======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 11, NUMBER 9 September 2011 ISSUE #92e ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. There's plenty to share with you this month so rather than go on and on about what's inside the issue, I'm just going to be quiet and let you get to it. As always we've got the latest news items posted to Fascination! Web, updates to Cirque's tour schedule, a number of posts from CirqueClub and the various Facebook pages within, as well as a CirqueCon 2011 Update, musings about ZED and a review of the new KA app for Android devices! So, let's get started! 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 * Arena Shows -- In Stadium-like venues * BigTop Shows -- Under the Grand Chapiteau * Resident Shows -- Performed en Le Théâtre * Venue Shows -- Venue & Seasonal Productions o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub * Networking -- Cirque on Facebook, YouTube & Flickr o) Compartments -- A Peek Behind the Curtain * Didyaknow? -- Facts About Cirque * Historia -- Cirque du Soleil's History o) Fascination! Features * "The KÀ App for Android - a Quick Review" By: Ricky Russo - Atlanta, Georgia (USA) * "CirqueCon Update #6 - We Have a Group Meal!" By: Keith Johnson - Seattle, Washington (USA) * "Remembering ZED: A Timeless Evocation" Part 1 of 4 - "The Meeting of Two Worlds" By: Ricky Russo - Atlanta, Georgia (USA) * "Bhavsar Blogs in Gymnast Magazine" [EXPANDED] A Special Collection from IG Online * "TOTEM Hits Toronto" [EXPANDED] A Special Collection of Reviews in the Press o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Guy Laliberte's "Gaia" - Most Expenisve Book? {Aug.03.2011} ------------------------------------------------- While e-book prices may seem on course for a race to the bottom, some publishers are counting on customers' deep pockets, especially for high-end art books that support a worthy cause, to maintain price points. Assouline just released a dual French- and English-language collection of photographs of the earth, Gaia, "curated" by Cirque du Soleil founder Guy Laliberté, to raise money for the clean water charity he founded, One Drop. The book is available at three price points, including one that is likely to be the highest of 2011. Still at $7,000 it's less than half the price of several Taschen limited editions from pre-recession days, Sumo and Goat, which retail for $15,000. Gaia, however, could have the distinction of being the most expensive book ever to be produced, if the $35 million price tag for Laliberté's training to go into outer space and the 11 days he spent there are taken into account. The billionaire was the first private space explorer from Canada. The book, which contains photographs he took from 220 miles away at the International Space Station, includes his Preface as well as literary comments about earth by writers ranging from Galileo to Carl Sagan and John Keats. In addition to the $7,000, 178-page hardcover with foil accents, size 17 X 24," for which purchasers earn a $4,500 tax deduction, Assouline is offering two other bilingual editions: a 144-page hardcover in a clamshell box, which retails for $875, and a $65 trade edition. The pre-launch tour was pegged to the cover- price, starting with Laliberté's initial event at the Grand Prix in Monaco at the end of May with Prince Albert. Other stops included Paris, London, and Los Angeles, where Assouline has boutiques, as well as Laliberté's home in Montreal. According to Mimi Crume Sterling, v-p of global communications for Assouline, the press is planning a rolling launch to promote the finished book with an event in Las Vegas in November to celebrate the second anniversary of Laliberté's trip. {SOURCE: Publisher's Weekly} $50 Tickets to La Nouba for FL Residents {Aug.03.2011} ------------------------------------------------- Treat yourself to an evening like no other with $50 seats to La Nouba this fall. Mesmerizing performances, breathtaking acrobatics, moving live music and extraordinary imagination dare to make the impossible, possible!* * Ticket price excludes tax. Offer valid for Tuesday-Saturday performances 8/2/11-9/17/11 and 9/27/11-10/29/11. Seating subject to availability. Offer is not valid for previously purchased tickets, gift certificates or with any other discounts. Offer is valid on category 2 seats only. Offer ends on October 29, 2011. Gaia, a Book by Guy Laliberté {Aug.04.2011} ------------------------------------------------- Interested in Guy Laliberte's book - GAIA? Gaia is the tour de force of Cirque du Soleil founder Guy Laliberté. Here Laliberté presents stunning photographs of the Earth taken from 220 miles away during his eleven-day trip orbiting the earth as a private space explorer, with unique views of nearly forty countries. A documentation both rare and captivating, his images are natural works of art, rich in color and texture. Here's some details: Guy Laliberté documentation