in particular or was it something else? What made you decide to join CDS? BJ: I did a tour with a German circus in 1996 and there I met two artists from CdS. Before my experience with the German show I was not into circus at all. They introduced me to cirque. I then saw Alegría in Hamburg and soon after that I applied. Mainly because I liked the music. Then I did not hear from Cirque until late summer of 2000. I had almost forgotten about it. Richasi: Did you audition for Alegría? BJ: No, I received a specific call for Quidam. They were in need of a drummer for the rest of the European tour. I guess they liked my drumming. Richasi: So, you auditioned for Cirque in general? BJ: No, I auditioned in Frankfurt, Germany on stage with the Quidam band specifically for Quidam. Richasi: Wow, and it must have gone great because you're on tour! :) BJ: I guess I played a short piece of diabolo and then skipping. I jinxed them to hire me ;-)) Richasi: Jen (JenJeninLA), who is not here tonight, wanted to know whether being in Cirque was what you thought it would be...the experience, the work, the training, the traveling, everything. Do you feel excited to be part of CDS? BJ: I remember that I was very confused with the setup and with the way the music is conducted. I almost had to cheat my way through it but I eventually made it through. Very much so. It is a special work environment. I like touring, I like performing and I like the way most Cirque shows are put together. There's a bunch of very special people on tour with us. It's a lot of work. A lot!! But my reward is the fact that people leave the show with a big smile. Richasi: I understand you've made some good friends, one of whom is leaving soon. Does that make you sad? Will you still hear from this person? BJ: At present it is his plan to work on a solo project after he leaves and so far I'll be the drummer. Other than that we are already scheduled to meet in Ireland and have a pint of Guinness together. We are indeed great friends and I guess that will continue. Richasi: Do you think Quidam will get back to Europe after Japan (and Canada)? (I know, a hard one to answer) BJ: very hard to answer. Usually we are the last to know. Richasi: And we, meaning fans, are usually the first to know - lol! BJ: That seems to be very true. ;-)) It is not my main occupation to think about next year or the tour plans for the rest of the decade. I am very concerned with my everyday performance. I try to focus on what I do now. Richasi: Must you renew a contract each year or is it two/three/four years? A particular tour? BJ: We sign for specific tours, i.e. the European tour, the North American tour, the Japan tour. If a tour is longer than two years it will be divided into shorter contracts. I will negotiate my next year soon. And I know where we will be going ;-)) Richasi: So, if the tour were going to go to a few Canadian cities (which we understand is a possibility), this next contract would probably cover that? BJ: I believe so. If it did indeed go to Canada. Maybe it does, maybe not ;-)) Richasi: Albert (Treb, who is online here) wanted to know -- Exactly how much of the music is live? Is there any bit that is pre-recorded and played as a track every show? Or is every sound we hear live? BJ: Most pieces are partially sequenced, i.e. a computer runs a couple of tracks. Mostly choir, percussion, strings, extra sound effects. The main structure of each number is played live. Skipping and some shorter pieces between acts are absolutely live. Diabolo is sequenced (percussion), hand to hand is sequenced (strings), so is the opening (choir). Richasi: Albert also asked, Does the music continue to evolve even after the show's been on for all these years? And do you find that you are allowed to make certain changes to fit your style? BJ: As new artists join their acts and choreography changes we have to adjust the music. I actually have a great deal of freedom to play more "in my style". I need to make sure that I transcend the essence of Quidam. But individual grooves or fills are left to my taste and style. We constantly try to improve. The composer visits every once in a while and alters things. Richasi: What happens if you are ill? Is there someone who can fill your place? Or, as I know they have for "O" and Mystère, do they have your performance recorded... do you just get replaced with a recorded you? BJ: If I get ill the show is in serious trouble! We had to do one performance with just recorded music in Tokyo because I was so ill that I almost collapsed on stage and they literally pulled me off the stage. I wanted to go on but I guess the fever clouded my brain. Richasi: Really? Wow! Did the audience know the difference? BJ: Well the audience does not know how the show is supposed to sound. But the artists and technicians feel a great difference. The acts have to be perfect. A tape cannot react if something in the act goes wrong. Richasi: If you don't mind me asking, what did the musicians do? Hang about? Appear to play but not? BJ: That's what they did. Perfect playback and never stop smiling. It only happened once and I hope it will never again. Richasi: Yeah, it's no fun hearing it taped. BJ: I was lying backstage and the mere thought of hearing the show run and not being able to perform drove me crazy. Richasi: We've had a couple of inquiries about... is anyone looking over your shoulder right now? :) BJ: No. I am alone in my room. I guess everybody else is still sleeping. Craig (the singer) said he might pop in and check on me but that might not happen. I don't know when he got to bed. Richasi: Do any of the other musicians/performers get online that you know of? Are they aware of fan groups and/or keep an ear to what is said on the official forum? BJ: Not really. I believe that a few do but generally we are more concerned with life on tour. We email with friends and family, some might chat but as far as I know this is the first ever chat between a performer and fans. Richasi: Speaking of the tour, what do you think of the new Fuji big top? Is it better than the regular touring chapiteau? BJ: It blows my mind. It is huge (2,900 seats) and has no masts. That means it has no restricted view seats and looks even bigger. I love it. It's quite a deal to tour it because it actually is a semi-permanent structure that is set up on a concrete foundation. There will be photos of it on www.bjpercussion.de soon. Richasi: I also assume Fuji placed you in a great housing facility? BJ: They take good care of us. We live in the middle of the city. In the heart of a network of shopping streets. Richasi: I know you've said you've enjoyed touring... is there a specific tour/city you've enjoyed above others? BJ: London, Copenhagen, Boston, Pittsburgh, Nagoya. Most cities have something interesting. Tokyo was hard because of the culture shock. At the end of this year back again in Tokyo that will be different. Richasi: AmberrGrey (Carrie) had a quick question: What helps make a good show so memorable for the artists and musicians? BJ: Could you rephrase that question a little. I am not sure what she means. Richasi: I believe she's asking is there a particular aspect of a show/performance/city that makes it memorable to you as an artist? Say, makes you