====================================================================== ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ------------------------------------------------------------ ======================================================================= VOLUME 10, NUMBER 1 JANUARY 2010 ISSUE #72e ======================================================================= BONNE ANNÉE /// HAPPY NEW YEAR! Bonjour et bienvenue and welcome to 2010! We've got an amazing issue this month for you - an exclusive interview with Martin Lord-Ferguson and Ella Louise Allaire - Producers of ZED's CD! Conducted by our own Keith Johnson, find out what pressures they were under in making the album, why they chose to omit certain songs, and about the process in general. If you've not yet heard the ZED album, we highly encourage it! Banana Shpeel... slips? BANANA SHPEEL, Cirque du Soleil’s “new twist on vaudeville”, has finally taken to the stage for a preview run in Chicago. But the reviews are saying perhaps a re-tool is in order before heading off to New York City. Check out the following reviews of SHPEEL within. Interested in joining like-minded passionates of Cirque du Soleil on a group trip? If so, join us at CirqueCon 2010 in New York City and Montréal from April 27th through May 2nd for Cirque du Soleil's OVO, Banana Shpeel, and Tour 2010! Check out the latest updates regarding CirqueCon 2010 in the gatherings column in our OUTREACH section. And as always join them at their website: http://www.cirquecon.com And also in our OUTREACH section, we have a number of goodies to explore as a clip of interesting and intriguing articles, pictures and videos were shared with the fanbase through Cirque du Soleil's various social widgets. In turn we have collected those to share with you! Well, that about wraps up this intro. Now, onto the issue! Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * Touring Shows -- Productions under the Big Top * Resident Shows -- Performed en Le Théâtre * Venue Shows -- Arena & Seasonal Productions o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub * Networking -- Cirque on Facebook, YouTube & Flickr * Gatherings -- CirqueCon & More! .) NOTE: Special CirqueCon 2010 Event Updates! o) Compartments -- A Peek Behind the Curtain * Didyaknow? -- Facts About Cirque * Historia -- Cirque du Soleil's History o) Fascination! Features *) "ZED CD Producers Ferguson & Allaire: Making Unexpected Magic Timeless" By: Keith Johnson - Seattle, Washington (USA) {Issue Exclusive} o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Koozĺ turns 1000 {Dec.01.2009} ----------------------------------------------- Today at 8:00pm, Cirque du Soleil’s Koozĺ will celebrate its 1000th performance under the grand Chapiteau and it will do so in style – at the Santa Monica Pier. Some facts and figures regarding Koozĺ’s 1000th performance: o) KOOZA has performed in 16 cities and traveled more than 10,000 miles across North America o) More than two million people have been wowed by KOOZA o) More than 2.000 pounds of confetti have been used in the show since the World Premiere o) The KOOZA artists have used close to 1 mile of gold foil to complete their make-up o) More than 300,000 meals were served in the KOOZA kitchen o) Over 5000 gallons of milk and 13,000 quarts of orange juice have been consumed by the KOOZA cast and crew. Cirque hatches a high-flying "Ovo" [EXPANDED] {Dec.04.2009} ------------------------------------------------ The bald insect — cockroach, probably — with a fringe of wild hair and an attitude reminiscent of Danny DeVito is the closest thing to a ringmaster that Cirque du Soleil’s new show “Ovo” has. Not that it matters. One of the most delightful things about a Cirque presentation is the illusion of chaos, an unbridled, four-barrel journey into a trippy alternative universe that could well be like something Lady Gaga might daydream. In this case, “Ovo” is about what happens to a community of bugs when a mysterious egg arrives. The neophyte Cirque watcher will spend far too much time trying to find a deeper meaning in this French Canadian version of a tiny critter world, a production that marks the first time a woman, Deborah Colker, has directed a Cirque show. But it’s better to appreciate Cirque du Soleil for what it is and what it offers: knock-your-socks off acrobatic work executed by any number of creepy-crawlies (actually, a cast of 63, but who’s counting) who prove once again that the best circus going is the one whose animals are all human. And by now, that’s a pretty big deal, because Cirque has been visiting San Francisco for a quarter-century and has a half- dozen productions playing Las Vegas. So the company, which comes to a tent near Taylor Street Bridge in San Jose on Feb. 4, probably is hard-pressed to find many newbies in its audience. Cirque depends on quality to wow audiences old and new, and it’s a formula that works. The types of performers — acrobats, jugglers, trapeze artists — are not unfamiliar, but they are better, and the acts are a little more clever, than those seen in other circuses. If the company could lose the French-style, ennui-laced, bittersweet clowning, a Cirque trademark, I would be a completely happy camper (but I’m willing to tolerate it to see the rest of what the show offers). A good example of how Cirque gilds its big-top lilies is the way Ryo Yabe turns a Diabolo — spools tossed, juggled and spun on a length of twine suspended between two sticks — into an art form. He balances up to four spools at a time, seeming to make them come alive and dance so skillfully you forget you can buy a Diabolo at the local toy store. On the other side of the scale is the trampo-wall act, featuring a dozen acrobats bounding across the stage on trampolines, then flying back toward the rear of the stage and jumping and running up a vertical wall. The breathtaking act seems to defy gravity. Another highlight is Lee Brearley as Creatura, an ever-moving piece of what appears to be duct work converted into a giant Slinky that gyrates around the stage like a vaguely human and highly hilarious form. There is also the Spanish web duo of Maxim Kozlov and Inna Mayorova, who move together on a single rope suspended from the ceiling to create a remarkable dance-like number that is balletic and athletic and thoroughly entertaining. “Ovo,” a remarkable and welcome return of Cirque du Soleil to the Bay Area, maintains the company’s high standards. { SOURCE: Mercury News } Banana: "Vastly Disappointing" [EXPANDED] {Dec.04.2009} ------------------------------------------------ For those who think Cirque du Soleil can do no wrong (myself included), we now have their latest revue “Banana Shpeel,” a vastly disappointing, often grating, surprisingly padded ode to vaudeville. This, sadly, is a whole lot of wrong. From the jaw-dropping, ballet-like martial arts in “KA,” to the glorious magical power of “Quidam,” Cirque shows are unparalleled spectacles, creating dynamic theatrical feats of acrobatics and drama accented by magnificent sets, gorgeous costumes, luscious lighting and rousing original music. If you haven’t seen a Cirque show, by all means, go. Just don’t go see “Banana Shpeel.” Cirque steps out of its comfort zone in “Banana,” presenting for the first time a variety show intended for the legitimate theater. (Following its world premiere run at the Chicago Theatre, “Banana” heads to New York’s Beacon Theatre in February.) It’s clear now that “Banana” hasn’t recovered from all its rehearsal troubles. Stars Annaleigh Ashford and Michael Longoria, from Broadway’s “Wicked” and “Jersey Boys,” respectively, were fired from the show in October, their roles apparently written out. Perhaps the audience would have identified with the two Broadway titans. Maybe the characters would have provided “Banana” some consistency, star wattage and emotional heft. Or perhaps the actors are better off getting axed from the production. We’ll never know for sure. In “Banana,” the acrobatics and dramatic set pieces Cirque is known for are minimized, with clownish comedy and Broadway dance routines filling out much of the program. There’s nothing wrong with Cirque trying to stretch itself a bit, but if you’re going to throw out your baby with the bath water, you better have something sensational to compensate, particularly if you’re selling tickets for up to $100 each. The dance numbers in “Banana,” dazzling though they may be, and the chaotic comedy bits, pained and never-ending that they are, don’t cut it. It’s primarily the comedy that rots this “Banana.” Writer- director David Shiner has a long history of performing as a clown, and it’s apparent that his passion for clowning clouds his judgment. “Banana” has not one, not two, but five primary clowns (Daniel Passer, Wayne Wilson, Claudio Carneiro, Gordon White and Patrick de Valette), with two more actors mucking it up for laughs in their scenes. So little of it is actually funny. There are plates smashed on heads, nearly nude frolicking, goofy squeaky noises, an old man farting, a guy who moves his butt cheeks to the rhythm of music, and several running gags that won’t stop running (or should I say limping). Maybe this would work, in doses, but for who remains to be seen. The comedy is so silly it seems aimed at children – but then there are ugly, awkward jokes about alcoholism and whores and erectile dysfunction, so then again, maybe it’s not. At either rate, Shiner just drowns his show in this primarily witless shtick. Following an incredibly long, cartoonish introduction, set as auditions for cigar chomping mega producer caricature Marty Schmelky (Jerry Kernion), the clowns keep on cutting it up during Schmelky’s opening spectacle, and again in a beyond tedious restaurant skit that has nothing to do with Schmelky’s show. By this point, the clowns have well overstayed their welcome, and we’re only at the show’s halfway point. They come back for more goofy antics in act two, mugging it up obnoxiously in a “magic” scene with no magic except for a repetitious disappearing/reappearing act played for weak laughs. Then the clowns bring the show to its anticlimactic finale. Shiner fares better with the dance numbers, the second most prevalent component to “Banana.” The numbers qualify as spectacle, set to swell swinging jazz heavy on the sax and horns. Jared Grimes’ choreography is winning, particularly in a group tap routine (fronted by talented hoofers Joseph and Josette Wiggan), and they’re a great excuse to show off Dominique Lemieux’s exotic costumes. But the numbers get repetitive by the third dance, and the finale work, second banana to the clowning, falls flat. The two acrobatic scenes and two juggling scenes, expectedly, are aces, easily the best bits of the show. If the “Banana” producers are smart, they’ll bring in at least two more acts like them to replace a lot of the comedy. Jeff Retzlanff and Kelsey Wiens perform a slinkier, more playful version of Cirque’s famous man/woman balancing act. Vanessa Alvarez spins four peppermint-colored cloths, one with each appendage, in an original, invigorating act of juggling (although the Japanese backdrop coupled with Jean-François Côté and Scott Price’s Spanish-influenced score was distracting). But the crown jewel is Dima Shine’s poetic, awe-inspiring hand balancing act, set against Patricia Ruel’s twilight backdrop patterned with white lights. Filled with beauty, imagination and grace, Shine, in his few minutes on stage, embodies the type of spectacular worthy of the Cirque du Soleil name. Overall, what “ Banana Shpeel” embodies is spectacular disappointment. Grade: C- Cirque du Soleil’s “Banana Shpeel” runs Wednesday through Sundays until Jan. 3 at The Chicago Theatre, 175 N. State St. No shows Dec. 24-25, Dec. 31 and Jan. 1. Special Monday and Tuesday shows Dec. 22 and Dec. 28-29. $23-98. Click here for the schedule and to buy tickets. { SOURCE: Chicago Beat } Banana: "Show More Dumb Than Fun" [EXPANDED] {Dec.04.2009} ------------------------------------------------ Let me begin this review of Cirque du Soleil's latest production "Banana Shpeel: A New Twist on Vaudeville," by saying there are no bananas featured in this show. Nor any banana peels or any other form of said slender, yellow and favored fruit basking in the spotlight. At least, not that I saw anywhere while attending the official press opening of the show Wednesday at the Chicago Theatre. Of course, the term "banana" does fit into the world of classic comedy in other ways, primarily when describing a second tier comic or comedic act aka "a second banana." Clearly, this term, with regards to second rate material and mediocre talent featured in this production, does size up "Banana Shpeel" quite nicely. As my columnist colleague Molly Woulfe described this latest offering in a preview story last month, "Banana Shpeel" is intended to be a neo-vaudeville show, while "testing the waters" with this three-week run through Jan. 3 in Chicago. Described as "a show-within-a-show," it's intended to head to New York in February, hoping for a long run at the Beacon Theatre. If this is really the case, there's lots of work in store for the producers to try to overhaul what is really no story or premise stretched into 2 1/2-hours that's more frustrating than funny. And if this really is supposed to be a salute to the vaudeville shows (which, let me add, is an entertainment era I personally love), than the audiences at the Chicago Theatre watching this show should come armed with old boots and heads of cabbage to throw just like in the "good ol days." (For the record, cabbage is for cooking and not throwing at performers). Maybe even having one of those giant "hooks" handy, as was the habit during the days of burlesque shows, to drag off lousy entertainers during the course of the evening might be a better solution? But alas, if this were the case, there might be an empty stage. Actually, there are some worthy talents stuck in the middle of this lemon. In fact, it's the acrobats, like Jeff Retzlanff and partner Kelsey Wiens and the hand balancing by Dima Shine that save the day (and sanity) of audiences hungry for real entertainment. (A juggler impersonating a puppet and a lady spinning table placemats on her hands and feet held less interest for me.) The dancing numbers by the ensemble, the costumes and live music are all also rather nice. Unfortunately, these highlights I've just mentioned are a mere 20 percent of what you get with this show. Most of the production features some of the most awful clowns you might ever have the misfortune to face, let alone pay $100 a ticket to be subjected to. The VERY thin storyline of this show is about pushy, plump producer Schmelky who ambles on and off stage from time to time looking as confused and misguided as does the long-suffering audience. He has two annoying sidekicks helping him "search for new talent" from the audience. And yes, at one point, an unlucky young lady was stuck being on stage with these idiots for nearly 30 minutes of this disaster. (She deserves a refund!) Making things worse, there's also another trio of even weirder and less funny slapstick clowns who hog most of the stage time, doing routines so embarrassingly bad even elementary school kids on a playground would be likely to roll their eyes. Obviously, something went amiss in the producing and staging of this show. For example, in our preview story last month, Molly wrote about two components of the show that don't even exist in what I watched: a romance story about a featured couple and "the mysterious Banana Man" who plucks fruit from his pockets. Even the souvenir program sold at the show features scenes and performers who do not appear anywhere. Oh, but there