of his experience in space featuring his photographs of Earth as seen from the International Space Station. Captivated by the beauty of the surface of the Earth, Laliberté's evocative photos show the colors and textures visible only 220 miles away. A stable subject and a moving photographer - the ISS is moving at 17,500 miles per hour (about 5 miles per second), doing 6 tours of the earth every 24 hours - made for truly original conditions. Using the Nikon D3S and Nikon D3X digital-SLR cameras, deserts resemble contemporary abstract paintings, cities rise up like mini-mountain ranges, and faces and figures are revealed in nature. Laliberté dedicated his personal spaceflight to raising awareness about water issues facing humankind, making his the first, in his own words, "poetic social mission" in space. Proceeds from book sales will go to Laliberté's One Drop Foundation, a non-profit organization created to fight poverty worldwide by ensuring that everyone across the planet has access to water, now and in the future. Available September. In addition to the standard Hardcover edition, a hand-bound limited edition with color plates presented in a linen clamshell box (shipping with a complimentary Assouline canvas tote bag) is also available. Pre-order today! Standard Edition - $65.00 Hardcover / 9.5 x 12.75? 304 Pages, 149 Images < http://www.assouline.com/9782759405343.html > Special Edition - $875.00 Linen presentation box / 13.97 X 13.04? 168 Pages, 101 Images, 12 Gatefolds < http://www.assouline.com/9782759405336.html > New KÀ iPad App! {Aug.05.2011} ------------------------------------------------- Have one of Apple's iPads and are also a fan of Cirque du Soleil? Then check out this latest free app offering from CirqueClub! Cirque du Soleil has partnered with Mobile Roadie, a leading global app platform, to power their newest application on Apple's iPad tablet that features exclusive content from KÀ at MGM Grand in Las Vegas. Experience KÀ on your iPhone and iPad! Download the free KÀ iPhone and iPad app and immerse yourself in this unprecedented, gravity-defying production by Cirque du Soleil that takes adventure to an all new level. Discover the heroic journey of love and conflict, learn more about the scenic elements and costumes as well as the colossal stage Where KÀ performs at MGM Grand in Las Vegas. The KÀ iPad app includes photos of your favorite KÀ characters, exclusive behind-the-scenes images and creative sketches of the show, videos that feature a make-up application with KÀ artists, clips from G4 TV, KÀ's performance at Comic-Con and more. Check out the app on the web at: < http://www.cirquedusoleil.com/kaipad > OR, view it in iTunes here: < http://itunes.apple.com/us/app/id449353317?mt=8# > IRIS: Sensational. Stunning. Stupendous. [EXPANDED] {Aug.07.2011} --------------------------------------------------- Michael Figueiredo of the LA City Guide Examiner spent an evening at a preview performance of Cirque du Soleil's IRIS - here's what he had to say about the show! # # # Sensational. Stunning. Stupendous. Just about any superlative would be fitting for IRIS: A Journey Through the World of Cinema, the newest masterpiece from world-famous Cirque du Soleil. It premiered only two weeks ago and yesterday I had the chance to experience it with my entire family. Held at its permanent home, the Kodak Theatre in Hollywood, the production takes spectators on "a voyage through the history of cinema and its genres." From silent films to talkies, black & white to color and animation to the current 3D craze, this new show definitely will appeal to audiences of all ages. IRIS blends reality with film clips, live video, light and shadows, creating a dream world like you've never imagined. As you may have figured out, the name “Iris” refers to the adjustable opening that controls the amount of light that passes through a camera lens (as well as the human eye.) Like all of Cirque du Soleil’s shows, IRIS showcases mind-blowing acrobatics, sumptuous costumes and sets, and phantasmagorical imagery. The plot centers around the romance of two young Hollywood archetypes—Buster (the humble hero) and Scarlett (the ingénue turned movie star)—as they find themselves lost in the chaos of a film set. The first acrobatic performance features identical twins soaring directly over the audience, swinging from ropes in poetic, mirror-image synchronicity. Another highlight of the show is a lavish trampoline act with gangsters and cops bouncing off the rooftops. There are unbelievable acts of contortion, tumbling and trapeze as well. I also really enjoyed a frenetic dance number featuring the entire ensemble dressed in costumes of every genre from westerns and film noir to sci-fi, adventure and slapstick. The show’s finale is an explosion of glittering confetti and streamers and of course, a standing ovation from the awe-struck audience. IRIS was written and directed by first-time Cirque