think of that particular city as the tour goes on? BJ: That usually is linked to the private life on tour. I like simple things. I like to be in a city with spirit - a heart. And preferably an Irish Pub. A good hotel also makes things easier. Richasi: Other than sitting at an Irish Pub during your off hours... do you have any other hobbies you indulge in? BJ: I like to spend my time with friends on tour discovering the city. I read a lot. I also like to write little stories about tour life and other things. But I don't know if that collection will ever be published. At present I am reading a lot of books that are related to Japan. "Memories of a geisha" for example. I also read Nabokov, or Douglas Adams. Richasi: Have you, by chance, taken in any Taiko drumming while in Japan? BJ: I will soon. A couple of people wanted to do it and we finally found a possibility to do it. I am really excited about that. Richasi: I hope you get to see Kodo. They're just wonderful. I highly recommend them! :) BJ: I did see them but I haven't had a chance to try it myself yet. Other than that: I am currently very busy working on a couple of projects. Craig Jennings album requires a lot of attention recently. I have just recorded some overdub drums in Nagoya. After Osaka Craig will fly to the US and start mixing the beast. I also work with a couple of people in New York or L.A. Technology is fascinating. Richasi: Any specific technology you find fascinating that you work with on tour? BJ: I can record drums in Osaka and send them to NY through the Internet. I don't know how specific I can get with you guys. You're not all crazy musicians, are you? Richasi: Some of us might be, and those who aren't here, may be interested in the details... BJ: I like a hard disk recording device called Pro Tools. We have used it for Craig's things. I also like my new mixers that I have just installed at the beginning of the Japan tour. Richasi: Kaliwolf wanted to know what kind of music does Craig do? BJ: That's hard to describe. It is both very electronic and very acoustic. Every track is different. A great challenge and a wide range of styles. Richasi: Any particular type of music you like? Have you listened to other soundtracks from other CDS shows? BJ: I know most soundtracks. I recently spent a couple of shows in the drum booth with La Nouba's drummer Joe. I really love that music. I also love Saltimbanco's soundtrack. But mostly I listen to "non-cirque" music. Peter Gabriel, Toto, Miles Davis, Keith Jarrett, Gino Vanelli, Beethoven, Zepplin, and Green Day - whatever comes my way and touches me. It keeps me alert and helps me tolerate different styles and play them. Richasi: Changing gears a bit -- do you find that the Quidam crew is tightly knit? BJ: Extremely! Through thick and thin. We do a lot together. Mostly smaller groups but if we have a reason to get together and have a festivity - we sure show up. We stand together. In some situations the life of someone depends on the reliability of a fellow artist or technician. You need a great amount of trust to deal with that. Richasi: Would you give up your drumming role with Quidam to be with another Cirque production? BJ: I will always welcome new challenges in my life. The band just did a gig together in Nagoya. only the music we liked. A lot of rehearsing but a great gig. I guess the photos are on psioui.com. So we do actually spend a lot of time on extra stuff. Some artists have just started to rehearse for a cabaret that we will stage at the end of the Japan tour. Only for ourselves. Just for the sheer fun and excitement. Richasi: If given the opportunity, would you want to change to another Cirque show? BJ: That very much depends on the show. I like some more than others. Richasi: Other than Quidam, do you have a particular favorite? BJ: La Nouba. And Alegría. I have not had the chance to see any of the Vegas shows but I hear that they are really good. Being on tour does not really allow me to see the rest of our shows. Richasi: What about La Nouba do you like? And Alegría? BJ: I like the poetry of Alegría. It is a joyous and beautiful show. And I love the soundtrack. In La Nouba I love the power. It reminds me of Quidam. It is a bright and fast version of Quidam. The creative team behind it was the same so you recognize the trademark. Richasi: Speaking of other shows, have you heard any buzz on Zumanity? Interesting concept I must say... Have any thoughts on it? BJ: None whatsoever. I know almost nothing about it. We discussed it in the kitchen yesterday. We are trying to get more information but Japan is far from Vegas. Of course I hope that they are doing fine. Richasi: All of the people (fans) I've spoken with thus far about the show have glowing reviews of it. Looks as if Cirque has another hit on their hands. BJ: We did send them our best wishes for their premiere. But that happens between most shows for every premiere in every city. Richasi: Random question: Do you get any time off on tour? BJ: Between cities I usually have 8-12 days off. Depending on the tour. The Japanese Big Top takes longer to tear down and set up. I think we tour with 60+ trucks. They need six big auto- cranes to set it up. It's the biggest structure Cirque has ever toured with. Richasi: Fans were able to see the big top being constructed in Tokyo over a webcam. It fascinated me. Hopefully I'll get to see it someday. I hear they'll use it for all Japanese Cirque tours. BJ: I love it (but I said that already). Yes. They will use if for all further Japanese Cirque tours. Have you seen photos of the outside? Richasi: I have, I think on your website if I'm not mistaken (but I might be). Might be Pascals as well (psioui.com). I'm sure he has some. It's a great looking bigtop. I bet it has a state-of-the-art sound system in there, right? :) BJ: The sound system is basically the same we used in the States and in Europe. But we had to alter it slightly and add some speakers and amps. The Dome is bigger than the Big Tops in the US or Europe so we need more power. Richasi: Nadia (Morpheus, who is with us) asked: Is there a marked difference in the Japanese audience with relation to other cultures that's he's perform to, ie, the reaction to certain acts or clowns that is quite different than what they had anticpated? BJ: The Japanese have a totally different way of reacting. They are very quiet and polite. They find parts of the show exciting that are considered "normal" or "unspectacular" in other countries. Applause is generally much quieter. But that is not related to the excitement they feel. Richasi: Do you find that changes your perspective of the performance? As in, I know some performers become unsettled if an audience doesn't react to what they do. BJ: We have a greater amount of people crying out of emotion here than anywhere else. I certainly appreciate it if an audience reacts. It gives me energy. In our case I had to learn to take the Japanese way of admiring and reacting. Some people have more problems with that than others. Our clowns can suffer sometimes. They need participation. Richasi: I remember hearing a remark that they didn't like coming to the US because of that fact. And yet, audiences in the US seem to react to just about everything (not