were banana-flavored daiquiris featured at the concessions stands in the lobby. For what it's worth, "Banana Shpeel," presented by Cirque du Soleil and MSG Entertainment, continues through Jan. 3 at Chicago Theatre, 175 N. State St. and tickets are $23-$98 at cirquedusoleil.com or thechicagotheatre.com. { SOURCE: NWI Times } Banana: "Lame script, Unfunny clowns" [EXPANDED] {Dec.04.2009} ------------------------------------------------ Delete the clowns (or pare them back to the barest minimum of stage time). Begin the show with a big song-and-dance number. Hold onto the handful of eye-popping circus specialty acts. And compress everything else into a 90-minute show with no intermission. Only then (and it would still be a big "maybe") might Cirque du Soleil's new proscenium-style show, "Banana Shpeel" -- which debuted Wednesday at the Chicago Theatre prior to a planned New York run -- have a modicum of coherence and momentum. As it is now, this big-budget show, which plugs itself as "a new twist on vaudeville," could very well give all that was delicious about the classic variety show format of days gone by (with such starry talents as Buster Keaton, Fanny Brice, Burt Williams and Eddie Cantor) a bad name. As written and directed by David Shiner -- whose shapeless script is limp, lame and tired --there is no rhyme or reason or clever lead-in to any major act. And every time the freak show assortment of unfunny clowns (the smart and dumb emcees, the Brazilian wannabe playboy, the old man, the French hunger artist in orange jockey shorts) arrive onstage for an extended scene, the air almost audibly goes out of the show. The ostensible premise here is that a cigar-chomping producer, Schmelky (the uncharismatic Jerry Kernion) is holding auditions for his next big show. A series of "low humor" type losers show up, but after being rejected they fail to leave the building. Instead, they do their uninspired shtick between more polished dance and circus acts. Those acts include: Tuan Le, a buoyant, sensationally polished juggler of hats; Jeff Retzlanff and tiny, fearless Kelsey Wiens, in an acrobatic pas de deux that seemed cramped for stage space; Vanessa Alvarez, a Penelope Cruz-like firecracker who juggled four mats with all her limbs in perpetual motion; and most breathtaking of all, Dima Shine, the Russian-bred acrobat, contortionist, strongman, "hand balancer" and centripetal force dancer, whose strength, grace and uncannily flexible body is all but superhuman. The show's ensemble dancers perform Jared Grimes' high-energy tap and "eccentric" choreography numbers on perilously lit staircases that also move like waves. But while the overall set, lighting and costume design is flashy it is rarely magical. Ironically, one of the most charming characters onstage Wednesday was an attractive blonde audience "volunteer" (perhaps a ringer), who had more stage presence than most of the "pros." { SOURCE: Chicago Sun Times } First look: 'Viva ELVIS' is larger than life! [EXPANDED] {Dec.07.2009} -------------------------------------------------------- Swiveling, laughing, crooning and goofing, the King of Rock 'n' Roll explodes to life on a massive screen here in the new Aria Resort & Casino's Elvis Theater. Below this video clip of Presley, 40-some dancers and acrobats with blue loafers on their hands vamp through a Blue Suede Shoes retooled for the times – Elvis' voice laid over a thunderous romp that respectfully teases the original. Having tackled The Beatles with LOVE, Canada's Cirque du Soleil takes on an American musical icon with Viva ELVIS. The show is unveiled to the public Dec. 18, two days after Aria opens in The Strip's newly built CityCenter district. Rehearsals reveal a production that aims both to please die- hards (the nearly 30 songs feature Elvis on vocals) and seduce newcomers (the music is modernized and the sets are spectacle writ large). "Our responsibility was to develop something that would look like what Elvis might do were he performing now," says executive producer Stephane Mongeau."It's not a show about Elvis. It's a show with him." Unlike LOVE, which mates the Fab Four's whimsy with acrobatics, Elvis' straight-ahead canon necessitated an emphasis on music rather than circus. "The driver here is Elvis' songs," says Mongeau, who notes that while LOVE uses snippets of 160 tunes, Viva ELVIS lingers on legendary hits such as I Want You, I Need You, I Love You and Suspicious Minds. The talent pool assembled for this production is varied and impressive, including set designer Mark Fisher (the architect behind U2's innovative 360 Tour set) and choreographer Vincent Paterson (who has worked with Michael Jackson and Madonna). "My goal is to give Elvis a Vegas comeback," says Paterson, the show's director. It has been more than three decades since Elvis sold out the nearby Hilton Hotel. Today, seeing Elvis means hearing impersonators who freeze the icon in a bygone era. That irks Priscilla Presley, whose ex-husband would have turned 75 next month: "We have to keep Elvis in our times, not in the past." She welcomed the young cast (many of whom were born after Elvis' death in 1977) to Graceland last spring to share personal stories about the man behind the myth. But an affinity already existed. "Cirque du Soleil is known for taking risks, as Elvis was," she says. "But if I'm happiest about anything, it's the decision they made to let Elvis himself do the singing." { SOURCE: USA TODAY } Alegria Captures Audience [EXPANDED] {Dec.13.2009} ------------------------------------------------ When the mysterious character Fleur belts out the name of the show, Alegria, at the top of his lungs as the production starts to unfold, he's got our attention. And the magic that is Cirque du Soleil won't give it back to us until sometime after a rousing standing ovation. The international sensation that is Alegria -- now at the John Labatt Centre -- is a mixture of world-class athleticism, drama, beauty and breathless bravura. It's truly in a category of its own. It's a treat to watch the layers of this show, now performed into its 15th year, being peeled back. Our friend Fleur, with his hunchback, huge belly and excessiveness, leads us through this cosmos of delight, tinged with sorrow and, if you care to look close enough, evil. But the tragedy is there only if you want to see it. It is in the ugly Old Birds, who desperately try to cling to power in a world where pretenses no longer matter, rather uncertainty reigns. It is even in Fleur, who has a Rafiki-like walk and the walking stick, but does not have the wisdom to match. The disapproving Old Birds, grotesque and absurd, stumble around the stage in the changing world, as we often do in our brave new frontier of instant, mass communication. The gap between young and old has never been so wide. When Alegria was created, we were on the cusp of the power of the Internet. Now we cannot live without it. Alegria is simultaneously old and new; timeless and ephemeral. An athlete performs with a Cyr Wheel, a shiny, large ring that he's inside and he moves it round and round the stage. He offers us a gateway between the different worlds. The tumblers and gymnasts, who soar in the air with the help of a power track, seem to make their bodies stop mid-air, as we catch a magical moment in time. The acrobats and trapeze artists take us to their ethereal lofts. The beauty and strength of the man performing the hand balancing act reminds me of the golden athlete atop the trophy. He's reached the pinnacle of success and becomes embossed. Alegria is a world divided, yet it is made one by the arts, the performers, the creators. There are several pairs of creative eyes on Alegria each and every night. They react quickly to the performers and can change the whole emotion of a scene in one day. The presentation is allowed to be free flowing, unrestricted, always open to possibility. After Alegria appeared in 1994, Cirque du Soleil really became known as the company that pushes performers, pushes boundaries and challenges all the norms of performance. They take their athletes, some of them Olympians, and force them out of their comfort zones. Were there any errors by these athletes on opening night? Only if you count a couple of acrobats not sticking the landing on the trampoline. If you go to Alegria, pay attention to your body. You'll be surprised when your heart starts pounding, your hands start sweating and goose bumps form on your skin. Still at the heart of Cirque du Soleil, though, is the circus. So bring on the clowns. Cirque's clowns often catch the audience off guard and there is no better laugh than when we're surprised. Alegria has performers and musicians from more than a dozen countries. It certainly has an international flare on stage. Its performers need no words, no spoken language to convey their spirit. Alegria, which means joy in Spanish, is truly "asombroso" (which means awesome in Spanish). { SOURCE: London Free Press } Seven New Illusions for BELIEVE? [EXPANDED] {Dec.14.2009} ----------------------------------------------- Mindfreak mega-magician Criss Angel has signed on for a sixth season of his top-rated A&E series. In an exclusive interview, Criss told me that filming will start in early spring after he’s integrated seven new extraordinary illusions into his Cirque du Soleil show Believe at the Luxor. He has already been rehearsing all of them during the day and performing his shows at night. Now he’s waiting for Fire and Building Department approvals to add them into the show. Luxor President Felix Rappaport confirmed the delay in adding the illusions. “We’d hoped it would be December, then January, but now realistically with the additional building changes and the show coming up to code in every aspect, all the inspectors say Criss can have everything in place for March in time for new marketing and promotion,” Felix told me. The incredible illusionist pointed out: “It’s a tough, demanding schedule doing two shows nightly, and then working during the day to create, build and rehearse the new illusions.” Details of the new illusions are being kept tightly under wraps. I can’t reveal the information yet, but, as you know, Vegas DeLuxe will have the news first once the approvals are in place. I asked if Criss had time with all the work pressures for a new romance, and he laughed: “I am married to my work, and it’s become a regular 16-hour day. Sometimes 18 hours when we add in a third show to some of the weekend schedules. I don’t have time for much else, and I like being with my family when I have any free time at all.” Criss broke away this past weekend to contribute to the local KLUC 98.5 FM holiday toy drive. He presented a large box of gifts and contributed $10,000 to the gift card fund. In the past week, employees of XS, Tryst and Drai’s After Hours and the casts of Jersey Boys and Phantom -- the Las Vegas Spectacular also have contributed to the toy drive. “I don’t like being so public about things like this,” he told me. “I prefer being quiet and anonymous about what I do all year long for children in need of help. But this is a radio station promotion, so it’s inevitable it becomes public, but hopefully what I do will encourage others to volunteer, too, and do the same and more.” Next year, he’s already working on his own Believe Foundation program for needy children and families. He plans a celebrity auction at the Luxor, and already Oprah Winfrey has donated autographed memorabilia. “We’ll have other celebrities taking part. A lot of people you know have promised to help us,” Criss said. He’s also excited about the simultaneous progress of Believe and the new season of Mindfreak. This weekend, Criss will celebrate his 42nd birthday, and there will be a special onstage presentation at the Luxor by hotel- resort officials. I’m told birthday cake will be handed out to all members of the audience attending the late Saturday show. Vegas DeLuxe will have a full photo report afterward. “I never thought when I first came to Las Vegas that it was all going to turn out this way,” he summed up. “But as I tell the Loyals (Criss’s fan club) and I tell the fans and audiences every night, never stop believing. Believe you can win, and you will.” { SOURCE: Robin Leach, Las Vegas Sun } Cirque Unveils VIVA ELVIS! {Dec.15.2009} ----------------------------------------------- Cirque du Soleil unveils Viva ELVIS Written and Directed by Vincent Paterson Cirque du Soleil, in partnership with Elvis Presley Enterprises, a CKX, Inc company, was thrilled to unveil today its latest show Viva ELVIS, at ARIA Resort & Casino at CityCenter in Las Vegas. Preview performances for Viva ELVIS will start on December 18, 2009. THE SHOW Viva ELVIS, a harmonious fusion of dance, acrobatics and live music, is a tribute to the life and music of Elvis Presley. Nostalgia, modernity and raw emotion provide the backdrop for his immortal voice and the exhilaration and beauty of his music. Created in the image of The King of Rock ’n’ Roll – powerful, sexy, whimsical, truly unique and larger than life – the show highlights an American icon who transformed popular music and whose image embodies the freedom, excitement and turbulence of his era. Significant moments in his life – intimate, playful and grandiose – blend with timeless songs that remain as relevant today as when they first hit the top of the charts. Viva ELVIS focuses on the essential humanity of the one superstar whose name will forever be linked with the history of Las Vegas: Elvis Presley. “On a creative level, it was extremely stimulating to draw our inspiration from this musical icon,” said Guy Laliberté, Founder of Cirque du Soleil. “Viva ELVIS showcases the raw energy and pure talent of Elvis and highlights the exhilaration and beauty of his music on a grand scale.” “It makes perfect sense that Elvis should live on in Las Vegas, where his iconic status was cemented,” said Robert F.X. Sillerman, Chairman and Chief Executive Officer of CKX, Inc. “When we teamed with Cirque du Soleil, we knew that any show they created would match Elvis’ larger-than-life presence. So we were pleased to open the vaults at Graceland and make available to Cirque du Soleil historic archival materials, recordings and concert footage that would help them create a show that will carry Elvis’ legacy into the future.” “An evolutionary destination designed to transform Las Vegas at its core, CityCenter is larger than life, just like Elvis himself,” said Bill McBeath, President and COO of ARIA Resort & Casino. “We want to bring the element of fun to ARIA, the centerpiece of CityCenter. Viva ELVIS will bring the King of Rock ’n’ Roll back to Las Vegas for millions of his fans and create a buzz that will enable his persona to attract untold numbers of new followers.” “Elvis has always been in the forefront of new, contemporary entertainment and technology,” said Priscilla Presley. “I believe Viva ELVIS continues this and reaches out and expands his legacy in a new, creative and exciting way.” “The show’s acrobatic elements, set designs and other artistic components are part of an overall creative vision designed to showcase the timeless music of Elvis, his unique voice and unequaled talent as a performer,” said Gilles Ste-Croix, Senior Vice-president of Creative Content and New Project Development at Cirque du Soleil. “The unique strength and power of Elvis was in his voice,” said Vincent Paterson, the show’s Writer and Director. “I was greatly inspired by the originality and complexity of this musical legend. What I tried to paint, in all humility, is the show he might have created today.” THE CREATIVE TEAM Artistic Guide — Guy Laliberté Artistic Guide — Gilles Ste-Croix Writer and Director — Vincent Paterson Director of Creation — Armand Thomas Musical Director and Arranger — Erich van Tourneau Set Designer — Mark Fisher Costume Designer — Stefano Canulli Acrobatic Performance Designer — Daniel Cola Acrobatic Equipment and Rigging Designer — Guy St-Amour Lighting Designer — Marc Brickman Image Content Designer — Ivan Dudynsky Sound Designer — Jonathan Deans Choreographers — Bonnie Story, Napoleon and Tabitha Dumo, Mark Swanhart, Catherine Archambault Props Designer — Patricia Ruel Makeup Designer — Nathalie Gagné Viva ELVIS will be presented exclusively in the custom-built Elvis Theater at ARIA Resort & Casino at CityCenter in Las Vegas. Preview performances for Viva ELVIS begin December 18, 2009. The premiere will be held Friday, February 19, 2010. TICKET PRICES *$175, $150, $125, $99 All preview performances* will be discounted 25 percent. *Preview performances for Viva ELVIS begin December 18, 2009. During these performances, the creative team is in the very final stages of production for the show. The audience’s reaction and participation is an important step in this process. Please consult the most current show schedule at www.cirquedusoleil.com/vivaelvis. Schedule is subject to change without notice. Following the preview period and beginning February 21, 2010, Viva ELVIS will be performed Friday through Tuesday at 7:00 pm & 9:30 pm. There will be no shows on Wednesdays or Thursdays. TO RESERVE TICKETS By phone: 877-253-5847 or 702-531-2031 Online: www.cirquedusoleil.com/vivaelvis In person: At the Elvis Theater box office at ARIA Resort & Casino at CityCenter or any of the MGM MIRAGE box offices in Las Vegas. {SOURCE: PRNewswire.com} Cirque's 'Viva Elvis' serves the king [EXPANDED] {Dec.15.2009} ------------------------------------------------ The show has a VIP opening tonight. 