collaborator, Philippe Decouflé and Danny Elfman (best known for his film scores for director Tim Burton) composed the vibrant original score. Elfman’s quirky style lent itself perfectly to the artistry of Cirque du Soleil. The show features a cast of more than 72 performing artists from fifteen countries around the world, including Spain, China, Kazakhstan and the United States. The estimated cost of IRIS is $100 million—$40 million to retrofit the theater and $60 million for the production itself. It’s expected that there will be 368 performances annually. And, in case you were wondering, The Kodak Theatre will continue to host the Academy Awards every January as well. IRIS is definitely something that visitors to Los Angeles should plan on fitting into their itinerary. {SOURCE: The LA City Guide Examiner} Changes Coming to Viva Elvis? {Aug.08.2011} ------------------------------------------------- It's only a sentence in a statement on MGM Mirage's quarterly earnings, but according to the Las Vegas Sun, changes are coming soon to Cirque du Soleil's VIVA ELVIS production at Aria, MGM City-Center: # # # The company's CityCenter resort complex also showed improvement in the second quarter. CityCenter's operating loss narrowed to $89.8 million from $128 million a year ago. Revenue from resort operations rose 50 percent to $274.9 million and revenue at Aria increased 48 percent to $233 million. Since its December 2009 opening, the $8.5 billion complex has been plagued with problems ranging from sluggish condo sales and retail activity to the empty, construction-flawed Harmon hotel. Some customers also reported initial problems with CityCenter's in-room hotel technology and did not take to its modern design. "I think people still want to know where Aria and CityCenter fit into the Las Vegas landscape and will it justify its investment over time," Murren said. "From our perspective, it's clearly on that path. Brand awareness is improving and our (customer service) scores have gotten much better." # # # MGM is working with Cirque du Soleil to modify Aria's money- losing "Viva Elvis" show, which has drawn sparse crowds, executives said. {SOURCE: Las Vegas Sun} DidYaKnow? - ZED Documentary Animation {Aug.09.2011} ------------------------------------------------- Have you seen the ZED DVD documentary? Enjoyed the cool anime- style intro animation that went with it? Yeah, us too... Check out the following for a glimpse of the animation from those who created it! < http://www.behance.net/gallery/Zed-Cirque-du-Soleil/237273 > On Cirque du Soleil's TOTEM [EXPANDED] {Aug.10.2011} ------------------------------------------------- Canada's National Post offered up a fantastic insight into the creative process of Cirque du Soleil's TOTEM, now performing in Toronto: # # # It was early October 2009 and acclaimed Quebec director Robert Lepage was preparing to present his vision for the latest Cirque du Soleil show to CEO Guy Laliberté. "When are we showing this to Guy?" He asked his team. They opened their schedules. Laliberté was not on the planet. So, Lepage replied, "When is he back from space?" The director, 53, laughs remembering this. "I actually heard myself say that." Laliberté had travelled to the International Space Station as a tourist aboard a Russian Soyuz rocket on Sept. 30, 2009. How do you impress a man who's seen the entire planet in a single look? "His barometer is the hair on his skin," Lepage says of Laliberté. "If the hair is up, it means it's good. If not, well, then it's not going to work and it's out." Laliberté's instincts have managed to keep audiences rapt for decades with Cirque du Soleil's body-bending, high-flying formula. The show Lepage was presenting to Laliberté became Totem, which celebrates humanity's evolution from creature to cosmonaut. The Quebec circus company's 27th show in 27 years since its inception, Totem debuted in Montreal last year and opens in Toronto on Aug. 10, its eighth city. Laliberté had been trying to lure Lepage back to the big top since he directed Ka, Cirque’s theatrical offering at the MGM Grand in Las Vegas, in 2004. Lepage refused; the internationally-acclaimed playwright, actor and director was busy appearing in theatrical works and directing operas. Two years later, Laliberté asked: “What do you want to do?” Lepage’s answer: an intimate tent show, inspired by the 200th anniversary of Charles Darwin’s birth. “I wanted to do something that would be about evolution,” he says. “Evolution is about the body, how you go from a nucleus to an amphibian to a mammal to standing upright and eventually flying. There’s enough space in that idea to go into the origins, go into the past, talk about the present and project ourselves into some sort of poetic ideal.” The creation of a Cirque show follows Darwinian principles. Everyone involved is interdependent. Each artist brings unique traits to develop the work. And only the fittest ideas (and