always, though). Japanese are reserved. BJ: Japanese like to watch and silently take it in. US audiences are very loud but I sometimes ask myself what that indicates. It is not the volume of the applause that reflects the appreciation. It is unusual for Japanese audiences to get on their feet at the end of the show. Richasi: And for the last moderated question, what type of equipment do you use in the show? BJ: I use Sonor drums, Sabian cymbals, Pro-mark sticks and Remo heads. Micophones are mostly Shures with a couple of AKGs. I mix on two digital Yamaha desks. For the electronic stuff I use mostly Roland gear and samplers. (At this point, the chat was opened up.) KaliWolf: I was wondering, what was the composer's idea behind the music? What was the core sound he was trying to convey? BJ: The main idea behind the music of Quidam is eastern. Ukrainian, Baltic music. Treb: Do you know for sure if Richard will be compiling his independent work any time in the near future? If so, will you have any involvement in the project? BJ: I will probably drum a few tracks on the album. But I cannot say when that will be. He will leave soon and then take his time to approach it. Richasi: Katie (who isn't here I don't think) wanted to know about your schooling background. As in a particular college/field of study? BJ: Well I studied philosophy and German literature. For the drumming part of my life: I was in music school for 9 years when I was 8-17. The rest is pretty ramdom and always slightly chaotic. Pedro: What happens in the process of a new "Zoe" joining the show? BJ: New Zoe's will do training in Montreal for several months after they have been cast and join us about three weeks before they start performing in the show. They then start to perform the show with an "old" Zoe standing backstage singing and always ready to jump in. So they lipsync. The next step would be to do one half and then the entire show. Treb: What happens when singers themselves become sick? BJ: On the Japanese tour we have both Craig and Richard with us and both sing in every show. Some shows Richard will sing most, the next day they switch. That helps them save their vocal chords. If one is out the other takes over but we've never had that so far. Treb: Is there a particular piece that you LEAST like to play? BJ: The exit of the clowns right before cloud swing is not always my favourite pat But it's only 20 secs so I guess it's not so bad. The precision of the music with the acts comes from a rather complicated system of cues behind the music. Amberrgrey: For instance, what kind of cues? From watching the artists? BJ: Our bandleader wears a head microphone and counts in individual parts of the music when he sees that the artists are ready to move on to the next segment of their act. We can cut, extend or repeat individual parts of every piece. Treb: Do you find yourself struggling to communicate on your off hours sometimes? Like, finding the right bus, etc BJ: Communication here is really not easy. especially because they also have a different way of body language. And my accent is probably terrible. Pedro: Has anyone ever offered money to get a Cirque band to play for them privately, maybe at a party? BJ: I have never heard of such an offer. But I guess that would be really expensive. Treb: You have mentioned that some parts of the music are pre- recorded. If you have to repeat a segment of the music due to a mistake in the act, how do those pre-recorded segments "work" out for the whole music? BJ: We work with a system called RPS. Realtime Programmed Sequence. Treb: Can you explain how that works? Maybe elaborate a bit? BJ: Each number is cut into 5-20 pieces that are assigned to individual keys on the keyboards. The keyboard player can - at anytime - name the cue that comes up and "punch" it in with the groove. It is my job to make it sound rythmical and logical. Most cues have a fixed order so he does not have to announce them. He just counts them in. Banquine is quite a bit of talking behind the music. Amberrgrey: Wow- how long did it take you to get used to that? BJ: It took me nine days to learn it but I stopped having heart attacks after two months. KaliWolf: This may have been asked, I'm not sure. Do you have a favorite act or segment of the show (not a favorite song)? BJ: I do not see the show as individual numbers put together. For me it is more loke a wave. Treb: Do the acts every become "boring"? Does it get to the point where any of the acts just become, "Eh, okay, I've done this a million times -- this is just work now." Does it get to a point where it just seems routine, or do you feel the magic every day? BJ: Some get tired but we always find ways to motivate ourselves and our colleagues. Most people get really excited when it is time for them to perform. A few moments later we ended the chat on a high note. I wish to extend my thanks once again to BJ and his associates for making this chat happen and to BJ himself for taking the time out of his busy schedule (not to mention getting up early in the morning) to speak with us. On October 3, 2003, BJ will celebrate his 1000th performance with Quidam and in his words... "It's getting better and better." BJ: Mesdames et Messieurs: Bonsoir! ======================================================================= BEHIND THE CURTAIN: "An Introduction to Automation, Through the Eyes of the Techie Geek" -- By: Jen Waldman, Staff Writer ======================================================================= Your friendly, yet occasionally clueless Techie Geek columnist was asked to discuss the role of automation in Cirque du Soleil shows. I say "occasionally clueless" because I've never worked with automation. This article will be a bit general and a bit rough. Future articles will be more specific and concise. I'm learning as I go, and each time I research for this series I learn more and have more questions. Of course, Techie Geeks are always eager to learn that which they don't already know, so let's get started. This is the definition for "automation" from dictionary.com: Automation -- n : A highly technical implementation; usually involving electronic hardware; "automation replaces human workers by machines." For Cirque, that means that any revolving stages, flying scenery, or other mechanisms for movement done by machines instead of people. Among other technologies, Cirque du Soleil uses a lot of automation. (In case you readers were wondering, this requires a BIG budget.) As Cirque uses automation systems for so much, there is a lot to discover. Today's article will be an overview of some of the automation for Cirque du Soleil's "O" at the Bellagio Hotel in Las Vegas. "O", of course, is the spectacle presented over a stage of water. One of the companies involved with the automation for "O" is Fisher Technical Services, Inc. (FTSI). FTSI's role in the automation for "O", included, but is not limited to, supplying: *) Several high-speed "Flying Man" winches and controls *) A lower-speed "Aurora" winch *) Rigging for the closing curtain system *) A DMX cue light distribution system. A winch is "A stationary motor-driven or hand-powered machine used for hoisting or hauling, having a drum around which is wound a rope or chain attached to the load being