'It's not a show about Elvis, it's a show with Elvis,' the producer says. Forget the iconic white jumpsuit, the caricature of gilded celebrity and the gossipy whispers that attended a dispirited legend's final bow. Forget -- heaven help us -- the peanut butter and fried banana sandwiches. That's not what “Viva Elvis,” Cirque du Soleil's latest acrobatic-musical extravaganza, is about. Rather, Gilles Ste-Croix and Stéphane Mongeau were saying the other day, it's about evoking an extraordinary man and his shape-shifting times. It's about honoring a musician who unified the once-segregated genres of pop, gospel, country and blues into the mongrel art form known as rock 'n' roll, and ushered American pop culture into the frenetic, youth-centric Atomic Age. It's about celebrating a prodigiously charismatic performer whose insistence on pleasing his audience helped resurrect a culturally moribund desert metropolis founded on sand and mob money. It's about conveying the genius of a crooning, gyrating entertainment genius of the 1950s and '60s to a generation that wasn't even born when Elvis Aaron Presley died on Aug. 16, 1977, age 42, leaving rock temporarily monarch-less and much of the planet in mourning. In short, it's about addressing a great epistemological conundrum of our times: What would Elvis do? "Everything we did, we [thought] if Elvis lived today . . . then how would he do it, in the context of Las Vegas today?" said Ste-Croix, Cirque's senior vice president of creative content and new projects development, during an interview in Québécois- infused English with Mongeau last week. "That was the direction of the creators." Ste-Croix and Mongeau, the show's executive producer, describe the new production not as a musical bio-drama, but as a "retro- contemporized" tribute that unfolds like a live concert. Although Cirque's production will reference certain key episodes of Presley's life and career, such as his service in the U.S. Army and his acting career, "it's not a historic show," Mongeau stressed. "It's a show about a man, his emotion, what he brought," Mongeau continued. "And it's not a show about Elvis, it's a show with Elvis." In keeping with that concept, none of the show's 75 artists -- including 26 dancers, 26 acrobats, four featured female singers and a live band -- actually will portray or otherwise represent Presley on stage. The king will be glimpsed in vintage film clips, graphic imagery and scenic and abstract props, such as a gigantic pompadour. But as far as impersonations, the Cirque creative team is leaving those to the legions of side-burned, rhinestone-studded guys who pop up in beery nightclub acts around town. "It would not be fair for Elvis" to portray him, Mongeau said, "because Elvis is greater than what we could imagine." In exploring Presley's musical legacy, "Viva Elvis" will highlight the singer's recorded voice on many of his signature tunes. But those unmistakable purrs and growls will be set to punchy new musical arrangements in a mode that Ste-Croix characterized as "Black Eyed Peas meet Elvis." As the men spoke, a few feet away on a sprawling stage book- ended by two new monumental gold Elvis statues, a troupe of young dancers warmed up for the show's concluding number, “Viva Las Vegas,” inspired by the song and movie, in which Presley starred with Swedish sex kitten Ann-Margret, of the same name. The venue, a custom-built 2,000-seat theater with every imaginable backstage technology and enough fly space to land a UFO, is among the prime attractions of the new ultra-upscale Aria Resort & Casino, the centerpiece of the massive new CityCenter urban complex on the Las Vegas Strip. "Viva Elvis" will christen the space with tonight's VIP opening performance; the first public previews will begin on Friday and the official premiere will be Feb. 19. BACK TOGETHER In a city where nuptial arrangements can be dicey affairs at best, the marriage (or menage) of Elvis, Vegas and Cirque seems almost celestially ordained, as did Presley's real-life gig there four decades ago. With the demise of the Rat Pack and the emergence of the counterculture, Sin City by the late 1960s had degenerated into Squaresville, USA. Woodstock and the Haight, not Fremont Street, were where all the cool stuff was happening, and cruddy jeans and tie-dyed T-shirts, not seersucker jackets and beehive 'do's, were the ne plus ultra of youthful fashion. When Presley was lured to Las Vegas in 1969 by entertainment mogul Kirk Kerkorian to perform at his International Hotel (now the Las Vegas Hilton), he reclaimed it for the rock 'n' roll generation. (His peer, Barbra Streisand, achieved much the same thing for pop music when she began performing there at the same time.) His concerts not only packed in the crowds but were proclaimed by the music press to be proof of Presley's comeback, following a string of musical disappointments and the bottoming out of an acting career that rapidly turned the king of rock into a self- parodying crown prince of kitsch. It is Elvis the dynamic stage performer, and particularly the Las Vegas performer, that Cirque's show seeks to evoke and invoke. "Really, overall that's all he wanted," Ste-Croix said. "He was a great performer and he wanted to entertain the crowd. And that's what he did at the Hilton, that's what he did in the movies and that's what he did all his life." Today, Cirque du Soleil, which already has six Las Vegas-based shows including "O," "Zumanity" and the Beatles homage "Love," is a brand name that defines Las Vegas much as Presley did in his day. The Montreal-based company is partnered in its latest enterprise with CKX Inc., a mega-manager-owner of entertainment-related content and intellectual properties, and its subsidiary Elvis Presley Enterprises, the corporate entity created by Presley's trust to manage its assets. RETURN OF THE KING Among those attending tonight's VIP performance will be the best-known guardian of that trust, the king's ex-wife Priscilla Presley. Speaking by phone, Priscilla Presley acknowledged she was feeling a bit, uh, all shook up about the opening, albeit in a positive way. "I feel like it's the first time that Elvis went on stage," she said. "It's just nerve-racking." In that regard, Presley could be channeling her ex, who when he performed in Las Vegas grew antsier by the minute as an opening- night audience that included Pat Boone, Cary Grant and Fats Domino filed into the Showroom Internationale. "He didn't want to know who was out there in the crowd," Priscilla Presley said. Yet his show was an immediate success, drawing tens of thousands of visitors to the gambling mecca. According to Ste-Croix, at one point during Presley's appearances, one out of every two Las Vegas tourists was coming to town specifically to attend his concerts. "I think he put Vegas on the map in a way that it hadn't been," Priscilla Presley said. Las Vegas returned the favor, she added, by giving her ex-husband a way to relaunch his career as a live performer after a 10-year absence from big stages. "It brought him back to the forefront and it brought him back to what he loved most. It brought him back in contact with the audience and with his fans," she said. Given its show's unabashedly celebratory spirit, it's not surprising that Cirque isn't touching those aspects of Elvis' life that have kept conspiracy theorists, tabloid journalists, assistant professors of American studies and schadenfreude mongers in clover for 32 years. Priscilla Presley said that no preconditions or restrictions were set on what could, or could not, be included in "Viva Elvis." But she clearly seems pleased with Cirque's artistic focus, and suggests that a show about Elvis is better off without scholarly footnotes. "I think he's been over-analyzed," she said. "I think if he ever heard the stuff, he'd be shaking in his boots. It was all about entertaining, it was all about rapport with your audience and giving them their money's worth." Her hope, she said, is that "Viva Elvis" could do for Las Vegas today what Elvis' appearances did in a previous era beset by economic hard times. "I'm hoping this'll renew Vegas again and get people back to work," Priscilla Presley said, adding that in the '70s everyone from waiters to blackjack dealers and limousine drivers felt the impact of the king's return to his court. "Everybody was happy when Elvis Presley came to town." { SOURCE: LA Times } Viva ELVIS Gala Pushed Back [EXPANDED] {Dec.16.2009} ----------------------------------------------- Norm Clarke of the Las Vegas Review-Journal has a piece this morning about Cirque du Soleil’s newest production in Las Vegas – Viva ELVIS. Within he states a combination of construction delays and revisions to the show have delayed Viva ELVIS’ planned gala premiere on January 8, 2010 (what would have been Elvis’ 75th birthday) to February 19, 2010 instead. From the article: # # # Cirque du Soleil's creators of "Viva Elvis" acknowledged on Tuesday that a combination of construction delays and show revisions dashed hopes of a gala opening on Jan. 8, which would have been Elvis' 75th birthday. The new date of Feb. 19 was announced by Cirque founder Guy Laliberte before a media showcase held a day before the unveiling of the show on the opening night of CityCenter's Aria. Cirque executive Gille Ste-Croix told Review-Journal entertainment critic Mike Weatherford that construction delays shaved four weeks of onstage rehearsal from the schedule. “The show is not complete, and it’s not what we wish,” Ste- Croix told Weatherford, whose show preview runs in the R-J’s Friday Neon section. Ste-Croix, Cirque’s senior vice president of creative content and new projects development, said CityCenter CEO Bobby Baldwin wanted previews for the Aria opening and holiday season. The show will basically play as-is during the previews before creators start tearing into it again Jan. 3 to prepare for opening night. Tickets for the show range from $99 to $175 and will be discounted 25 percent during the previews, a publicist said. Laliberte was not available to reporters after the 18-minute showcase. The show’s executive producer, Stephane Mongeau, confirmed previous Vegas Confidential reports that the show was undergoing a major reshuffling, among them the recent departure of the main Elvis actor, Leo Days, a top Elvis tribute artist. "There were more actors playing key roles. We made the decision to narrow this to one character," Mongeau said. An actor playing Elvis' former manager, Colonel Tom Parker, will narrate at points during the 30-song show. "We made some adjustments," Mongeau said. "It's a normal creative process. ... we believe now that we are on the right track and have all the solutions." {SOURCE: Las Vegas Review-Journal} LVRJ Reviews VIVA ELVIS [EXPANDED] {Dec.18.2009} ----------------------------------------------- We love the Las Vegas Review-Journal and this morning the Las Vegas area paper published on of Mike Weatherford’s latest reviews, this time on Cirque du Soleil’s newest production VIVA ELVIS! # # # What would Elvis do? At the risk of adding to longtime confusion between Jesus and pop culture’s deity, Gilles Ste-Croix paraphrased the Christian motto as “the driving force” for Cirque du Soleil’s new “Viva Elvis.” “I told all the creators, everybody involved in this show: If Elvis lived today, what type of band would he want? What type of dance would he want? What type of set? What type of theater?” The veteran Cirque executive, credited as “artistic guide” for the new production, says he hopes Presley would even feel comfortable in one of the plush, bisected love seats inside the new 1,800-seat custom theater at Aria. It’s a conventional opera-house layout, but the upholstery pattern on the chairs, the drapes imprinted with Elvis 45’s — even the wood on the walls — all reference the “Jungle Room” and other interiors at Graceland, the King’s Memphis, Tenn., castle. "We didn't want to be literal, but we wanted to be just," Ste- Croix says. And the way to do that was to "inspire ourselves from him, his tastes and his music." Ste-Croix also knew this, the most American Cirque du Soleil show to date, couldn't have the company's usual Canadian new-age aesthetic. Enter director Vincent Paterson, a choreographer best known for his concert and video work with Michael Jackson and Madonna. "I had respect for (Elvis) because his songs had lived so long, but I didn't know that much about him," says Paterson, who was more of the early MTV era, dancing alongside Jackson in some of his most famous videos. Through this project, Paterson came to realize the original hip- swiveler is "the guy who moved teens from partner-dancing and onto the dance floor by themselves. So his influence was monstrous." Ste-Croix is candid in saying "the show is not complete and it's not what we wish" as it launches ticketed previews today. Theater construction delays trimmed four weeks of onstage rehearsals. CityCenter chief executive Bobby Baldwin wanted the show in previews for the opening of Aria and the holidays, Ste- Croix says. After Jan. 3, it goes back into rehearsals, with new scenic elements and choreography among the changes planned in time for the official premiere Feb. 19. "Viva" already has evolved significantly, toning down a premise that was more like a Broadway musical. Even so, Ste-Croix says the new show takes on "a concert atmosphere at times" and is not "Mystere" set to Elvis hits. "If you want to see a circus show, we have others in town," he says with a laugh. Paterson, credited as writer and director, first shaped a more biographical revue with four characters -- including a young and older Presley and his mother, Gladys -- providing different perspectives on the action. The narration has been consolidated into the character of "Colonel" Tom Parker (Junior Case), the manager who steered Presley from state fairs to megastardom, then into a