talent) survive. Laliberté allowed Lepage to recruit his “usual suspects,” a team that would start out as a handful of people sitting around a table at Cirque’s Montreal headquarters in 2008 and would grow to a cast and crew of 120 touring employees. During early creative meetings, ideas were limited only by one’s imagination. In one meeting, Lepage took a model of the set — the carapace, an oval frame representing a turtle skeleton — and tilted it on its side. “You could just see the rigging designer, Pierre Masse’s, face,” choreographer Jeffrey Hall recalls, his mouth falling open in mock shock. This idea stuck. In the show, the 1,200-kilogram carapace opens like a clamshell as well as rises to the top of the tent. Meanwhile, ideas begat other ideas. Hollywood costume designer Kym Barrett, known for her work on The Matrix trilogy, returned to Montreal from Los Angeles one day and covered the walls with her vision. “The room was full of colours and textures, not just fabrics but characters and ideas for scenes,” Lepage says. Her work helped define Totem for everyone, including the director. “The lush aesthetics from the whole show are beyond the costumes. They really come from her,” he says. Barrett’s sketches would become almost 800 costume pieces including neon green tree frogs with bulging red eyes on their shoulders, sparkling jugglers adorned with 3,500 crystals and ceremonial clothing worn by aboriginal people. Next came those who would inhabit the space and wear those skins. Among the international talent recruited for the show, Lepage hired two First Nations performers: Nakotah LaRance, a champion hoop dancer from Arizona; and Christian Laveau, a singer, actor and drummer from Wendake, Que. Lepage saw 37-year-old Laveau perform in 2009 and approached him. “He said, ‘I’m the director of the next show of Cirque du Soleil and I see you there,’ ” Laveau says. “I said, ‘Come on. I’m a traditional singer. I’m not a professional musician.’ Robert and Guy Laliberté said, ‘What we want is the spirit. We will not change you.” Other artists, however, had to adapt to the stage. Former athletes in the cast had to learn how to be performers. That was partly the job of choreographer Jeffrey Hall. He travelled to Bali to research the kecak monkey dance but then had trouble getting the artists to dance organically. “Finally I said, ‘Okay guys, I want you all to be drunk. You need to let go. Go as crazy as you want.’ Then they all got foolish and stupid,” he recalls. Some who could not adapt did not stay. One change, for example, was to the unicycle act featuring five Chinese artists. The artists ride seven-foot tall unicycles while tossing metal bowls with their feet and catching them on their heads. “Robert wanted an image that he could not get and I knew I could get it,” says Sylvie Galarneau, senior artistic director for all touring shows. Lepage wanted the artists to cycle down a ramp. Some refused to do it unassisted. “Ultimately, we had to change the girls. The new ones? They just…” she sweeps her hand as if it is a diving roller coaster. The evolution continues, she says. More than a year after its debut, Totem is still tweaking. “The tough thing at Cirque is for the show to survive all of the specialists who come and tell you what to do,” Lepage says. “You have a full month of rehearsals and you present not only to Guy but to specialists and marketing people. They all have their say. It’s a tough, high-performance, no-compromise place to work.” But Lepage says he rarely argues with Laliberté. “I have this great relationship with Guy when it comes to discussing artistic intuition. It’s rare in my life to be able to say this, but he’s always right.” {SOURCE: The National Post} Changes ARE Coming to VIVA ELVIS - SOON! {Aug.10.2011} ------------------------------------------------- It's official: changes are coming to VIVA ElVIS starting January 2012. More interestingly, it seems quite a few acrobatic numbers from ZED may find their way into the show. See the following statement from Renee-Claude Menard, senior director of public relations (as published by Norm, from the Las Vegas Review- Journal): # # # "Cirque du Soleil and MGM Resorts International have always had an active and open relationship about their projects. As for all Cirque du Soleil productions, we constantly review all aspects of our shows including the creative positioning and the business results. These discussions have been on-going for Viva Elvis and we have decided to modify the show to make it less of a biographical representation of Elvis and more of an acrobatic Cirque du Soleil spectacular production. As a result of the recent tragedies in Japan, Cirque du Soleil has had to make a difficult decision to close its permanent show ZED by the end of this year. But in making that difficult decision an opportunity presented itself to enhance Viva Elvis. ZED features some of the most impressive acrobatic acts