moved" (This definition comes from dictionary.com). Winches run off of computers can run at higher speeds and more smoothly than winches turned by people. Previous Techie Geek columns have discussed DMX distribution systems, dimmer packs, and other lightning apparatuses. For many theatres, automation refers to movement of the stage and/or scenery. For Cirque du Soleil it also refers to some audio and lighting equipment, and of course automation is used to carry performers. The automation technicians of "O" lift and carry the artists and their apparatuses using a Téléférique. The Téléférique (French for "cableway"), as we have learned in the past, is the wonderful system of catwalks and tracks that hangs above the stage. The automation techicians operate the Téléférique through computer systems, and on this Téléférique we find the winches that lift the artists. Neat, huh? There is a lot more to cover. A lot! But every answer raises more questions, so I hope that you will consider this a "nice little introduction" and send any questions you may have about automation to techie_geek@anonymous.to (in the past, I have been delinquent with my responses, but I am now able to check it every Tuesday and Friday). I will continue to research the use of automation in Cirque du Soleil's productions, and I will see you next month armed with more knowledge. ======================================================================= LE SPECTATEUR: "Fix du Cirque" By: Paul Roberts, Senior Writer ======================================================================= Ten months had elapsed since my last Cirque du Soleil experience (Quidam in Cleveland) resulting in one of the longest absences of this obsession. I needed a fix! I had been hoping for years that a show might come to my hometown of Cincinnati, Ohio, and Dralion was originally scheduled to come here. Instead, they wisely moved it to Columbus, the hometown of one of their main sponsors, American Electric Power. The eight-day week of August 8th through the 16th (my daughter's birthday) would consist of my Cirque du Soleil show numbers 24 and 25 (so I thought) with Dralion in Columbus and Varekai in Chicago. A first for me occurred: taking a date to a Cirque du Soleil show. I warned Mary-a Cirque newbie-beforehand that I might cry a few times and I'm fairly certain that she cried with me during the emotional Aerial pas de deux act. I can think of no better place to take a date; at times she needed a reassuring hug to ease the exhilarating and sometimes frightening action. I felt thrilled to see the Chinese acrobats Troup A perform, especially Luan Leilei, since the prior two times I saw Dralion we watched Troup B. Afterwards, we met a gracious Viktor Kee, capping off an incredible number 24. However, I woke up the following Monday with an empty feeling and realized that the only cure loomed a mere 100 miles away. I purchased a ticket for Wednesday night's Dralion performance. My friend, Kimba, already had a ticket and I decided to surprise her. As she strolled in the front gate with her recently engaged friends, Michelle and Dennis, I approached her and screamed "Loser"-mimicking the Quidam clowns-returning a surprise tactic she pulled on me in Cleveland. The show was virtually the same as Friday's except for a vital absence. During the intro I shockingly noticed the female voice was absent and at intermission the head usher told me that Agnès Sohier had become sick. Male vocalist, Calvin Braxton, filled in admirably. Another first for me in a Cirque du Soleil experience occurred when I heard feedback from the speakers. As expected, the soundman made a quick frequency adjustment for the vocal part usually sung by Agnès. I also hoped to see the Aerial Hoop (replacement) act, which I assumed would be included during a weekday performance. No such luck. The usual post-Cirque emptiness did not return because of the upcoming excitement of traveling to one of my favorite cities. Show number 25 cured the blues. Originally, I had planned the trip to Chicago for daughter Tara's 15th birthday, but unfortunately band camp also took place then. I invited my friend, Carl (now a Cirque veteran after seeing Quidam), who exclaimed that he needed to get away from reality. Another good friend decided to join us and purchased a single seat three rows in front of our row. I really wanted Jim to like Varekai because for years he has had to endure the endless enthusiastic ranting of my obsession. When we entered the Vivia tent, Jim looked around speechless then said something like: "This is freakin' incredible. Are we really inside a tent?" I felt an energy-not only from him, but from the crowd-like none I have ever felt before. Without much delay, I knew that he was enjoying himself when after an intense Icarian Games performance he stood up and applauded. Giddy at his reaction, I playfully screamed, "Down in front," to my six-foot, six-inch friend. After the first act, which included one of the final Water Meteor performances from Bin He, Junping Yang, and Siguang Li (my, how they've grown since Montreal, I thought) Jim reiterated his fascination by saying, "I have a full beer still sitting under my seat." The second act included some of the most powerful performances I have ever witnessed. In place of the recovering Vladimir "Vova" Ignatenkov's Solo on Crutches act, I marveled at the brilliant new Aerial Hoops Act, performed by Stephanie Gasparoli. The unmistakable Violaine Corradi-written song packed as much emotion as anything she has ever composed. Fortunately, the beautiful Olga Pikhienko performed the Balancing on Canes act that has apparently become a rarity as her rumored departure continues. And Cirque du Soleil's most intense act, the Russian Swings, stilled my heart once again. Maxim Levantsevich, a.k.a. Mad Max, flipped from one swing to the other with his headdress still intact. I guess he no longer needs to remove it for this dangerous stunt. During the show I thought it funny (literally) that how the last three Cirque du Soleil shows I have seen featured characters created by the great John Gilkey: John in Quidam, played now by Mark Ward; Bowling Ball Clown in Dralion, played by Colin Gee; and le Viggie in Varekai, played by Gordon White. All us John Gilkey fans say he can never be replaced, but all three of these performers have taken on John's roles splendidly. Afterwards, we luckily met a few artists and crewmembers. I told drummer, Paul J. Bannerman, how much I loved the Hoops act accompaniment and he said that it still needed work. I wanted to scream, "Don't change a thing." The clowns, er, comedians, Claudio Carniero and Mookie Cornish are as zany in person as they are on stage. Mookie commented on how great a show they had just delivered because of the audience's energy. Adrian Porter (coach), who was very surprised that I knew him, said that Gareth Hopkins (of "Fire Within" fame) got into a little tiff upon his return to London. And the greatest of all Cirque du Soleil crewmembers, Pascal Sioui, laughed as he told us that he controls Claudio and Mookie's magic act's bunny. A torrential downpour kept us from immediately leaving the Varekai complex, but I welcomed the extended time as I realized I had received a great fix with