questionable second chapter of B-movie musicals. When creators had questions, Ste-Croix says they turned to Presley's ex-wife, Priscilla. Her guidance came as part of the partnership with CKX Inc., which controls the Presley estate. At a Tuesday media preview, Priscilla Presley reminded reporters that Cirque has "a uniquely wonderful abstract way" of seeing the world. Ever since "Mystere" opened in 1993, Ste-Croix has preached the power of "evocation" over the literal. "We didn't need the mother to say, 'I was born in a little shack on a dirt road,' " he says. Instead, costumed performers framed by sepia-toned photos reference the hardship of Tupelo, Miss., farm life in the 1930s, as gospel singer Toscha Comeaux belts "All Shook Up." Cirque's Beatles tribute "Love" has an extra layer of resonance for those who know John Lennon and Paul McCartney lost their mothers at a young age. Likewise, those who know Elvis had a twin brother, Jesse, who died at birth will get the symbolism of two identical acrobats on a giant guitar. One falls, the other climbs to the top of the neck. If you don't pick up on that, don't feel bad, Ste-Croix says. Neither did Priscilla. A trampoline act has costumed superheroes bouncing around an amusement park set, leaving the audience to remember Elvis loved Captain Marvel, whose hair resembles a certain rocker's and whose chest emblem is similar to the "TCB (Takin' Care of Business)" lightning bolt worn by the King's inner circle. The music for that scene is "Got A Lot O' Livin' to Do!" Presley's vocal tops a guitar-rock arrangement that sounds more Jimmy Page than Scotty Moore. The guitar acrobatics include a piano floating down from the sky, with singer Sherry St-Germain crooning a slowed-down, Norah Jones-ish "One Night With You." Ste-Croix explains the ground rule: The only male voice in the show is Elvis' own. But unlike "Love," the songs are performed in whole and not mashed up, and some are rendered by female cast members. "It'll be interesting to see what the die-hard fans feel, but I feel that we've kind of kept true to the legacy of the rock 'n' roll he began," Paterson says. "Fifty-some years later, the show is a lot rock 'n' roll. He sounds unbelievable. It makes you realize the longevity of a voice like that, how it's not just something lodged in a historical moment in time, but really transcends time." {SOURCE: Las Vegas Review-Journal} Cirque Hollywood “Coming Along...” [EXPANDED] {Dec.21.2009} ----------------------------------------------- The LA Times caught up recently with Gilles Ste-Croix, Cirque du Soleil’s SVP of Creative Content and Stéphane Mongeau, Executive Producer of “Viva ELVIS” who confirmed that Cirque Hollywood is on track to launch the new show sometime after the annual Oscars show in 2011. # # # Now that Cirque du Soleil is in the process of launching its latest dancing, trampolining extravaganza, "Viva Elvis," at the Aria Casino and Resort in Las Vegas, the Montreal-based company is looking ahead to one of its next opening nights: at the Kodak Theatre at Hollywood & Highland in 2011. In an interview last week in Las Vegas, Gilles Ste-Croix, Cirque's senior vice president of creative content and new projects development, and Stéphane Mongeau, executive producer of "Viva Elvis," confirmed that Cirque is on track to bring a $100-million Hollywood-themed show to the 3,400-seat theater that hosts the annual Oscars ceremony. “It’s coming along,” Ste-Croix said in Québecois-accented English. “Right now, they will transform the theater because it’s a theater for the Oscar, but we want to have the possibility of [installing a] lift and all that, to have scenery change, new rigging points and all that. So they have to transform the theater.” Ste-Croix suggested that Cirque also will reconfigure the seating arrangement of the vast Kodak space to make it feel a bit more intimate. Although Cirque’s new Hollywood production will be performed year-round, for something on the order of 368 shows annually, it probably won’t be able to fill a 3,400-seat house for that many performances. After all, as tourist meccas go, Hollywood isn’t quite on the order of Las Vegas. "Probably the top balcony we won't use," Ste-Croix said, adding that Cirque figured on a regular audience not of 3,000 but rather about 2,000. As for the new show's Hollywood theme, Ste-Croix said, "We cannot avoid this approach, to go to the movie."But it has nothing to do with all the blockbuster movies that happen," he added."It's more about cinema as a tool and cinema as how-it- came, where-it-come-from. You know, cinema originally was a magic trick. "And that's all it was. And then it evolved into vaudeville . . . and it became little [snippets] that they were representing in black and white with no sound. And then it evolved [into] telling story, when sound came about. And so that's a very interesting thing to go into with acrobatics and with dance and music. So we're having a good time." Cirque expects the show to open sometime after the 2011 Academy Awards. "The thing is that we have to think of a show that we can unload," Ste-Croix said. "It's their theater, so we have to take out the stuff, put it back. But I know that they will use the lift we're putting in! {SOURCE: LA Times} The King returns in Cirque's latest LV production [EXPANDED] {Dec.28.2009} ------------------------------------------------------------ This month's Nevada Magazine features Viva ELVIS. | Elvis Presley is synonymous with Las Vegas. His legacy can be seen in the city’s gift shops and wedding chapels and felt throughout Nevada’s entertainment capital. Now, at long last, the King returns. The new Cirque du Soleil production, “Viva ELVIS,” is not a show about Elvis; it is a show starring Elvis. “You can hear him, see him, and feel him in this show,” Armand Thomas, Cirque du Soleil director of creation, says. “He is not just some icon that we are singing about, he is the star of the show.” “Viva ELVIS,” which opened in December at CityCenter’s ARIA, is the first Cirque show to include a spoken theatrical aspect. An actor portraying Elvis' manager, Colonel Tom Parker, will provide a theatrical through every line of the show, carrying the narrative from act to act, place to place, and time to time. "The only Elvis you hear or see singing will be the real one on our screens,"ť Thomas says. "We would never put some guy onstage, make him sing, and ask you to close your eyes and pretend that it's Elvis."ť The music is rearranged and pulled from master recordings. His songs are intermixed with a live band and four female backup singers. "This is Elvis new again, and that is something truly special," Thomas adds. "Viva ELVIS is a grandiose combination of song, dance, rock 'n' roll, and explosive acrobatics. Presented on a large high-end stage, the production is full of lifts and flying apparatuses that allow the cast to swing and dance their way into the audience. "This show pays homage to a man who was larger than life, so the show can be nothing less,"ť Thomas says. "The show is geared to not only bring out Elvis as the phenomenon he was in the entertainment world, but to show that he was a likable and approachable human being."ť The events of Elvis' life and music are not presented chronologically in the show. Songs are played to fit the atmosphere rather than a timeline. "Viva ELVIS"ť was created in association with CKX Inc., which owns Elvis' name, image, and likeness-??and with help from his family and friends. "We have had Priscilla at our side for a few years now," Thomas says. "We really feel that we have become a part of the Elvis family." Elvis has a fan base that is among the most loyal in entertainment history, and Cirque hopes to inspire the next generation of Elvis lovers with this production. According to Thomas, this is a family show geared toward all ages. "Elvis' music has never really gone out of style; instead, it has influenced new styles," Thomas says. "Anyone from any generation can sit down and listen to his music, look at what the man did, and the way he moves, and it will knock their socks off."ť When Elvis played in Las Vegas-he performed regularly from 1969 to 1976-it was an automatic sellout. He helped transform the city into a family destination. "He made this a place to entertain, a place to amaze, and a place to be a little bit eccentric," Thomas says. "Elvis is Las Vegas. That's why we named the show the way we did. Elvis is eternal, so viva Elvis."ť { SOURCE: Navada Magazine } Shpeel Delayed in NYC [EXPANDED] {Dec.30.2009} ----------------------------------------------- With some sour reviews coming in from the Chicago previews of Banana Shpeel, the New York Times is reporting Cirque du Soleil has decided to postpone the opening of its twist on vaudeville at the Beacon theater in New York city to allow a full month for rehersals. Banana Shpeel will open for preview performances in New York City beginning February 25th rather than February 4th. # # # On Tuesday, publicists for the show said in a news release that “the shift in dates will allow the production to have a full month of rehearsals at the Beacon.” But reviews for the show’s Chicago production, a vaudeville-style clown act that began performances at the Chicago Theater in November, offered little to laugh at. In The Chicago Tribune, Chris Jones wrote that “Banana Shpeel” was “cold, chaotic, clipped and cacophonous,” and in The Chicago Sun-Times, Hedy Weiss wrote that it could give “a bad name” to “all that was delicious about the classic variety show format of days gone by.” The publicists for “Banana Shpeel,” which is written and directed by David Shiner, said that anyone who bought tickets to a canceled preview of the show would be offered tickets for another performance. An opening night at the Beacon has not been announced. {SOURCE: New York Times} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) TOURING - Under the Big Top {Corteo, Dralion, Koozĺ, OVO, Quidam & Varekai} o) RESIDENT - en Le Théâtre {Mystčre, "O", La Nouba, Zumanity, KŔ, LOVE, ZAIA, ZED, Believe & VIVA Elvis} o) VENUE - Arena & Seasonal Productions {Saltimbanco, Alegría | Wintuk, Banana Shpeel} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. .) Dates so marked (*) are not official until released by Cirque du Soleil. For current, up-to-the-moment information on Cirque's whereabouts, please visit our website < http://www.CirqueFascination.com/ >. --------------------------------- TOURING - Under the Big Top --------------------------------- Online at: < http://www.cirquefascination.com/?page_id=39 > Cirque 2010: Montréal, QC -- Apr 22, 2010 to Jul 11, 2010 Québec City, QC -- Jul 22, 2010 to TBA Amsterdam, NL -- Oct 8, 2010 to Dec 18, 2010 (*) Corteo: Tokyo, Japan -- Nov 4, 2009 to Jan 24, 2010 Fukuoka, Japan -- Feb 11, 2010 to Apr 4, 2010 Sendai, Japan -- Apr 21, 2010 to Jun 6, 2010 Dralion: Mexico City, Mexico -- Nov 26, 2009 to Jan 17, 2010 Koozĺ: Irvine, CA -- Jan 8, 2010 to Feb 14, 2010 San Diego, CA -- Feb 25, 2010 to Mar 28, 2010 Portland, OR -- Apr 9, 2010 to May 23, 2010 (*) Seattle, WA -- Jun 3, 2010 to Jul 11, 2010 (*) Vancouver, BC -- Jul 22, 2010 to Sep 5, 2010 (*) Houston, TX -- Sep 23, 2010 to Oct 31, 2010 (*) Miami, FL -- Nov 18, 2010 to Dec 26, 2010 (*) Ovo: San Francisco, CA -- Nov 27, 2009 to Jan 24, 2010 San Jose, CA -- Feb 4, 2010 to Mar 21, 2010 New York, NY -- Apr 9, 2010 to Jul 4, 2010 Hartford, CT -- Jul 15, 2010 to Aug 15, 2010 (*) Boston, MA -- Aug 26, 2010 to Oct 3, 2010 (*) Washington, DC -- Oct 14, 2010 to Nov 28, 2010 (*) Atlanta, GA -- Dec 17, 2010 to Feb 13, 2011 (*) Quidam: Rio de Janeiro, BR -- Jan 8, 2010 to Feb 7, 2010 Săo Paulo, BR -- Feb 26, 2010 to Apr 11, 2010 Porto Alegre, BR -- Apr 22, 2010 to May 16, 2010 Buenos Aiers, AR -- May 28, 2010 to Jun 20, 2010 Santiago, CL -- Jul 2, 2010 to Aug 8, 2010 Lime, PE -- Aug 22, 2010 to Sep 19, 2010 Bogota, CO -- Oct 9, 2010 to Nov 21, 2010 Varekai: London, UK -- Jan 6, 2010 to Jan 24, 2010 Manchester, UK -- Feb 25, 2010 to Mar 21, 2010 (*) Munich, DE -- Apr 1, 2010 to May 2, 2010 (*) Cologne, DE -- May 13, 2010 to Jun 6, 2010 (*) Frankfurt, DE -- Jun 17, 2010 to Jul 18, 2010 (*) --------------------------------- RESIDENT - en Le Théâtre --------------------------------- NOTE: (*) Prices are in United States Dollars (USD) unless otherwise noted. (*) Ticket prices exclude the 10% Live Entertainment Tax, the $7.50 per-ticket processing fee, and sales tax where applicable. Online at: < http://www.cirquefascination.com/?page_id=40 > Mystčre: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2010 Ticket Prices (adult) / (child 5-12): o Category 1: $109.00 / $54.50 o Category 2: $99.00 / $49.50 o Category 3: $79.00 / $39.50 o Category 4: $69.00 / $34.50 o Category 5: $60.00 / $30.00 (Limited View) 2010 Dark Dates: o January 9 – 20 o February 7 o March 10 o May 8 – 12 o July 7 o September 4 – 8 o November 3 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:30pm 2010 Ticket Prices: o Orchestra: $150.00 o Loggia: $130.00 o Balcony: $99.00 o Limited View: $93.50 2010 Dark Dates: o February 7 o April 14 - 18 o June 13 o July 4 o August 11 - 15 o October 10 o December 8 - 21 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2010 Ticket Prices (adults) / (child 3-9): o Category 0: $120.00 / $97.00 o Category 1: $105.00 / $85.00 o Category 2: $85.00 / $69.00 o Category 3: $69.00 / $56.00 o Category 4: $55.00 / $45.00 2010 Dark Dates: o January 19 - 22 o March 23 o May 25 - 28 o June 1 - 4 o July 27 o September 21 - 24 o November 16 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Tuesday, Wednesday & Friday through Sunday Dark: Monday & Thursday Two Shows Nightly - 7:30pm and 10:30pm 2010 Ticket Prices (18+ Only!): o Duo Sofas: $135.00 o Orchestra Seats: $99.00 o Upper Orchestra Seats: $79.00 o Balcony Seats: $69.00 o Cabaret Stools: $69.00 2010 Dark Dates: o Not Available KŔ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2010 Ticket Prices (adult) / (child 5-12): o Category 1: $150.00 / $75.00 o Category 2: $125.00 / $62.50 o Category 3: $99.00 / $49.50 o Category 4: $69.00 / $34.50 2010 Dark Dates o Not Available LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2010 Ticket Prices: o Lower Orchestra: $150.00 o Upper Orchestra: $130.00 o Lower Balcony: $99.00 o Middle Balcony: $93.50 2010 Dark Dates: o February 7 - 8 o April 8 - 12 o June 10 o August 5 - 9 o October 7 o December 3 - 13 ZAIA: Location: Venetian, Macao (China) Performs: Every Day, Dark: Wednesday One to Two Shows Daily - Times Vary 2010 Ticket Prices (adult) / (child 2-11): o VIP Seating: MOP$ 1288 / MOP$ 1288 o Reserve A: MOP$ 788 / MOP$ 394 o Reserve B: MOP$ 588 / MOP$ 294 o Reserve C: MOP$ 388 / MOP$ 194 2010 Dark Dates: o January 11 - 12 o February 12 o February 19 - March 5 o March 29 - 30 ZED: Location: Tokyo Disneyland, Tokyo (Japan) Performs: Varies One to Two Shows Daily - Showtimes vary 2010 Ticket Prices (Non-Peek / Peek Time): o Category 1 ("Premium"): Ą15,000 / Ą16,000 o Category 2 ("Stage-Side"): Ą12,500 / Ą13,500 o Category 2 ("Center"): Ą12,500 / Ą13,500 o Category 3 ("Wide View"): Ą9,500 / Ą10,500 o Category 4 ("Value"): Ą7,500 / Ą7,800 2010 Dark Dates: o Not Available BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 10:00pm NOTE: Children under the age of 12 must be accompanied by an adult. Children under the age of five are not permitted into the theater. 