ever presented on stage and we truly wish to continue bringing these performances to our audience. In the last weeks, we have reviewed the possibilities and have decided to fully integrate these beautiful acts in Viva Elvis and to present them to the millions of people who visit Las Vegas annually. Cirque du Soleil is a creative-driven organization and want to ensure that this integration is done well and fully respects its artistic objectives. To do this, the partners have agreed that Viva Elvis will take an extended dark dates beginning in January 2012. This integration is expected to be completed by the end of the first quarter. We will also take this time to review all marketing strategies to reposition Viva Elvis. I would like to specify that we expect to have the same total amount of artists on stage and the financial investment both in the creative integration and new marketing initiatives are still under complete evaluation." More on VIVA ELVIS Changes [EXPANDED] {Aug.11.2011} ------------------------------------------------- Mike Weatherford and Norm Clarke, both wonderful columnists for the Las Vegas Review-Journal, have new articles in relation to yesterday's news that Cirque du Soleil's mega Elvis-themed production - VIVA ELVIS - would be undergoing some drastic changes very, very soon. Although both strike the same tone - massive changes are coming and it was quite a surprise to the cast- they both have some interesting tidbits I'd like to highlight: # # # Cirque du Soleil announced Wednesday that "Viva Elvis" will get a makeover to "make it less of a biographical representation of Elvis Presley and more of an acrobatic Cirque du Soleil spectacular production," according to a statement from the company's senior publicist, Renee-Claude Menard. The Aria production will take an extended break in January. The revised version will incorporate acrobats moving over from "Zed," a Cirque production at Tokyo Disneyland that will close at the end of December, mortally wounded by earthquake-related damage to the Japanese economy. # # # o) The cast and crew were summoned to a meeting on Tuesday at the show's theater to discuss the changes o) The cast and crew was told that Cirque will be pouring more than $10 million into the makeover, with MGM Resorts International wanting results within two years. o) Even the show's title might be changed, Cirque confirmed. # # # Explaining in more detail by phone, Menard said "we would have made changes anyway," even without the misfortune of "Zed." Cirque and MGM Resorts officials already had agreed "we knew we wanted to make it more acrobatic. ... What ‘Zed' brought to the table was an opportunity." Cirque and its landlord already had "common agreement" that "the bio expression of Elvis is not necessarily appealing to our demographic, the type of demographics we'd like to have, so let's look at it a different way. Make it a Cirque du Soleil spectacular featuring Elvis as a singer," Menard said. As such, the character of Elvis' manager, Tom Parker, as narrator likely will be eliminated, though "I think we have to wait until the changes are all done," Menard said. The size of the company will remain "at least the same, if not bigger," Menard said. The show will remain as is until the end of the year. Failure is not an option for Cirque in Las Vegas, which has seven shows on the Strip and hasn’t closed one since "Mystere" debuted in 1993. But "Viva Elvis" is the second consecutive production to undergo dramatic revision after underwhelming public and critical reception. "Believe," the most recent show before "Viva Elvis" debuted in February 2010, has been stripped of most of its Cirque-related production elements to become more of a traditional magic showcase for Criss Angel. The company also plans to "review all marketing strategies to reposition ‘Viva Elvis,’ " according to the news release. Changes to the "Elvis" show have been in the works since at least January, when a reboot was promised for spring. "The really big changes are taking time to come because they’re expensive and needed approval," artistic director Gene Lubas said in January. "I want to use more Cirque trickery and magic to bring the show closer to the public." # # # The show is to remain "as is" until the end of the year, when it will go through an extended dark period beginning in January to integrate some elements from ZED, Cirque du Soleil's production in Tokyo, Japan, which will shut down at the end of this year due to the Tohoku Earthquake and Tsunami. {SOURCE: Las Vegas Review-Journal} Congrats, La Nouba - 6000th Performance Tonight! {Aug.13.2011} ------------------------------------------------- Cirque du Soleil La Nouba celebrates their 6000th performance at 6pm tonight! Congratulations to our amazing mix of talented artists, technicians, management, retail staff and partners who make this massive production happen night after night! To begin this special