number 26. The next morning, as we reluctantly packed, Kim looked at the TV in time to see a M*A*S*H show's ending-credits roll by and noticed the name, Mako. "Hey, there's a Cirque connection." Following M*A*S*H was a movie called "Bogus," that featured Whoopie Goldberg (yet another Cirque du Soleil connection) and Haley Joel Osment, whose Las Vegas-magician-assistant mom (Nancy Travis) died in a car accident. As a dove flew overhead during the funeral scene, "Kalimando" (from Mystère) amazingly played in the background. Tears filled my eyes because of the significant coincidence at the end of our trip and because I crave Cirque du Soleil music at my funeral. As my ashes are to be celebrated, my soul would like to hear the vocal part of "Séisouso" (from Quidam), "Berceuse Chinoise" (from Réné Dupéré/Élise Velle's "Voyage"), and the live version of "Moon Licht" (from Varekai). Kim's adventure continued the next day as she arrived in Columbus in time to see the final breakdown of Gaïa, Dralion's tent. She then realized that "Journey of Man" was playing at COSI's theatre and made it just as the movie began. She said she cried through the whole thing. To continue my magic, I bought a six-pack of Chicago-brewed Goose Island Honkers' Ale and watched Varekai, taped from Bravo. Reliving one of my most incredible Cirque du Soleil experiences helped me deal with getting back to reality. So, will I have to wait another ten long months for my next Cirque experience? I don't think so. There's a sultry voice in my head that keeps whispering, "Zumanity, hee hee hee, Zumanity"...oh yeah, and "O" and Mystère (the show that started it all for me). ======================================================================= THE CIRQUE CONNECTION: "Cirque Music Hits the Field" By: Katie Valadez, Guest Writer ======================================================================= I was very fortunate this summer to attend a DCI (Drum Corps international) competition where The Madison Scouts performed a wonderful show containing music by Benoit Jutras. For those of you who don't know, Drum Corps are basically the ultimate marching band. They use only horns and percussion (no Woodwinds). Very rarely does a Corps decide to take up Cirque music, especially a major one like the Madison Scouts. When I arrived at the location it started raining. Because of this the field was soggy and the corps were only allowed to play at a standstill. But that didn't matter. It was mainly the music I cared about. After a two-hour delay, the Exhibition began! Out came the different corps, one by one performing their show for the audience. Everyone did a spectacular job...but it seemed like something was missing. Finally, the Madison Scouts came out. Right away, I knew this was going to be something special. Here is a list of the songs they were about to perform: 1. Jardin Chinois/Distorted 2. Atmadja/Urban 3. Reve Rouge 4. Incantation When they started I was brought into a state of awe. The sound that any Drum Corps makes is so full. They also create amazing dynamics. "Jardin Chinois" was a great way to start off the show; they used a lot of percussion so that when "Distorted" started, there was such an aesthetically climactic section that I just wanted to sing out (but of course I didn't). When the song finished, they received a huge cheer (This isn't biased..the crowd did cheer louder for them than the other corps that had already performed). Next was "Atmadja." It started out like the opening with just random percussive sounds, then a Horn burst out with... something that wasn't "Atmadja." It was an entirely different song! Though I don't know the title, it was well known and completely unrelated to Cirque. Then "Atmadja" truly started with a single trumpet solo of the chorus. All the other horns joined in quietly and almost apprehensively; it was beautiful. Next was "Urban," and what a great way to get the crowd started! Just like everything else it was very well done. Once again the crowd gave wonderful applause. "Reve Rouge" came next. I would have to say this was the best of them all. They created a false climax that made you think the rest was downhill... but then came an even bigger, but shorter climax. It was so well done and amazing. This was one song I wish I had seen the Marching and Color guard perform with. Finally they ended it with "Incantation." I felt they could have made more out of it, or arranged it a different way, but it was still wonderful! They used the part of music that was the transition between German Wheel and Marelle, which was surprising. When they finished they received a full standing ovation. Then something interesting happened. The Drum Major suddenly lifted an umbrella into the air (It was not raining). I'm not sure, but it may have been a reference to Quidam, even though their theme was not related to Cirque at all (It was celebrating their 65th anniversary). They received such applause that they played an encore piece... but sadly it was not cirque related. The only other corps that played an encore was the first place corps. This truly was a spectacular show! It was also a crowd favorite. I left the competition a very happy person. The Madison Scouts made it to finals and placed 8th overall. This is actually quite an achievement considering all of the changes they have been through these past few years. If you would like to hear the music for yourself, check out these links: 1)) -- Scroll down until you see The word "Madison Scouts" written... There are six samples of their songs. 2 are "Reve Rouge", 2 are "Distorted", 1 is "Jardin Chinois", and the other one I couldn't quite tell. 2) -- They should have some coverage on this site eventually. And they will be selling a CD sometime at some point in the future. ======================================================================= EXPANDED SELECTION: "Links to the News: 'Oh, the Zumanity!'" By: The Las Vegas Press ======================================================================= Here we have a series of articles that were predominately published in the Las Vegas press about Cirque's then newest spectacle: Zumnanity. Originally we noted the title and linked to the article, but time has not been kind - they've all disappeared! Thankfully, we were able to rescue the text and now present these articles to you in this expanded issue. ----------------------------------------------- "Sub steps up for 'Zumanity' choreographer" From: The Las Vegas Review-Journal ----------------------------------------------- If this were Super Bowl week, and it is for Cirque du Soleil's newest creation "Zumanity," no one would blame choreographer Marguerite Derricks for feeling a bit overwhelmed. In football parlance, with the big game only days away, Derricks has been called in to what is akin to replacing the offensive coordinator. Eight days ago, Derricks stepped in for Debra Brown, Cirque's choreographer for such shows as "Mystere" and "O" and a 2002 Emmy winner. Brown left "Zumanity" 12 days before Thursday's opening night at New York-New York. "Exhaustion" was the reason given by Gilles Ste. Croix, director of creation for the Montreal-based company. Lyn Heward, No. 2 in Cirque's hierarchy to founder Guy Laliberte, shed little light on