2010 Ticket Prices (all): o Category 1: $160.00 o Category 2: $125.00 o Category 3: $99.00 o Category 4: $79.00 o Category 5: $59.00 2010 Dark Dates: o January 5 - 9, 12 - 16 o April 13 - 17 o May 25 o June 1 o July 6 - 10, 13 - 17 o October 12 - 16 VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm Preview Performances: December 18th to January 28th 2010 Performance Times (Previews): o Jan 1 - 3rd: 7:00pm & 10:00pm o Jan 4 - 7th: No Showtimes o Jan 8th: 7:00pm o Jan 9 - 16th: No Showtimes o Jan 17th: 7:00pm o Jan 18 - 19th: 7:00pm & 9:30pm o Jan 22 - 28th: 7:00pm & 9:30pm 2010 Ticket Prices (Previews / Regular) o Category 1: $149.38 / $175.00 o Category 2: $128.75 / $150.00 o Category 3: $108.13 / $125.00 o Category 4: $86.68 / $99.00 2010 Dark Dates: o January 30 - 31 o March 17 - 25 o May 11 - 13 o July 14 - 29 o September 14 - 16 o November 17 - 25 -------------------------------------- VENUE - Arena & Seasonal Productions -------------------------------------- Online at: < http://www.cirquefascination.com/?page_id=251 > [Arena Shows] Saltimbanco: Barcelona, ES -- Dec 30, 2009 to Jan 10, 2010 Salzburg, AT -- Jan 13, 2010 to Jan 17, 2010 Strasbourg, FR -- Jan 20, 2010 to Jan 23, 2010 Frankfurt, DE -- Jan 27, 2010 to Jan 31, 2010 Nantes, FR -- Feb 2, 2010 to Feb 5, 2010 Innsbruck, AT -- Feb 25, 2010 to Feb 28, 2010 Torino, IT -- Mar 3, 2010 to Mar 7, 2010 Pesaro, IT -- Mar 10, 2010 to Mar 14, 2010 Bologna, IT -- Mar 17, 2010 to Mar 21, 2010 Florence, IT -- Mar 24, 2010 to Mar 28, 2010 Stuttgart, DE -- Mar 31, 2010 to Apr 4, 2010 Bremen, DE -- Apr 7, 2010 to Apr 11, 2010 Almeria, ES -- Apr 15, 2010 to Apr 18, 2010 Santiago, ES -- Apr 21, 2010 to Apr 25, 2010 San Sebastian, ES -- Apr 28, 2010 to May 2, 2010 Sheffield, UK -- May 20, 2010 to May 23, 2010 Liverpool, UK -- May 26, 2010 to May 30, 2010 Glasgow, UK -- Jun 2, 2010 to Jun 6, 2010 Manchester, UK -- Jun 9, 2010 to Jun 13, 2010 Birmingham, UK -- Jun 17, 2010 to Jun 20, 2010 Newcastle, UK -- Jun 30, 2010 to Jul 4, 2010 Dublin, IE -- Jul 7, 2010 to Jul 11, 2010 Nottingham, UK -- Jul 21, 2010 to Jul 25, 2010 London, UK -- Jul 28, 2010 to Aug 1, 2010 Alegría: Quebec, QC -- Jan 5, 2010 to Jan 10, 2010 Chicoutimi, QC -- Jan 13, 2010 to Jan 17, 2010 Detroit, MI -- Feb 4, 2010 to Feb 7, 2010 Indianapolis, IN -- Feb 11, 2010 to Feb 14, 2010 Austin, TX -- Feb 17, 2010 to Feb 21, 2010 Frisco, TX -- Feb 24, 2010 to Feb 28, 2010 Hoffman Estates, IL -- Mar 3, 2010 to Mar 7 2010 Cedar Rapids, IA -- Mar 10, 2010 to Mar 14, 2010 Champaign, IL -- Mar 17, 2010 to Mar 21, 2010 Omaha, NE -- Mar 24, 2010 to Mar 28, 2010 East Lansing, MI -- Mar 31, 2010 to Apr 4, 2010 Cleveland, OH -- Apr 7, 2010 to Apr 11, 2010 Toronto, ON -- Jun 30, 2010 to Jul 4, 2010 Winnipeg, MB -- Jul 22, 2010 to Jul 25, 2010 Regina, SK -- Jul 27, 2010 to Aug 1, 2010 Saskatoon, SK -- Aug 4, 2010 to Aug 8, 2010 Edmonton, AB -- Aug 11, 2010 to Aug 22, 2010 Kelowna, BC -- Aug 25, 2010 to Aug 29, 2010 Kamloops, BC -- Sep 1, 2010 to Sep 5, 2010 Victoria, BC -- Sep 8, 2010 to Sep 12, 2010 [Venue Shows] Wintuk: Location: Madison Square Garden, New York City (USA) Wintuk's 2009 Season has drawn to a close. See you next winter! Banana Shpeel: Location: Beacon Theater, New York City (USA) Schedule: Performances from February 25th through May 30th; Days of the week and times vary. 2010 Ticket Prices (Regular Performances): [March 23rd through May 30th] o Premium: $199.00 single / $199 group o P1: $110.00 single / $75.00 group o P2: $85.00 single / $60.00 group o P3: $65.00 single / $45.00 group o P4: $45.00 single / $39.00 group 2010 Ticket Prices (Previews): [February 25th through March 22nd] o Premium: n/a o P1: $89.00 single / $55.00 group o P2: $65.00 single / $55.00 group o P3: $45.00 single / $45.00 group NOTE: Prices include $4.50 facility fee. There is no children's pricing. ======================================================================= OUTREACH - UPDATES FROM CIRQUE'S SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub o) Networking -- Cirque on Facebook, Youtube & Flickr o) Gatherings -- CirqueCon & More! --------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------- Although the well has run dry at CirqueClub this month – no new Articles, reviews or interviews posted to share for December, we’re reaching back into the posting archives for a couple of blog posts we weren’t able to highlight before. Enjoy! My Beginning Adventures in LOVE {Jul.01.2008} MAGGIE MART, Acrobat -- My name is Maggie Mart. I am twenty-two years old and am an Acrobat for Cirque Du Soleil in the show LOVE. On April 5th I performed for the last time with La Nouba and on April 6th I arrived in Vegas. I remember stepping off the plane seeing so much advertisement for LOVE and for all of Cirque Du Soleil, it was overwhelming. I remember thinking “I finally did it.” I am finally a performer in a huge Las Vegas Show. Little did I know that was just the beginning of the excitement to come. Right away the trainings began. Learning bungee was a blast. After the first training on the stage I remember thinking “Am I really getting paid to do this? This is too much fun?” The best part was the fun didn’t stop there. I soon learned I would perform a cue called the “High-Striker” in an act called “Mr. Kite." I am harnessed in and hung on a very fast motor that pulls me up and down and eventually takes me to the grid. I was to act like a puppet and scream as I went up and down. After performing it for the first time I remember thinking again “Am I really getting paid to do this?” I think I must have thought that to myself at least fifty times. Running around like a groupie, screaming, dancing, bouncing trampoline, yah… I am having a blast. Of course it wasn’t all fun and games the entire time throughout the integration. I remember once I came to a “Drive My Car” rehearsal. There is a lot of dancing in this act and they had yet to teach me the choreography. They showed me where to go on stage and then they played the music. I soon realized everyone knew the choreography but me. I felt helpless, lost, and very frustrated. But that’s all just part of learning a new show and only one of the minor issues that had to be dealt with and learned from. Before I knew it I was in the basement ready for my first show. I had so much on my mind. “How was my make-up? Is my wig going to stay on? I hope I remember the choreography?” Only minutes later I was strapped in ready for my entrance on bungee. Music blasting I was raised into the air. Lights were going everywhere and huge smile was on my face. My routine went great. My wig stayed on. I remembered everything. I was so happy and was ready for the next show so I could do it all over again. It has been a little over a month of me being in the show now and I am having an absolute blast. I am growing more and more into my characters that I play on stage, and I am getting integrated into different cues all the time. It was hard for me to say goodbye to my “La Nouba” family and all the leaving artists from LOVE, but because of them I am here today. I’m so grateful and happy to be here. LOVE Makes Dreams Come True {Aug.28.2008} GILLIAN ABBOT, Dancer -- My adventure into "LOVE" began in February just before Valentine’s Day. At the time I was a seventeen year old, high school senior in Calgary, Alberta Canada. I flew out to Vancouver for a Cirque du Soleil audition that I had heard about. I knew you had to be eighteen to be hired for the job but I thought it wouldn't hurt to give it a shot or to at least let the Casting Director, Krista Monson have a look at me for the future. During the audition Krista pulled me aside and asked me if I would be able to move to Las Vegas within a couple months-she was concerned that because of my age I would not be able to leave home so quickly. I said, "I would move in a heartbeat"! Little did I know that would soon be reality. Ironically on Valentine’s Day I received a call from Krista telling my mom and I that Cirque was very interested in hiring me for the LOVE show in Las Vegas. The next day my mom and I were booked to fly out to Houston, Texas for me to start the first of three college auditions. We went anyway just to keep my options open in case things with Cirque did not work out. However after my second college audition in Pittsburgh for Point Park University, all of our anticipation was over... Cirque wanted me! Now, when I say my adventure only began this year, that's not quite true. The first Cirque show I ever saw was Mystčre in Las Vegas when I was only six years old. I have seen many, many Cirque shows since including LOVE when it first opened in the summer of 2006. After seeing the show for the first time, I turned to my dad and said in awe, "That's what I want to do with my life!”" Only in my wildest dreams did I believe that I would be celebrating the two year anniversary of the show as a newly hired dancer! My integration process started in Montreal, Quebec at the International Head Quarters of Cirque du Soleil. After two weeks of rehearsals, fittings, make-up lessons and more, the eleven new dancers of the LOVE show including myself departed for Vegas!!! In Vegas our rehearsals continued for a few more weeks until the end of May when we took the stage for the first time. I still remember the feeling of waiting in the curtain for my first que which happened to be "Gnik Nus", now my smallest que in the entire show. I was nervous, excited, in fact I think I was still in disbelief that I was even there. Night after night more queues were added to my track and before I knew it the first official shows with the new cast came on September 5, 2008. A few weeks after I also graduated from high school and thankfully got to go home to celebrate with my friends! I have now performed in over 100 shows and I have danced the duet "Yesterday" a few times. At least once a night I still find myself looking out into the audience and thinking to myself, "Wow, I am really here!" Every once in a while I will catch a glimpse of a young girl in the audience that has the same sparkle in her eyes as I am sure I did just two short years ago. All I can say as I approach my eighteenth birthday coming up in September is that I am so thankful for the opportunity that I have been blessed with and I am so lucky that my dream really has come true! I am also lucky to have a new family at LOVE full of amazing individuals who I learn so much from and who have helped me a lot in adjusting to my new lifestyle. As well, I am so thankful for everyone who supported me throughout my life and always believed in my dreams...that goes especially to my family! I love you all so much!! --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Flickr --------------------------------------------------- Just before Christmas, Cirque du Soleil wished everyone on their FaceBook pages a Happy Holidays, or more appropriately Joyeuses Fętes, and did so via a special video, which you can check out Here: < http://bit.ly/fetes >. http://www.youtube.com/watch?v=QZkLUaO3se0 Also, over the last month, Cirque du Soleil was prolific with updates on all its social networking outlets. While a number of these were small updates, notes and other quick comments, here are some of the more interesting posts that caught our eye. We’ve organized them a bit differently this time – by show first rather than by date first – so look for your favorite show! If you don’t see a show listed it means there may not have been any posts this month, or posts were duplicated elsewhere. A number of posts were made about Cirque du Soleil’s newest show, VIVA ELVIS, so check that out! And you’ll want to see the items associated with Wintuk’s seasonal closing! Enjoy! --- [ CIRQUE ] --- {Dec.10} If you could describe Cirque du Soleil with only one word, what would that word be? Check out the many hundreds of responses! Link /// < http://www.facebook.com/CirqueduSoleil?ref=nf > What's your favorite word to describe Cirque? --- [ ALEGRIA ] --- {Dec.20} Check out these great pictures of Alegria in Montréal! Link /// < http://www.montrealgazette.com/business/Gallery+ Cirque+Soleil+Alegria/2357060/story.html > --- [ BANANA SHPEEL ] --- {Dec.03} Photos from Banana Shpeel! Fotos [12] /// < http://www.facebook.com/album.php? aid=166158&id=153330866799&ref=mf > {Dec.08} A glimpse of some of the action in Banana Shpeel! Video [1:34] /// < http://www.facebook.com/video/video.php ?v=229750195619&ref=mf > --- [ BELIEVE ] --- {Dec.11} Believe performer Mateo Amieva interviews for "Acceso Total" on Telemundo in Las Vegas, promoting the local's offer! Video [2:09] /// < http://www.facebook.com/video/video.php ?v=231495910434&ref=mf > --- [ DRALION ] --- {Dec.17} Dralion took its 4 Elements Characters out in Mexico City. Can you guess where we went from the photos? (Desierto de los Leones) Fotos [3] /// < http://www.facebook.com/album.php?aid=359168 &id=39340140194&ref=mf > {Dec.18} And now guess where we took the artists on another fun activity, see the pictures, can you guess? (Jamaica Mercado) Fotos [5] /// {Dec.26} Dralion had such a nice Christmas dinner on the 24th and last night, our Chefs on Tour prepared a wonderful traditional dinner for the ones who eat meat pie and Turkey in their countries. Delicious! Fotos [5] /// < http://www.facebook.com/album.php?aid=363971 &id=39340140194&ref=mf > --- [ KŔ ] --- {Dec.02} Thanks to our video contest, here's a never-before-seen look at a typical day at KŔ. The giant turtle is always taking the last cup of coffee! Video [2:54] /// < http://www.cirquedusoleil.com/en/about/25/ americas/community/cineweb/all-weeks/ just_another_day_at_ka.aspx > {Dec.03} Every day at KŔ there is a very well-choreographed show which happens before any artists actually step on stage involving equipment maintenance, cleaning, and people hanging from stuff. Here's a short glimpse at a full-day's work! Video [3:00] /// < http://www.cirquedusoleil.com/en/about/25/ americas/community/cineweb/all-weeks/ ka_rigging.aspx > {Dec.05} Last, but certainly not least, the story of how one very important cast member at KŔ went from unsung to unsung hero. Video [2:58] /// < http://www.cirquedusoleil.com/en/about/25/ americas/community/cineweb/all-weeks/ guy_freedom_celebrity_cork.aspx {Dec.10} One of the joys of working with talented and creative people is that even something as simple as creating a gingerbread house turns into a marvel of design and construction ingenuity. We gave several departments at KŔ a gingerbread house kit and told them to let their imaginations run wild. Be careful what you wish for! KŔ Gingerbread House Contest 2009 Fotos [14] /// < http://www.facebook.com/album.php?aid=167995 &id=31527171928&ref=mf > {Dec.18} The artists in KŔ come from dozens of countries all over the world, but there is one Christmas saying everyone understands – "You'll shoot your eye out!" This week we celebrated a holiday tradition with a screening of "A Christmas Story," including guest appearances from some of the film's characters (and props), and a contest to see who had the best pajamas. Enjoy! Fotos [4] /// < http://www.facebook.com/album.php?aid=169950 &id=31527171928&ref=mf > --- [ KOOZA ] --- {Dec.07} If you missed KOOZA on the Ellen DeGeneres Show - You can watch the KOOZA contortion performance again! Video [2:43] /// < http://ellen.warnerbros.com/videos/?autoplay =true&mediaKey=0f007919-69bc-46c0-863e- 8e663bfea2cc > {Dec.30} The Blue and Yellow Big Top of KOOZA by Cirque du Soleil will be raised today, December 30, at Orange County Great Park in Irvine. In the meantime, watch the first raising of the Grand Chapiteau for KOOZA in April 2007! Video [6:13] /// < http://www.youtube.com/watch?v=SJ4p07ySkT8 > --- [ LOVE ] --- {Dec.15} Happy Hanukkah to all our Jewish Facebook fans. Someone just sent us this clip of A Hard Day’s Night in Yiddish...it's pretty funny. Enjoy! Credits to the Singer : Gerry Tenney http://www.californiaklezmer.com/ Video [2:26] /// < http://www.youtube.com/watch?v=6vAMgbGEDTY > {Dec.22} In case you didn't catch Kelly Ripa as a jellyfish in Octopus' Garden, here's the clip. Video [8:02] /// < http://www.facebook.com/video/video.php ?v=251521100619&ref=mf> --- [ MYSTERE ] --- {Dec.01} Voting for our video contest ends this Sunday, so don't forget to vote early and vote often! Here's another from one of the artists at Mystčre. Enjoy! Video [2:49] /// < http://www.cirquedusoleil.com/en/about/25/ americas/community/cineweb/all-weeks/ my_life_on_stage.aspx > {Dec.02} Just before Thanksgiving we filmed several acts from Mystčre for a new trailer and TV commercial. We don't want to give anything away but it's going to be PURE CIRQUE! Here's a little taste of some of the behind-the-scenes setting up. Fotos [6] /// < http://www.facebook.com/album.php?aid=162862& id=18155469918&ref=mf > {Dec.19} VERY early this morning Paul Bowler spent some time at one of our local TV stations here in Las Vegas to promote our locals ticket offer (NV residents can buy one ticket and get another for $25, receive $25 off another ticket purchase, and get 20% off boutique purchases through the end of February). Enjoy! Video [3:34] /// < http://www.ktnv.com/global/Category.asp? c=164911&autoStart=true&topVideoCatNo= default&clipId=4399843&flvUri=&partner clipid= > {Dec.27} Check out these great new photos from Mystčre playing at Treasure Island in Las Vegas! Fotos [14] /// < http://www.facebook.com/album.php? aid=185633&id=144074117500&ref=mf > --- [ OVO ] --- {Dec.13} Greg Archer goes behind the scenes of Cirque du Soleil's "Ovo" in San Francisco. Video [3:52] /// < http://www.youtube.com/watch?v=yW_UkpuIfFk > {Dec.15} THE BUG DANCE! A spontaneous dance gathering with OVO performers in Union Square, San Francisco, happened on December 8, 2009. Video [1:45] /// < http://www.facebook.com/video/video.php ?v=208349421422&ref=mf > Fotos [10] /// < http://www.facebook.com/album.php?aid=129680 &id=62744104613&ref=mf > Flickr [4] /// - www.flickr.com/photos/cirquedusoleildotcom/4195432860/ - www.flickr.com/photos/cirquedusoleildotcom/4195432526/ - www.flickr.com/photos/cirquedusoleildotcom/4195432654/ - www.flickr.com/photos/cirquedusoleildotcom/4195432760/ --- [ SALTIMBANCO ] --- {Dec.23} Check out this video about Saltimbanco in Geneva (Genčve) Video [2:04] /// < http://www.tsr.ch/tsr/index.html?siteSect= 500000&program=15#program=15;tab= loadprogram;vid=11623611 > {Dec.19} Saltimbanco in the local Genčve press! Link /// < http://www.tdg.ch/geneve/culture/cirque-soleil- va-chauffer-arena-2009-12-17 > --- [ VIVA ELVIS ] --- {Dec.9} Viva ELVIS artists enjoy the music of Memphis! Video [1:21] /// < http://www.facebook.com/video/video.php? v=230971950619&ref=mf > {Dec.15} Cirque du Soleil unveiled show Viva ELVIS at a press at a press conference in Las Vegas today. Get a sneak peek! Fotos [1] /// < http://www.facebook.com/photo.php?pid=3126630 &id=167136344108 > Video [1:26] /// < http://www.youtube.com/watch?v=s7EngLaHUO4 > Video [2:16] /// < http://www.youtube.com/watch?v=hCTOeST4Q1Y > {Dec.16} Priscilla Presley gives Entertainment Tonight a backstage look! A quick review and a 4:31 video! | Only ET's Mark Steines is with Priscilla Presley as Elvis Presley returns to Las Vegas. The inspiration for the new Cirque du Soleil show at the ARIA Resort & Casino in Las Vegas is Elvis and his love of comic books, superheroes and amusement parks. "What it brings back is the energy of when Elvis first appeared, or whenever he was coming here to appear for a show," Priscilla tells Mark. "He loved the intimacy, he loved being able to connect with his audience, and he loved to see their eyes. You know, he was the ultimate performer. He was there for his audience and he truly came alive." The production will pay tribute to Elvis' music and life, fusing dance and acrobatics, live music and iconic tracks, nostalgia and modernity, high technology and raw emotion. From the larger-than-life statue, to the wigs worn by the cast, the trademark shades and the jumpsuits, the show will be in Elvis' image: powerful, sexy, whimsical and truly unique. "Elvis Presley: Viva Elvis" will premiere at the new ARIA Resort & Casino in Las Vegas on February 19, 2010. It is just a part of the year-long celebration of Elvis' 75th birthday, which will begin on January 7, 2010 at Graceland. Link /// < www.etonline.com/news/2009/12/81970/index.html > {Dec.16} Viva ELVIS performers find inspiration at Sun Studios. Video [1:40] /// < http://www.facebook.com/video/video.php? v=241965035619&ref=mf > {Dec.22} Check out these great Viva ELVIS show photos! Fotos [5] /// < http://www.facebook.com/album.php?aid=130636 &id=167136344108&ref=mf > Fotos [1] /// < http://www.facebook.com/photo.php?pid=3160416 &id=167136344108 > --- [ WINTUK ] --- {Dec.01} Get a short glimpse of the amazing 'hoops act' in Wintuk by Cirque du Soleil!! Video [4:34] /// < http://today.msnbc.msn.com/id/26184891/ vp/34238946#34238946 > {Dec.08} Check Out some new photos from Wintuk's 2009 season! Fotos [8] /// < http://www.facebook.com/album.php?aid=338888 &id=98244255320&ref=mf > {Dec.10} Check out the new tv spot for Wintuk! It's Wintuk Season – Wintuk Wonderland! Video [0:35] /// < http://www.facebook.com/video/video.php? v=232912120619&ref=mf > {Dec.15} Even more pictures of Wintuk's 2009 season! Fotos [19] /// < http://www.facebook.com/album.php?aid=338888 &id=98244255320&ref=mf > {Dec.30} Watch the official videos for Wintuk, Cirque du Soleil’s family show presented at the WaMu Theater at Madison Square Garden in New York. Link /// < http://www.cirquedusoleil.com/en/shows/wintuk/ exclusive_videos.aspx > --- [ ZAIA ] --- {Dec.09} Check out the new look of ZAIA section at the West Lobby! We've got a HUGE Santa hat! Foto /// < http://www.facebook.com/photo.php?pid=2947511 &id=34277887388 > {Dec.13} ZAIA artists pose for the festive season - Happy Holidays! Foto /// < http://www.facebook.com/photo.php?pid=2970574 &id=34277887388 > {Dec.20} Check out the following promo of the ZAIA album! Video [1:06] /// < http://www.youtube.com/watch?v=xZ7Hn2CbJys > --- [ ZED ] --- {Dec.01} ZED celebrated its 500th show today! {Dec.27} Check out ZED's new TV Commercial featuring some of the amazing artists in the show! Video [0:30] /// < http://www.youtube.com/watch?v=KXSwnxG71-w > ------------------------------------------- GATHERINGS: CirqueCon, Celebri & More! ------------------------------------------- CirqueCon: < http://www.CirqueCon.com/ > [CirqueCon] o) Update #5: Monday, January 11, 2010 UPDATE #5: Monday, January 11, 2010 ----------------------------------- Greetings, Cirque Passionates! GOOD NEWS! Although Wednesday, January 6th was the deadline for Passionates to purchase tickets to OVO and Tour 2010 through our efforts, Cirque du Soleil has granted an extention to us - until the end of the month! SOOOOOOO, if you wanted to join us for OVO in New York City and/or Tour 2010 in Montreal - both under the Grand Chapiteau - now's the time! See the TICKETS section below for seating, pricing and other information pertaining to this extension! We also don't want you to forget about the Restaurant du Vieux Port - our Group Meal in Montréal! Please RSVP with us if you plan to attend this event - we'd love to dine with you! See the GROUP MEAL, MONTREAL section below for the menu and the costs involved. Please email us today with your entrée selection! o) TRANSPORTATION - HOW TO GET FROM NYC TO MONTREAL? Since we've announced our dual city itinerary, many of you have asked how CirqueCon was going to move from city to city, and up until now we hadn't quite decided whether we were going to attempt a "magic bus" from New York City to Montréal, take the train, rent some vans, or... what? After reviewing the multitude of options available to us we've decided that, due to the costs involved, CirqueCon will be unable to provide transportation between New York City and Montréal (or back). BUT there are many options, including flying, AMTRAK train, and Trailways Bus! Check out the following link for information pertaining to the Trailways link between NYC and Montréal: < www.trailwaysny.com/html/english/fares_pdf/mtlnyc.pdf > o) GROUP MEAL, MONTREAL - RSVP NOW! +--------------------------------+ | | | Saturday, May 1st | | | | 5:00pm to 7:00pm | | | | RESTAURANT DU VIEUX PORT | | | +--------------------------------+ One of the highlights of CirqueCon is when Cirque fans gather at a local eating establishment, enjoying a meal and getting acquainted (or re-acquainted) with each other. It's something that brings us together as a community. Passionates who joined us in Montreal for CirqueCon 2005 may remember the Restaurant du Vieux Port, a wonderful historical restaurant situated in the heart of the Old Port of Montréal and just a few moments walk to/from the Grand Chapiteau perched on the Quays at the waterfront. We loved them so much we're heading back! Passionates interested in joining us for a sit down plated meal before our official showing of TOUR 2010, please RSVP with us! Where is the Restaurant du Vieux Port? -------------------------------------- 39, Saint-Paul Street East Old Montréal, QC H2Y 1G2 Phone: 514.866.3174 Web: www.restaurantduvieuxport.com At the corner of Saint-Paul Street East and Saint Gabriel, just down the block and east of our hotel. (Literally just round the corner!) What's for Dinner? ------------------ * FIRST COURSE * Soupe du jour ou Salade du chef Soup of the Day or Chef’s Salad * SECOND COURSE * - Au choix - - Choice of - Contrefilet de boeuf Grillé sur charbon, servi avec pomme de terre en purée Beef Striploin Charcoal grilled, served with mashed potatoes ou / or Poitrine de poulet grillée Grillée sur charbon, servie avec pomme de terre en purée & légumes frais Grilled chicken breast Charcoal Grilled, served with mashed potatoess & fresh vegetables ou / or Filet de tilapia Servi avec riz sauvage et légumes frais Filet of Tilapia Served with Wild Rice & Fresh Vegetables * THIRD COURSE * Dessert Thé ou café / Coffee or tea Okay, How Much? --------------- $27.00 CDN per person w/taxes included. Let us know if you plan on joining us (with your entrée selection) by sending us an email to newyork@cirquecon.com by FRIDAY, APRIL 2, 2010. On Monday, April 5th we will calculate the cost of the meal in US dollars based on the exchange rate in effect at that time. We will then update you and our website with ticket cost and payment information. Payment must then be received by WEDNESDAY, APRIL 14th to guarantee your spot! o) TICKETS - GET YOUR OVO & TOUR 2010 TICKETS NOW! * * * DEADLINE: JANUARY 31, 2010 @ 11:59pm * * * Seating - Where Are We? ----------------------- +----------------------------------+ | | | *** CIRQUECON OFFICIAL SHOWS *** | | | | OVO | | Wednesday - April 28, 2010 | | @ 8:00pm | | | | BANANA SHPEEL | | Thursday - April 29, 2010 | | @ 8:00pm | | | | TOUR 2010 | | Saturday - May 1, 2010 | | @ 8:00pm | | | +----------------------------------+ Cirque du Soleil has extended its deadlines for CirqueCon and continues to have a number of seats on reserve for our group in a number of different sections each show. Check out the seating availability for each show below - time is running out! OVO, in New York City For OVO, we are allotted seats in Section 101, 102 and 200. All of section 101, 102 and some of 200 represent Cirque du Soleil's PREMIUM pricing category, are up front in some cases, and are in limited quantity. The rest of section 200 represents Cirque du Soleil's LEVEL 1 pricing category, and are a little further back (around the sound booth). 4 in PREMIUM (Section 101 or 102, Row AAA + AA) 4 in PREMIUM (Section 200, Row J + K) 35 in LEVEL 1 (Section 200, Row N, O + P TOUR 2010, in Montréal For TOUR 2010, because tickets are selling fast for Cirque's newest touring production, we were able to get a number of seats on reserve in just one category - LEVEL 1 - in section 202. We have 44 seats left for Tour 2010! BANANA SHPEEL, in New York City Tickets to BANANA SHPEEL are not yet available to us. Due to the change in the start-date for previews in New York City, pricing and scheduling for Banana Shpeel has been chaotic. We've been in touch with the right folks and we'll have an announcement regarding tickets to Cirque du Soleil's new twist on Vaudeville just as soon as we can. Honest! Stay tuned! Pricing - Okay, How Much? ------------------------- The prices below reflect cost of adults & children (there is no distinction between the two, sorry) with all taxes added in. Also please keep in mind that because the Cirque du Soleil box office is not equipped to handle the volume of individual tickets sales for our group, CirqueCon is once again facilitating the sale and distribution of your show tickets. Since PayPal levies an approximate 5.0% service charge for each item, we must charge slightly more to offset Paypal's transaction charges - much like for the membership fee. This is why you'll find the cost of tickets by CHECK vs. PAYPAL differs. We apologize in advance for this. OVO, in New York City PREMIUM: Section 101, 102 or 200 (Row J & K) $130.00 USD w/tax [by Check] $137.00 USD w/tax [by PayPal] LEVEL 1: Section 200, Row N, O + P $71.00 USD w/tax [by Check] $75.00 USD w/tax [by PayPal] TOUR 2010, in Montréal LEVEL 1: Section 202 $100.00 USD w/tax [by Check] $105.00 USD w/tax [by PayPal] Buying - Great, How do I Get 'Em? --------------------------------- We have these two convenient payment options available: 1) CREDIT CARD via PAYPAL We have our general PAYPAL account for those that wish to pay via credit card. Please send the total amount for tickets to PAYPAL account - newyork@cirquecon.com 2) BY CHECK Please send the total for each order. Checks should be made out and sent to: Keith Johnson 31241 Fourth Avenue South Federal Way, WA 98003-5203 IMPORTANT - IMPORTANT - IMPORTANT - IMPORTANT When making your payment, please advise us the TITLE OF THE SHOW IN QUESTION (as we have a number of ticket sales going on), the NUMBER OF SEATS you wish to reserve and the CATEGORY (either PREMIUM or LEVEL 1 and/or Section if applicable) in which you wish to sit. Due to the limited availability in some categories, seating choices will be filled on a FIRST PAID, FIRST SERVED basis. Email us your selections at: newyork@cirquecon.com Cool - Now What? ---------------- That's it! Once we receive your payment your seat reservations become final and you're set to sit in your selected category so long as we have the available seating. If your preferred seats or category are sold out we will make every attempt to contact you straight away. If we are unable to make contact with you, we will place you in the next seating category and refund the ticket difference (based on the form of payment). Some other things to consider... Seating Assignments -- Because CirqueCon is facilitating the ticket distribution this year, we have a little say over what seats you get. We will make every attempt to accommodate your seating preferences, but we cannot guarantee certain or any arrangements. Deadline -- The deadline for purchasing your seats through us for either OVO or TOUR 2010 is 11:59pm ET, Wednesday, January 6, 2010. Any remaining unclaimed and unpaid for seats will be returned to Cirque du Soleil - once they're gone, they're gone! Ticket Distribution -- You can pick up your tickets during our scheduled open registration times, at either Meet & Greet and before the show. # # # That's it for this update. Come join us as we take on Manhattan (and Quebec!) at CirqueCon 2010! Ricky, Keith, LouAnna, Rodolfo & Francisco CirqueCon 2010: New York City & Montréal! On the Web: < www.cirquecon.com > Facebook: < http://www.facebook.com/pages/CirqueCon/272446895013 > Twitter: < http://www.twitter.com/CirqueCon/ > Email: < newyork@cirquecon.com > ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= o) DIDYAKNOW - Facts at a Glance about Cirque