day, we'd love to hear about your favorite part of the show or memory that involves La Nouba! {SOURCE: La Nouba Facebook} Even MORE on those VIVA ELVIS Changes [EXPANDED] {Aug.15.2011} ------------------------------------------------- A couple of interesting tid-bits out of the Las Vegas Sun regarding the upcoming changes to Viva Elvis: # # # De-emphasizing the story of Elvis Presley in the Cirque du Soleil production "Viva Elvis" at Aria is fine with one of the people who knew him best. "I am excited that Cirque Du Soleil has decided to modify ‘Viva Elvis" is how Priscilla Presley put it last week. "It will make a good show an even more exciting show." Priscilla supplied her opinion through spokeswoman and Rogers & Cowan PR executive Samantha Mast. If anything can be taken from Presley’s comment, it’s that the changes to the show are in the hands of Cirque. As a representative of Elvis Presley Enterprises, which has partnered with Cirque to produce “Viva Elvis,” Presley has long been a proponent of the largely biographical approach to the production. In January, on the event of her being honored as Woman of the Year by Nevada Ballet Theatre, Presley said changes to the show were being discussed, but it was apparent those talks were centered on bringing more of Elvis' life story to the show, not less. "We’re trying to get more Elvis, even though it’s a Cirque celebration of his life, some of the song choices and being tighter, a couple of the acts will be a little bit different," she said at the time. "It’s the same show, but oh my God, it’s got so much life and energy, and Elvis is more in it, and everyone agrees that’s what it needed. "It’s about Elvis, we all know all of his songs, and we can hear the songs, but we need to know why everyone was so enthralled by him and captivated by him. And that’s all happening, and that’s good." Presley said she specifically preferred more gospel songs in the performance, as Elvis loved gospel music. In its earliest stages, the show has told the story of Elvis through variations of his classic songs and a narrative by a Col. Tom Parker-styled character. To enact the changes, the show will shut down for an extended period beginning in January, with the revised version expected to roll out by the spring. And then there's this one from Robin Leach: # # # In a shocking and surprise move, Cirque du Soleil officials confirmed this afternoon that major changes will be made to Viva Elvis at Aria, and if the gamble doesn't work, then the spectacular will shut down within two years. Expect to see the biographic nature of the Elvis Presley story to be drastically cut and changed into a more traditional Cirque acrobatic production, with its amazing artists from the Japanese production Zed being brought in at year’s end and more rock ’n’ roll being added as music components. Here’s the official Cirque statement: “Cirque du Soleil and MGM Resorts International have always had an active and open relationship about their projects. As for all Cirque du Soleil productions, we constantly review all aspects of our shows, including the creative positioning and the business results. These discussions have been ongoing for Viva Elvis, and we have decided to modify the show to make it less of a biographical representation of Elvis and more of an acrobatic Cirque du Soleil spectacular production. “As a result of the recent tragedies in Japan, Cirque du Soleil has had to make a difficult decision to close its permanent show Zed by the end of this year. But in making that difficult decision, an opportunity presented itself to enhance Viva Elvis. Zed features some of the most impressive acrobatic acts ever presented onstage, and we truly wish to continue bringing these performances to our audience. In the last weeks, we have reviewed the possibilities and have decided to fully integrate these beautiful acts in Viva Elvis and to present them to the millions of people who visit Las Vegas annually. “Cirque du Soleil is a creative-driven organization and wants to ensure that this integration is done well and fully respects its artistic objectives. To do this, the partners have agreed that Viva Elvis will take extended dark dates beginning in January 2012. This integration is expected to be completed by the end of the first quarter. We will also take this time to review all marketing strategies to reposition Viva Elvis. We are sure that like us, you will be excited to re-discover Viva Elvis. “I would like to specify that we expect to have the same total amount of artists onstage, and the financial investment both in the creative integration and new marketing initiatives are still under complete evaluation." {SOURCE: Las Vegas Sun} Las Vegas Weekly Suggests Changes to Viva Elvis [EXPANDED] {Aug.18.2011} ---------------------------------------------------------- It was the equivalent of a "mea culpa" from the Pope. Last week, Cirque du Soleil, the Vatican of Vegas