Brown's departure, other than to say, "Debra and I discussed the situation and she said Marguerite is the best choice." Heward added, "She's really hit it off with director Dominic Champagne," which might be a way of saying Brown didn't. Champagne is co-director with Rene Richard Cyr. "If anything, this move, Debra and Marguerite together on the show, gives it more richness." Five or six of Brown's acts will remain in the show and "are a tribute to her," said Heward. Whatever is behind Brown's shocking exit, no one disputes Derricks' ability to make magic. The three-time Emmy winner has choreographed hundreds of film and TV programs, music videos and stage productions. Her recent works include "Charlie's Angels" and "Gigli," the box-office dud starring Jennifer Lopez and Ben Affleck. ----------------------------------------------- "New Show is Kinky!" From: The Las Vegas Sun ----------------------------------------------- Thanks to a crippling power failure, New York City -- and vast regions of the Northeast and even Midwest -- was dark Thursday night. All the electricity seems to have ended up at New York-New York where "Zumanity," the new adult show from Cirque du Soleil, made its much- anticipated debut. The instant verdict? "It was like a French Canadian 'Rocky Horror Picture Show,' with an emphasis on horror," offered Penn Jillette as he mingled with the crowd on the casino's faux Brooklyn Bridge, where the afterparty was held. "How was it? I'm sorry -- I can't hear your question," said Charo, who had a front-row seat in the magnificent new Zumanity Theatre. So we asked her again. "I am so sorry," she said. "I just can't hear what you are saying." Point made. "It was certainly something different," offered a diplomatic Bernie Yuman, well known as the manager of Siegfried & Roy. This carnival of humanity was different indeed. The show featured: performers posing as Amish protesters who eventually stripped and performed a cheerleading routine and simulated oral sex on one another, a dwarf trapeze artist, a black man and a white man kissing on the mouth, a song about masturbation, a full- scale orgy with 24 performers clearly groping each other's genital areas, and obese women parading through the audience serving strawberries on a platter -- and making certain to stick their ample buttocks in the faces of audience members. Joey Arias -- the noted New York drag queen imported to emcee the show -- "did not have the stage presence or the sense of humor to pull that off," said Monti Rock III, who knows a bit about sexual humor and having stage presence." Rock, in this case, was right. Arias offered a few cuss words to startle the crowd, but seemed not entirely comfortable onstage. "Take it from someone who has walked in those heels," said Robin Leach, who once emceed a production of the cult "Rocky Horror Picture Show," which stars a transvestite named Dr. Frank N. Furter. "The show was too theatrical and there was not enough sex. But it was also 50 degrees hotter than boiling water and is destined to become the hottest show in Las Vegas." Leach and many others said that despite the generally tepid response Thursday, the show was destined to become one of the most popular in Vegas, similar to the critically panned but commercial success of Celine Dion's "A New Day ..." at Caesars Palace. An injury to a performer early Thursday forced a last-minute juggling of the show. Also, the show officially opens Sept. 20 (though performances for the public begin tonight), so there is a month to work out the kinks -- and kinkiness. "This is a very emotional moment and there are some amazing people in this show," Cirque founder and President Guy Laliberte said. A Las Vegas tourism official said she felt the show was "inappropriate for a first date. It is sort of like eating spaghetti -- it can be a little awkward." But she was confident the show could and would be successfully marketed and was destined to be a smash. "We have sold 28,000 tickets and cleared over $2.5 million," New York- New York President Felix Rappaport said. Tickets are $55, $75 and $95. Rappaport called the show "edgy," and said the goal was to change attitudes about love and sex to make the world a better place. He cited the Cirque motto, which is to "provoke, invoke and evoke." That it did. ----------------------------------------------- "Early Word on ZUMANITY: Work Out the Kinks" From: The Las Vegas Review-Journal ----------------------------------------------- Call this a review-in-progress of a work-in-progress. See, the Cirque du Soleil folks put journalists in a bind by hosting a premiere of "Zumanity" last week, then asking everyone to hold off reviewing the brave, bold and very confused show, basically admitting it just wasn't ready. Hey, these things happen. The problem is, they already sold more than 28,000 tickets to the New York-New York production at full price. The producers are nonetheless characterizing all shows before a Sept. 20 celebrity gala as previews, and Cirque founder Guy Laliberté said the creators probably will be tweaking things until Christmas. Hence, this newspaper's rare decision to review a show twice in little more than a month. (Don't even bother asking, "Showgirls of Magic"!) Now, so early buyers will know what to expect after all the curiosity surrounding one of the year's most-teased arrivals. And again after Sept. 20, to see if changes inspired by audience feedback really do make the huge difference the Cirque folks say it will. But in keeping with the spirit in which "Zumanity" is being spin- doctored, this review will be offered in rough, outline form; more like director's notes than the final, polished piece of exquisite prose it's sure to be after Sept. 20. 1. The premiere offered three or four solid sequences and a whole lot of padding. In effect, it's a show of transitions. Outrageous costumes alone do not constitute a show. 2. As such, poor "Mistress of Ceremonies" Joey Arias must shoulder far more weight than his exposed booty can bear. It's just not fair to ask a gender-bender more accustomed to campy New York club crowds to hold the whole thing together for Midwestern tourists. 3. Be wary of cart-before-horse strategies of trying to create a show out of a marketing plan. The idea is that "Zumanity" would set itself apart from Cirque's "O" and "Mystere" with an erotic theme that wouldn't cannibalize the family ticket, but instead cultivate new audiences of young adults. Fine, we said. But how are they going to pull that off? Make the contortionists perform naked? 4. Keep the (nearly) naked contortionists. Their update of the old burlesque-era "Champagne glass" striptease in the water is one of the few sequences everyone seemed to like. 5. If this isn't a "circus," and it isn't a "cabaret," then what is it? The problem with sticking the Cirque du Soleil name on something - - even something billed as "another side of Cirque" -- is that audiences will still show up expecting to be amazed. By the acts, not the side show. 6. No, "side show" is not a direct reference to the "pretzel man" (Moukhtar Gusengadzhiev). Dislocating various parts of his body in the guise of a nervous groom on his wedding night was kind of clever in a ghoulish, Jim Rose Circus-kind of way. 7. Instead, the point of No. 5 is to say that after the peaks of spectacle achieved by "O" and "Mystere," it's kind of hard to go back and do the tent show again. Even when you're doing it naked. 