o) HISTORIA - Cirque du Soleil History --------------------------------- DIDYAKNOW? - Facts About Cirque --------------------------------- o) Doyaknow the Creatura? Part Slinky, part insect, the Creatura from OVO dances to a tune that is all his own. He’s a bendy, twisty knot of stretchy limbs in constant motion. o) Didyaknow Mystčre opened at Treasure Island in Las Vegas 16 years ago, on December 25, 1993? Since then they've entertained more than 8.5 million spectators with more than 7,000 performances! o) Didyaknow that KŔ makes it snow in the desert 10 times a week? Actually, the "snow" in the mountain scene is very fine soap being floated through the air by snow machines and fans. It looks incredibly real, but if any of it makes its way to where you're sitting, we wouldn't recommend catching a flake on your tongue! o) Didyaknow that 54 artists from 13 countries are part of the show OVO? This truly international cast brings the teeming world of insects alive! o) Didyaknow it takes four people to dress the Ice Giants in Wintuk? o) Didyaknow the wardrobe department at La Nouba handles over 3000 costumes and headpieces every day. Most of the 67 artists performing in La Nouba wear three different costumes per show. o) Didyaknow that over 92,000 pounds of equipment "flies" during each performance of Mystčre? More than 7.5 miles of wire rope is used to move all the equipment and set pieces you see during the show. o) Didyaknow by the end of 2009, stage management at La Nouba will have called "go" (on headset during the show) 732,730 times since the show opened? Consequently, by midnight December 31st, La Nouba has been performed a total of 5,236 times. This means 376,833 German Wheel revolutions, 171,667 feet Balanced on Chairs, more than 70,000 loads of laundry and about 8,000 hours of training. o) Didyaknow the Mystčre wardrobe department uses some unusual items to make the costumes at Mystčre so unforgettable? Items such as piano wire, fishing line, metallic gift-wrapping paper, and medical supply IV tubing, to name a few make their way into the costumes. They're like the MacGyver's of fashion! o) Didyaknow the pride and joy of the KŔ Carpentry Department is the cork cleaning system? It is used to process the 4,000 pounds of Portuguese cork used each day to create the "sand" on the beach during the Wash Up scene. Carpentry has technicians whose sole job is to care for the cork each day, which includes filtering, sifting it for debris, removing static electricity and keeping it moisturized. o) Didyaknow the stage at Mystčre is hand-painted by one person, and gets fully repainted a few times per year? Although the stage receives constant touch-ups each month, during long breaks the Mystčre crew re-paints the stage (and resurfaces it with Coca-Cola to make it sticky). Considering the stage is 120 feet by 70 feet, that's a lot of trips to the hardware store! o) Didyaknow the "O" wardrobe department has done approximately 150,000 loads of laundry since the show opened in Las Vegas in 1998? That’s a lot of wash and dry! o) Didyaknow the "stage" called the Sand Cliff Deck is a performance space measuring 25 feet by 50 feet, and weighing 80,000 pounds? To give the spectator a real-life comparison of how large that is, it is the same as taking a two-story house, lifting it 60 feet in the air, rotating it 360 degrees, and tilting it just past vertical 10 times per week. Luckily there's not any furniture to worry about! ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * Jan.02.2009 –- Koozĺ opened Atlanta, GA * Jan.03.2008 –- Saltimbanco Arena opened Quebec, QC * Jan.04.2007 –- Quidam opened Dubai, UAE * Jan.04.2009 –- Quidam opened London * Jan.05.1996 -- Saltimbanco opened London * Jan.05.1999 -- Alegría opened London * Jan.05.2006 –- Alegría opened London * Jan.05.2007 –- Alegría opened London * Jan.05.2007 –- Varekai opened Auckland, New Zealand (Asia-Pacific Tour Begins) * Jan.05.2007 –- REVOLUTION Lounge opens (based on Beatles/LOVE) * Jan.05.2010 –- Alegria Arena opened Quebec City, QC * Jan.06.2003 –- Premiere of Fire Within on BRAVO * Jan.06.2005 –- Saltimbanco opened Manchester * Jan.06.2005 –- Varekai opened Houston * Jan.06.2005 –- Dralion opened London * Jan.06.2008 –- Varekai opened London, UK * Jan.06.2010 –- Varekai opened London, UK * Jan.07.1998 –- Alegría opened London * Jan.07.1999 -- Saltimbanco Asia-Pacific Tour Began (Sydney) * Jan.07.2003 -- Saltimbanco Euro Tour II began London * Jan.07.2003 -- Varekai CD Released in US (BMG/CDS Musique) * Jan.08.2009 –- Saltimbanco Arena opened Tupelo, MS * Jan.08.2010 –- Koozĺ opened Irvine, CA * Jan.08.2010 –- Quidam opened Rio de Janiero, BR * Jan.09.2004 –- Dralion opened London * Jan.09.2004 –- Alegría opened Miami * Jan.10.1999 -- Alegría: Le Film showcased in Palm Springs * Jan.10.2001 -- Alegría opened Auckland, Australia * Jan.13.2006 –- Saltimbanco opened Mexico City * Jan.13.2010 –- Alegria Arena opened Chicoutimi, QC * Jan.13.2010 –- Saltimbanco Arena opened Salzburg, AT * Jan.14.1997 -- Quidam CD Released in US (RCA/Victor) * Jan.14.2009 –- Alegría opened Taipei, Taiwan * Jan.14.2009 –- Saltimbanco Arena opened Biloxi, MS * Jan.16.2003 –- Varekai opened San Jose * Jan.16.2004 –- Saltimbanco opened Seville * Jan.16.2004 –- Varekai opened Costa Mesa * Jan.16.2008 –- Saltimbanco Arena opened Chicoutimi, QC * Jan.17.1999 -- Banquine Act awarded in the 23rd Festival du Cirque de Monte-Carlo. * Jan.17.2002 -- Dralion opened Houston, Texas * Jan.17.2008 –- Quidam opened Monterrey, Mexico * Jan.17.2010 –- Dralion’s Final Curtain Call [Mexico City] * Jan.19.2006 –- Quidam opened San Diego * Jan.19.2006 –- Dralion opened Seville * Jan.19.2006 –- Corteo opened San Jose * Jan.20.2000 –- Quidam opened Barcelona * Jan.20.2006 –- Varekai opened Miami * Jan.20.2008 –- Corteo celebrated 1,000th performance [San Diego, CA] * Jan.20.2010 –- Saltimbanco Arena opened Stratsbourg, FR * Jan.21.2009 –- Saltimbanco Arena opened Hoffman Estates, IL * Jan.23.2003 –- Alegría opened Dallas * Jan.23.2008 –- Saltimbanco Arena opened Detroit, MI * Jan.24.1995 -- Alegría opened Costa Mesa * Jan.24.2007 –- Delirium opened Detroit, MI * Jan.25.2000 -- Saltimbanco opened Hong Kong * Jan.25.2008 –- Dralion opened Tokyo * Jan.26.1991 -- Nouvelle Expérience opened San Diego * Jan.27.2004 –- Order of Canada bestowed upon Guy Laliberté * Jan.27.2010 –- Saltimbanco Arena opened Frankfurt, DE * Jan.28.1999 -- La Nouba Premiere Gala (Previews End) * Jan.29.1997 –- Quidam opened Orange County * Jan.29.2008 –- Saltimbanco Arena opened Cleveland, OH * Jan.29.2009 –- Dralion opened Perth, Australia * Jan.30.1993 –- Saltimbanco opened Costa Mesa * Jan.31.2007 –- Delirium opened Grand Rapids, MI * Jan.31.2008 –- Koozĺ opened San Jose, CA * Jan.31.2009 –- Dralion celebrated 3,500th performance [4:00pm, Perth] ======================================================================= FASCINATION! FEATURES ======================================================================= Within... o) "ZED CD Producers Ferguson & Allaire: Making Unexpected Magic Timeless" By: Keith Johnson - Seattle, Washington (USA) {Issue Exclusive} -------------------------------------------------------------- "ZED CD Producers Ferguson & Allaire: Making Unexpected Magic Timeless" By: Keith Johnson - Seattle, Washington (USA) {Issue Exclusive} -------------------------------------------------------------- When the soundtrack CD of the Tokyo, Japan resident show ZED (Cirque du Soleil Musique, CDSMCD-10031, 2009) was released reaction was enthusiastic, yet fans wondered about some of the decisions made in the albums production. So we at Fascination went right to the source, the albums production team of Martin Lord-Ferguson and Ella Louise Allaire (EL-uh Lou-EEZ Uh-LAIR). Working on the soundtrack in conjunction with veteran Cirque composer René Dupéré, they both come with extensive histories. Ms. Allaire has a Master’s degree in composition from the University of Montréal, and has previously released two CD’s, “Heretique” (1999) and “Mon Or” (LaChapelle LACHAPCD-9184, 2004). Mr. Ferguson has been involved in over 30 albums in his career. “I’ve done a lot of French singers. Mitsou Gélinas and Ginette Reno are known French Canadian singers, but I don’t know if you’d find them in the USA. The most successful thing I did outside of Cirque and outside of “Energia” would be a TV series I did as a composer called “Fortier (FAH-tee-ay).” It was huge throughout all of Canada. It was an “Alias”-type series that I did about nine years ago.” (10 episodes of the series aired on French-Canadian television in 2001.) It was around that time that he met René Dupéré, first recording and co-producing the Dupéré, Élise Velle and Boris Bergman album “La Belle Est Dans Ton Camp” (Netza NET2-1441, 1991). They continued that arrangement for the Saltimbanco re-recording and re-release (Cirque du Soleil Musique MDSMCJ-10005, 2004). In addition to co-producing and recording the soundtrack to KŔ (Cirque du Soleil Musique CDSMCJ-10024, 2005), he also provided vocals for “Forest.” It was here Ms. Allaire became part of the team, writing choir arrangements as well as singing on the songs “Koudamare” and “Threat.” After KŔ they were involved in several non-Cirque projects, including music for the Conservatory at Bellagio in 2005 and the soundtrack for the TV movie “Journey to the Center of the Earth” in 2008 (not the 3-D Brendon Frasier version, this one starred Rick Schroder and Peter Fonda). They also composed two volumes of film score “cue” music for APM Music (www.apmmusic.com - more on that later). And just before becoming involved in production of the ZED Soundtrack, they co- composed with Mr. Dupéré the soundtrack for the Holiday on Ice(.com) show, “Energia” (BUMA/STEMRA DPCD-1101, 2008) Being Mr. Dupéré’s associates over several projects (Mr. Ferguson for 10 years, Ms. Allaire for 6 years) has brought a smooth working process to the trio. This helped with their first big project, KŔ. ELLA LOUISE ALLAIRE (ELA): “[ZED] was a pretty smooth process, [compared to] KŔ [where you could have long delays caused by] the gantry stopping at some point in the show. There were a lot of technical issues with KŔ.” MARTIN LORD-FERGUSON (MLF): “KŔ was also the first time we were using the Giga with the Symphonia system.” (This system allows individual pre-recorded instrument tracks to be played back in sync with live music, including recalling specific sections of musical cues. It is especially helpful when a musician or singer is unable to perform.) “We were using 32 tracks of playback and there were lots of technical issues. [We then used the same system with] Saltimbanco live arena. [ZED] was the third time we were using the same system. Technically [the creation of ZED] went very well.” “All the shows can be stressful, but we [had] to adapt more for [KŔ]. And we were called in later in the process; KŔ was [just] three or four months. For ZED we had two and a half years so there was a natural process; we really had more time to ponder [each] decision. For us the soundtrack of ZED is the result of those two and a half years.” ELA: “It was a long process. We’d do a bit, then another bit, then another bit, [starting] in 2007. For ZED Martin and I were involved from day one, from the first mock-up to the last final note. What’s on the album is a large palette of everything in the show, which we had to reduce to a certain length.” For ZED, Martin Lord-Ferguson is listed as Musical Director and Co- Arranger, while Ella Louise Allaire handled Orchestrations and Arrangement for the Chorale, with Mr. Dupéré handling Composing and Arranging. But the three work together during the process. ELA: “When René comes to our studio we listen to what he’s written and make suggestions. Then we make a mock-up, which we take to the band or to the director or to the choreographer, and we make adjustments when asked. It’s very easy going. The first thing is to present the music with all of its characteristics - the tempo, the drive - to the [creative team]. Then if the choreographer says, ‘We’re missing this’ or ‘It’s not fast enough’ or something then we re-work it. And the director has his own opinion. We sort of jumble around with the music until there’s a consensus that the number is good.” MLF: “If there are parts or structures missing we re-do it with René. We add the band as a flavor and we also add [prerecorded tracks] as a flavor.” Being brought in at the beginning of creation also presented the opportunity to be part of the process of incorporating and auditioning musicians. This included luring bandleader and keyboard player Michel Cyr, a musician with deep familiarity of jazz, away from the Franco Dragone production, Le Ręve, at Wynn Las Vegas, to be bandleader for the new Cirque production. MLF: “We first did an interview with [him] in Las Vegas. And then we were at all the meetings with him and all the auditions.” ELA: “[During Creation] the director, François Girard, would often use the band to play and jam just for the feel. Over the months that process created a sound for the band. There’s a piece in the middle of the show where they jam as well – during the intermission and at the beginning of the [second] act.” This “band sound” was then mixed with the music to create a complete musical whole, which is described in the CD liner notes as, “juxtaposing musical elements that initially might have appeared from different genres.” ELA: “For instance, the last piece, “Hymn of the Two Worlds,” has a classical flavor, “Vaneyou Mi Le” has much more of a world feel. And the live band is much more funky. [We had] classically trained string players and a classical chorus, [with] a more world voice [in some songs]. Because [show character] Noit’s voice has a more Scandinavian type of ornamentation. And [you have] the band that is very jazzy funky.” MLF: “One of the best examples of a juxtaposition on the CD is, “Reaching Up.” You have the jazzy feel from the band, Johanna (Lillvik)’s voice very ethereal on top, and you have some world flavors added.” Blending The Elements --------------------- Recording for the CD actually began way before the show premiered. MLF: “The [orchestra and choir] recordings for [both] the show and soundtrack were done about a year before the opening of the show. We [traveled] to Slovakia to do the recordings for the orchestra. For the choir the decision was made to do the recordings in Montréal because we were in the staging process at Cirque at the time.” ELA: “[The chorus] was recorded at the Schulich School of Music of McGill University with a chorus of about 50 singers.” It was always planned that of Mr. Ferguson and Ms. Allaire would be producing the soundtrack CD and not assigning it to an outside producer. But Mr. Dupéré was never far from the process. MLF: “[Most] of the creative process [for] the songs was done in the months [before] and right after the premiere. After that René would come and [observe] the different steps of the process all the way up to when we finished the soundtrack in June.” ELA: “At first we said, ‘Let’s listen to the live show and see what elements we can take and incorporate into the tracks, and how we can make this blend together and make sense.’” The desire to incorporate the creation musicians whenever possible led to an interesting ‘hybrid’ approach to recording. MLF: “For ZED it was definitely important [to use the creation musicians]. When we had our first meetings three years ago we knew that we wanted to do a more live performance-oriented show than KŔ. So we knew right from the start that we wanted to use the musicians [for the soundtrack CD].” ELA: “It’s not a challenge to convince [the musicians] since obviously they want to be