8. Not that we're complaining about naked. Reinventing the "flying man" stunt from the tent show with a little man (Alan Jones Silva) and a topless babe (Olga Vershinina) was one of those signature Cirque moments of poetic surrealism. We could use a few more of those. 9. That brings us to the "cabaret" part. You should probably figure out what that part is. Hint: Maybe it's more in the way of authentic musical performance than setting the no-smoking announcement to music. So far, it seems to be mostly the room itself, an exquisite creation that begs for something more interesting to happen there. 10. Further consideration of the "cabaret" issue leads me to three probable inspirations, and the pros and cons of each. A. "Cabaret" -- Seeing the Broadway show or movie will help people understand the reference point of "Zumanity" as a sci-fi version of the decadent 1920s Berlin music hall. Drawback: Without the ominous historical shadow of looming Nazism that gave "Cabaret" its dramatic context, the fishnet stockings and androgynous makeup just seem sort of like playing dress-up. B. "The Rocky Horror Picture Show" -- Because Nazis never really play well on the Strip, the "give yourself over to absolute pleasure" tone of this beloved romp is probably more the way to go. Drawback: Everyone's seen "Rocky Horror," so no one is surprised to see the Puritan comic relief characters go the fishnet way of Brad and Janet. C. "Cafe Flesh" -- Ha Ha. You probably thought no one would bust you on this one. But professional duty now forces me to confess to having seen the 1982 sci-fi porno version of "Cabaret," which transcended the porn genre enough to briefly cross over as a midnight movie. The druggy scene with whips, cages and Arias chanting about "Mommy and Daddy" took me right back. Drawback: It might not be the best idea to stake millions of dollars on a show that makes one remember a bizarre '80s porno movie. 11. Stay brave. Give the show substance, but don't water it down into a community theater version of "Rocky Horror." But you might want to make the ad campaign a bit more reflective, to give those Midwesterners fair warning. ----------------------------------------------- "Sexy Cirque Show Opens in Sin" From: CBC ----------------------------------------------- The Cirque du Soleil hopes to once again redefine the notion of the circus with the opening of a provocative new show in Las Vegas. Zumanity, the Cirque's third permanent production with an indefinite Las Vegas run, opened Thursday evening. Although the new show features the Montreal-based company's now customary assortment of world-class acrobats, contortionists, singers, dancers and performers, they will be performing with an erotic twist. Sex, sensuality and a "peeling back" of inhibitions are the themes of Zumanity, which is set in a completely rebuilt, 1,256-seat custom theatre in the New York-New York Hotel. The show is for adults only. Partly based on the cabarets of pre-World War Two Berlin, Zumanity is a dramatic move away from the family-friendly Cirque productions of the past. As Las Vegas begins to return to its roots as the ultimate adult playground, Zumanity seems a perfect fit for the revival of Sin City. "The Cirque has grown up," Cirque creative director Lyn Heward said at a June preview of the show. "This is merely another side of the Cirque, another facet, but with the same standards as our other shows: the high performance, the art, and the humanity." Zumanity originated in the idea of a "human zoo" that celebrated the body, organizers said. The 90-minute show features fifty performers of all shapes, sizes and nationalities, ranging in age from 20 to 74. "Beauty of all ages is celebrated in Zumanity," show director Dominic Champagne said. "Part of our work is to look for the edge, look for the limits, and to try to bring the audience to experience something ... not necessarily a part of their lives." A leading Québécois playwright, Champagne was also the director of the Cirque's last touring production Varakai. He shares directing and writing credits for Zumanity with Rene-Richard Cyr, the acclaimed artistic director of Montreal's Thêatre d'Aujourd'hui. The sex factor is kept high with costumes designed by bold French fashion designer Thierry Mugler. In addition to Zumanity, the Cirque du Soleil is also developing a new project with internationally renowned Quebec director Robert Lepage. As yet unnamed but slated to open at the MGM Grand in spring 2004, it would raise the company's number of permanent Vegas productions to four. Some critics have suggested that with so many shows on the Strip - in addition to a permanent production in Orlando, Florida, several touring acts and periodic television specials - people may soon tire of the Cirque. However, with the decade-old Mystère filling more than 95 per cent capacity for 10 shows a week and five-year-old "O" consistently selling out, the appetite for new Cirque productions appears unabated. The company estimates that 7 million people will see a Cirque show in 2003. "The more shows that are playing, the more people will want to come," Cirque public relations director Renee-Claude Menard told the Toronto Star. "Vegas is nowhere near its saturation point." ----------------------------------------------- "Zumanity Faces the Naked Truth" From: The Las Vegas Sun ----------------------------------------------- The tweaking of "Zumanity" ought to be completed by Christmas. In a remarkably candid conversation with VegasBeat last week, show choreographer Marguerite Derricks said her Cirque du Soleil bosses have given her a full three months beyond the show's Sept. 20 opening date to iron out the wrinkles. "I'd estimate the show will be as much as 75 percent different than when it was first performed," she said. Derricks was brought in from Hollywood to rescue the adults-only show at New York-New York just before its first performance, on Aug. 14. Public reaction to the show was generally critical, and Derricks, "without disrespecting anyone or anything," does not argue with the initial response. She said there were "no smooth transitions from act to act," "not much in terms of choreography," and while there are some "very talented and wonderful dancers" in the show, "it just wasn't working." Derricks' remarkable choreography has enhanced hundreds of films, television shows, commercial and music videos. She won three consecutive Emmy Awards in the 1990s for her work on the Goodwill Games, "Third Rock From the Sun" and "Fame LA." "Now, after a few weeks, I am seeing the show come together. People are settling in," she said. Cirque founder and president Guy Laliberte "is not a man who is going to fail. He is pushing the show to a place that deserves the Cirque name." Gene Pitney, the anguished singer of '60s pop anthems who was inducted into the Rock and Roll Hall of Fame last year, is making what the Stardust claims is his first Las Vegas headlining appearance when he appears at the Wayne Newton Theater from Sept. 17 to Sept. 20. Culture vultures alert: Las Vegas is getting a new guide to its finer attractions. On Tuesday Nevada Public Radio will launch a new yearly publication, the Southern Nevada Cultural Guide, with a gala event at Fashion Show mall. There is a rich arts and culture community, and "we felt it needed to be put in one place to fill an information gap," KNPR 89.5-FM President Lamar Marchese said. The launch party, which is open to the public, starts at 11:30 a.m. and will feature live performances by Nevada Ballet Theatre, Las Vegas Philharmonic String Quartet and UNLV College of Fine Arts Jazz Ensemble. Talk about a room with a view. Drai's was stuffed with beautiful people Thursday night when Robin Leach and his pal, AMP Salon partner and Canyon Ranch Spa Club Director Michael Boychuk, celebrated a joint birthday. Among the revelers: Palms owner George Maloof, KVBC Channel 3 anchor Jim Snyder and wife Adeana Shendal, chefs Kerry Simon and David Robins, Susan Anton, Joan Severance and most of Leach's colleagues on the KVVU Channel 5 morning news show, including anchor Cher Calvin and station GM Susan Lucas. At the end of the evening, folks persuaded the DJ to play the old Archies' hit "Sugar, Sugar" -- so guests Ron Dante and Andy Kim, who wrote and recorded the tune, could get up and sing it. How time flies ... Today VegasBeat celebrates its one-year anniversary. Thank you. Thank you very much. We are gratified by the overwhelming volume of response we've received since coming to Las Vegas, both positive and otherwise. And we're flattered to see we've driven the competition to ramp up its gossip coverage, too. Writing a column such as this was once described by Washington Post gossip Lloyd Grove as a "demanding, difficult and thankless job." He was right. And that's OK. We would not have it any other way. We'd like to thank you for reading, because that's what it's all about. We are always looking to improve (and we know there's plenty of room for that!) so your continued feedback is more than encouraged, as are all your tips. Our phone number and e-mail address are always at the end of the column. Don't be a stranger. ======================================================================= BEYOND THE BIGTOP: "A Few Parting Words..." By: Ricky Russo, Chief Editor ======================================================================= Every time I think about it, it amazes me even more -- two years. For two whole years we have been producing Fascination! for Cirque du Soleil fans. We started out rather small but have grown to cover every facet of Cirque du Soleil; from its past, to its present and into its future. To close out this very special issue I thought it would be interesting to take a second look at the quotes we have used to close out each and every one of our issues since the very beginning. Perhaps we can begin to understand where we've been, where we are, and where we have yet to go. -- "Only when the questions become more important than the answers will the solutions emerge." (Mystère Program, Issue #1) -- "The journey is about to begin..." (Journey of Man, Issue #2) -- "Welcome to a place where all the world is water and the stage is all the world." ("O", Issue #3) -- "Once everything has been said and done, who says you can't start over?" (Alegría, Issue #4) -- "Where Magic and Fantasy are a Daily Event!" (Le Magie Continue, Issue #5) -- "The Range of Possibilities are always open..." (Guy Laliberté 1988, Issue #6) -- "Will I ever have the courage of my imagination?" (Quidam, Issue #7) -- "I am celestial and eerie. Playful and mischievous. Subtle and striking. Magnificent. Androgynous. I am Saltimbanco." (Saltimbanco, Issue #8) -- "Brotherhood: The way to take part in something greater than one's self" (Varekai, Issue #9) -- "YOU, get out!"; "Awwwwww"; "YOU ALL GET OUT!" (Moha Samedi in Mystère, Issue #10) -- "The potential of Las Vegas is still vast. We believe there is room for continued growth." (Guy Laliberte, Issue #11) -- "We cannot work on a show without a purpose, a content, a vision of the world." (Franco Dragone creating Nouvelle Experience, Issue #12) -- "You can't remove the soul from the Machine" (Dralion, Issue #13) -- "Give your soul to touch their hearts..." (Director Dominic Champagne on Varekai, Issue #14) -- "I want people to be intimidated" (Franco Dragone on Cirque du Soleil, Issue #15) -- "Cirque du Soleil is the most wonderful of dreams!" (1987 Coloring Book, Issue #16) -- "Behind each perilous leap there is a purpose, an intention, an individual, an emotion." (Guy Caron and Franco Dragone on Nouvelle Experience, Issue #17) -- "Even when you're in pain, life goes on..." (Franco Dragone, Issue #18) -- "You've got to believe that you're going to live in a better future... and that you can be part of that future." (Gilles Ste Croix on Saltimbanco, Issue #19) -- "Failure can be just as big as success" (Luc Lafortune on Nouvelle Experience, Issue #20) -- "You have to go too far before you know what too far is." (Director Andrew Watson on Zumanity, Issue #21) -- "Creativity is a volatile process" (Lorraine Turpin on Nouvelle Experience, Issue #22) -- "Our work tools have always been our emotions, our spontaneity, and our child-like imagination." (Michel Crête, Issue #23) -- "Where magic is pure and fantasy real!" (Cirque Réinventé, Issue #24) And... ======================================================================= PARTING QUOTE ======================================================================= "There's no reason why the circus can't change with the times." - Guy Caron, 1987 ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly newsletter, available only through sub- scription. To subscribe, please send an email to: < CirqueFascination- subscribe@yahoogroups.com >. To unsubscribe, please send an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. To view back issues, please visit our Yahoo! Group address at: < http://groups.yahoo.com/group/CirqueFascination/ >, login using your Yahoo! ID (required) and select the Files menu option. If you have any questions, feel free to email us at: < CirqueFascination- owner@yahoogroups.com >. Have a comment, question or concern? Email the Fascination! Newsletter staff at: < CirqueFasincation-owner@yahoogroups.com >. We are anxious to hear any and all comments! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= "Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, Jen Waldman and Wayne Leung. "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2003 Ricky Russo, published by Vortex/RGR Productions, a subsidiary of Communicore Enterprises. No portion of this newsletter can be reproduced, published in any form or forum, quoted or translated without the consent of the "Fascination! Newsletter." By sending us correspondence, you give us permission (unless otherwise noted) to use the submission as we see fit, without remuneration. All submissions become the property of the "Fascination! Newsletter." "Fascination! Newsletter" is not affiliated in any way with Cirque du Soleil. Cirque du Soleil and all its creations are Copyright (c) and are registered trademarks (TM) of Cirque du Soleil, Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright infringement intended. =======================================================================