part of the soundtrack. The challenge is to fit [recording into] their schedule of 10 shows a week, which is very demanding. [With] two shows a day it’s difficult to put recording before or after that. And they really need their days off. So it’s challenging to [find] a timeframe. That’s why, in the case of ZED, the live tracks that we put on the album were very much appreciated. We had a few additional [recording] sessions but not like a complete album from [beginning to end].” MLF: “[The band recordings] were done after the show debut. We recorded some live shows in February 2009, and from that we used [much] of the material. We had done special planning with the sound crew at the show and we knew how they were going to record on those special days. We also took two months to do the extra sessions with the live musicians to fine tune what we needed, because we wanted to [record] them on days where they only had one show instead of two. [On a one-show day, when] they would do a matinee they would finish around six o’clock and would record from seven o’clock on.” “For the Tokyo [sessions] we set up a small recording studio in the Tokyo theater, but we [Mr. Ferguson and Ms. Allaire] weren’t physically there. We arranged a camera setup via Skype so we could see and hear them while they were recording. We had an engineer recording [the session] and we would watch and comment.” ELA: “We could give them direction, [such as] how to interpret pronunciation. It was quite challenging because of the time [difference]. But also because of the scheduling of the musicians. [If, on a one-show day] they had a matinee they could record after that, but it would be very early in the morning for us [in Montréal]. So it was pretty tricky to schedule.” (When it was 7pm in Tokyo it would be 5am in Montréal.) So were most of the tracks live recordings, or were most of them recorded later? MLF: “It depends on the musician. Most of the percussion, drums and bass are from the live recordings. Keyboards as well, but there are [extra] layers of programming that are in the show and on the soundtrack that were added. With the soloists [such as] violin, bassoon, and duduk sometimes they are live and sometimes [they were] done afterwards. Of course the vocalists were done afterwards because we used a better mic and they were in a quiet environment and [we were] able to do multiple takes.” While the other songs on the CD feature some combination of “live” and “studio” recordings, “Blue Silk” (used in the aerial silk performance) is a totally live performance, with the vocals recorded separately. Difficult Choices ----------------- Once the live recordings were done, the next task was made more challenging by a request from Cirque’s Musical Director, Alain Vinet (see our interview with him in Fascination! #67 – August, 2009). ELA: “Cirque wanted us to produce an album of about 50 minutes [length]. And we were allowed a certain budget as well. 50 minutes [of music] needs a certain type of budget that we had to respect. So obviously, since the show was an hour and a half we had to make difficult choices about what would go on the album and what wouldn’t.” The first job was to trim the live recordings from their longer performance-based length to a more reasonable three to five minute pacing for CD’s. However, in order to make the 50-minute length requested by Cirque, some songs had to be cut. This included the music for the Lasso act, the instrumental played at the end of intermission and, initially, “Kernoon’s Fire.” ELA: “[With regards to] Lasso, originally the piece was [composed in the key of] G. And the strings we recorded were in G. [But] later on the number was sped up and we couldn’t use those [string] tracks anymore, because the song was now in A. For some [time] the Lasso music was in question - should it be different, should it be [in the new key]? (Eventually it was decided to keep it in A, the key it is in now). Because of that we put it aside since we had to eliminate [songs] to make it a 50-minute album.” MLF: “The live [version of the] song changed often during staging to fit with the number. [Since] the staging and speed changed around technically it was a more difficult song for us to do.” “It’s the same reason with the intermission music. It’s not that the song isn’t good; it’s a very good song. It was actually the first version of, “Reaching Up,” and of course during staging that number changed so the music also changed. The band really loved that song; they were disappointed when we had to [cut it]. So we said, ‘If you’re willing to play it at intermission...’ So we actually moved [the original song] to the intermission. But again, because of the 50-minute [limit] requested for the CD that was one of the songs that was cut.” When viewing the show in Tokyo, we really loved “Mirror of the Two Worlds” (the baton act) in the show, but felt is was too short. The song is essentially the same length on the CD, and we wondered if there was ever a consideration to lengthen the song? MLF: “The first draft [of the song] wasn’t exactly like it is now. The number was longer and was actually bigger musically [with] more orchestra and choir, it was a very big number. In staging it was reduced and compressed and the staging was changed. For the soundtrack we also wanted to put “Mirror” (the song that plays at the start of the show) onto it. So that’s why we wanted to keep that particular [song at the length it is in the show].” A fan has noted that the beginning of “Birth of the Sky” has some talking and singing in the show (after Johanna Lillvik’s initial vocal solo) that is missing on the CD. MLF: “During the live show she’s actually talking to the bungee people around her; she is basically doing an improvisation, [saying] something different every night. We didn’t feel that was necessary for the soundtrack.” ELA: “[Johanna’s talking] wasn’t written for the soundtrack by René. The way you hear it on the album is the original writing. We [realize] that the show lasts many years and over those years you can have new [singer] interpretations coming into the show; everybody adds a bit of [themselves]. But we are the guardians of the original ideas. And that was the way it was written and intended, so that’s why it’s the way it is [on the CD] now.” Another fan has noted there is a drumbeat throughout “First Incantation” that has a rhythm exactly like drums at the beginning of “O Makunde” from the KŔ CD. How did this drum rhythm and sound get into both scores? MLF: “This is the first time I’ve heard about that. Ella, René and I programmed both of the soundtracks so sometimes there can be some [similar] elements and flavors that we use. To be honest I don’t think it’s the same; it might be a rhythm that’s close but I’d have to listen to it.” Mr. Ferguson says in the liner notes for KŔ, “This disk has its origins in the show but is both a reflection and an extension of the show.” How do soundtracks “extend” a show? MLF: “One of the things about Cirque is that these shows last for a very long time. Longer than most Broadway or other shows; like Holiday on Ice is maybe three or four years, but not fifteen. So in the soundtrack process we want to make it timeless. I remember for KŔ that since it’s a permanent show in Vegas we wanted the soundtrack to be as timeless as possible. That’s why we went to record the strings at Paramount [Studios]. That’s why it’s an extension of the show, because we used more programming for the live version and live strings for the soundtrack.” Ms. Allaire and Mr. Ferguson sang on the demo mock-ups of the music used in the creation process. In fact, Ms. Allaire’s voice can be heard on pre-recorded tracks that are played back during the live show! Though creation singers Johanna Lillvik and Kevin Faraci sing throughout the live show and the majority of the soundtrack album, there are three exceptions. In the case of “Vaneyou Mi Le” Ms. Allaire handles the vocal. ELA: ““Vaneyou Mi Le” is [actually] an Abraka (AH-bruh-kuh) number. In the story of ZED you have the people from the sky and the people from the Earth. The people from the sky have these ethereal, very high voices. And [the people] from the earth have a more guttural [sound]. The voice I use to sing on “Vaneyou Mi Le” is more of someone from the Earth or from the deep world; more related to Abraka’s world, not the sky world.” After recording, mixing, and editing the CD to a running time of 51 and a half minutes it was presented to Cirque. The feedback from Alain Vinet was – interesting. ELA: “When the album was finished he really enjoyed it, most of his comments were extremely positive. The only thing he asked was maybe an extra song.” MLF: “We had submitted the album and Alain asked us to [go back and] put “Kernoon’s Fire” on. So we discussed it with René. In the show Kernoon is a separate character.” ELA: “Originally Kernoon was supposed to be sung by a third singer because it’s a different character. For instance Kevin plays Abraka. Kernoon (kur-NOON) is a creature of the deep Earth. And Noit (nu- WEET) is a creature of the sky. When Alain asked us [for the song] the album and all the recording sessions with the Tokyo crew were finished. So we needed a solution for a vocal, respecting our budget and timeframe. And for many years Martin has been singing René’s pieces because René is very fond of Martin’s voice. I think Martin has a great voice. Since it was last minute and we were very close to the deadline [it was] a natural decision. [Especially] since [Kernoon is] a different character. So we didn’t feel it would soften the score or the story of the show.” Other Endeavors --------------- The trio of Dupéré, Ferguson and Allaire work together under the banner Creations Netza. (www.creationsnetza.com). (“Netza” is the name of one of the three male “Sephiroth” or emanations through which God reveals himself, from the teachings of Kaballah.) MLF: “It was a suggestion from René’s wife (Élise Velle) who was studying the Kabal at the time. Not the religion, she was just interested in the Kabal. We wanted to have an original name, and naturally we went to Netza.” Their work includes a number of projects outside Cirque. One of the more intriguing is something called “Sonic Elixer,” of which they have released two volumes on AMP Music. MLF: “Ella and I do film work more and more now. The APM collection is a collection of [musical] cues that are used in film, television and commercials. We’re actually releasing three new CD’s that are going to be part of the Composer Collection. It’s more and more an integral part of what’s happening on the LA/Hollywood scene, to have film cues that are different.” ELA: “It’s more of a Hollywood guideline type of music - big scores, big production. It’s not [available to] the public; it’s only open for the industry to license for their purposes.” Another outside project of which they are particularly proud is the soundtrack for the Holiday on Ice show, “Energia” (touring Germany through March, 2010). Ms. Allaire composed five tracks for the show, Mr. Dupéré four and Mr. Ferguson three. The recording of the soundtrack was a career highlight. ELA: “The recording of 100+ musicians at Air Studio that we did for “Energia” [was such a highlight]. Working with (Chief Sound Engineer) Geoff Foster, hearing your music being played by such a large orchestra was such a blast it was indescribable.” MLF: “That was something we did last year. Usually orchestras and choirs are [recorded] separately and layered on. For “Energia” we had 140 people [playing at one time]. We did some layerings but most of it was done in one day. That was certainly one of the great climaxes of our career.” Their next Cirque du Soleil project is already in the works, a resident show in Dubai. When can we expect to hear that music? ELA: “That’s a good question that we don’t have an answer to at the moment. There is some delay because of the world economic situation. We know that in December [2009] they’re either supposed to fix a date or get more [information] on when [it will debut]. We don’t have an answer unfortunately but it’s definitely on.” MLF: “We are working on it together with René. We did about a half- hour mock-up that was presented and everybody’s happy. It’s a bit like ZED because since we are involved much earlier in the process we have the time to make it work. It was scheduled to open in 2011 but I believe it will be sometime in 2012.” ELA: “The music is a totally different world, but we won’t say too much. It’s going to be a great show!” When we interviewed René Dupéré (See Fascination issues #46 and #47) he said of Mr. Ferguson: “He's a fantastic mixer; he’s been working with Pro Tools since he was a kid. He makes the sound bigger than I would have been able to.” How does he make things sound bigger? MLF: “I’ve been doing mixing and producing for more than 20 years. And I’ve always had a natural feel for doing bigger productions. There are different aspects to it. There’s what we call layering that we use a lot; we add different layers of sound and textures. And there are lots of mixing tricks.” ELA: “He can’t tell you them all, it’s part of the secret recipe! (Laughs) The show [ZED] was amazing and huge, so it needed an amazing soundtrack.” Finally, as our time was once again winding down we asked, as we always do when we talk to Cirque creatives, what words of wisdom do they have for young artists? MLF: “I think one of the magical things about Cirque [music] is that it has a whole bunch of styles. It’s not [confined] to just pop or rock or classical, it’s a bridge to multiple types of music. For us it’s always been very natural to be open to all genres, from rap to classical to country to film music to pop to rock. So we encourage writers and composers to always be open to other genres. There’s some good stuff in country music even if you’re a dance composer.” ELA: “Magic often happens with unexpected elements. For example someone may not have any music training but [may] have a natural feel for it. Or you might have someone who’s classically trained but needs to loosen up some of their habits sometimes. Or world musicians – we had a fantastic ehru player on the Energia show who had totally different notation. All these things make you learn more about music. I talk about that a lot; we learn more every day about music and how to use [different] elements to make it more expressive, and to meet the directors’ view.” “Every decision we make in our process we try to make with all the honesty and creativity and emotion that we think the work is going to bring to the people. We always keep that as a guideline, to always to do as good as we can.” “Put your prejudices aside. Be as creative as you can. Go for your passion and find your personal sound.” My sincere thanks go to: Mr. Ferguson and Ms. Allaire, for so graciously spending time with us; Lise Dubois, Corporate Alliances Coordinator; Marie-Noëlle Caron – Public Relations Information Agent; and my wife LouAnna for putting up with my sometimes obsessive hobby. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly newsletter, available through subscription via Yahoo! Groups or on the World Wide Web in text format at the newsletter's website: < http://www.CirqueFascination.com/ >. 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, or other online Newsletter content, please visit us at: < http://www.CirqueFascination.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! Newsletter Volume 10, Number 1 (Issue #72) - January 2010 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2010 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. { Jan.11.2010 } =======================================================================