entertainment, made the rare announcement it would be closing Viva Elvis, the newest of its seven shows on the Strip, in January 2012 to make changes-$10 million worth, to be specific. True, Cirque has always tweaked its shows after opening, but this kind of bold, public, expensive retooling is unprecedented. Reception of the show has been decidedly mixed, with critics like Time's Richard Corliss seeking out new superlatives ("Cirque is throwing its most joyous party ever ...") and others noting room for significant improvement. The show does have its supporters, even repeat visitors (I know, I've met them), but apparently they don't represent, as Cirque's publicists put it, "the type of demographics we'd like to have." Read: the paying type. Thus-and here's the irony-Viva Elvis will now be "more of an acrobatic Cirque du Soleil spectacular production," incorporating talent from Zed (a Cirque show at Tokyo Disney that is closing in December) and "featuring Elvis as a singer." Still, after struggling for 22 months, those changes may not be enough. So allow us to offer Cirque a few additional suggestions, 100 percent free of charge: Come Back, Baby, Come Back A huge part of Elvis’ appeal was how grey and drab pop culture was when he arrived, ignoring many boundaries and divisions in taste, class, race and economics. That is a much more visceral moment than the umpteenth re-interpretation of “Jailhouse Rock.” That’s All Right Keep the trampolining superheroes, lassoing cowgirls and gospel choir, but weave them into a story line that gives them context. Also, the rare film clips of Elvis and the killer live band (well, the drummers, anyway). A Little More Conversation Talk to serious musicologists like Peter Guralnick, Greil Marcus and Robert Gordon—and, heaven forbid, Scotty Moore, the guitarist who helped Elvis shape his sound—about Presley’s music, performance and persona beyond the enduring clichés. Girls! Girls! Girls! Expand the sequence between Elvis and his female film co-stars. It’s an obvious opportunity for a huge dance number with sex appeal to spare. Rip It Up Lose the Col. Parker character. Presley’s manager had little to do with his artistry, genius or legacy, except, perhaps, in how he limited it. Trouble Those cheesy plastic pompadours and Technicolor jumpsuits look like a Burger King commercial by Devo. Elvis may have had a flashy fashion sense, but he never looked like a clown. And if none of that works? Picture this: Criss Angel as Elvis. It just might work! {SOURCE: Las Vegas Weekly} New Sign at La Nouba {Aug.19.2011} ------------------------------------------------- WDWMagic is reporting that a new sign/banner has recently been placed atop the Cirque du Soleil Theater at Downtown Disney West-Side. It replaces a sign/banner with an older logo. < http://www.cirquefascination.com/wp- content/uploads/2011/08/Cirque-du-Soleil_Thumb_14135.jpg > {EDIT: It is temporary, as other signs and banners at Downtown Disney have recently disappeared for replacement or renovation.} {SOURCE: WDWMagic} ZED will "Surface Again"? {Aug.23} ------------------------------------------------- An interesting blurb in the Montreal Gazette today regarding ZED's closure at the end of this year... # # # Girard, who just finished directing the Cirque du Soleil's Zarkana in New York, is eager to return to Tokyo, where his Cirque production of ZED is still running at Tokyo Disney. But not for long. Disney and Cirque have announced that ZED will go out with the old year on Dec. 31, 2011. Ticket sales had slumped, Girard said. But a 25-per-cent energy-reduction quota imposed on Japanese businesses post-tsunami was probably another factor. "Disney had to cut something big," he said. "And they decided not to cut the Mickey Mouse train." # # # ZED will surface again elsewhere, he promised. {SOURCE: Montreal Gazette} Canada Out for Expo 2012 {Aug.25} ------------------------------------------------- According to a recent article in CBC News, Canada has officially declined an invitation from the South Korean government to participate in Expo 2012, saying it can't afford to attend the World's Fair. The reason? Canada isn't as popular as its peers: # # # A Harris-Decima report commissioned for Heritage Canada following Canada's participation in Expo 2010 in Shanghai, China, indicated that Canada is not a top draw at world expositions. Expo 2010 was attended by 246 countries and international organizations, including a record 73 million visitors, but Canada was not viewed as a priority stop for visitors, said the report. The pavilions for Japan, United States, France, Germany and England were the major draws, said the report. Interest in the Canadian pavilion did increase, however, when world-renowned Canadian performers Cirque du Soleil arrived, the report said. "The shallow understanding of Canada, of Canadians and what is unique about Canada hinders top-of-mind interest in visiting the Canadian pavilion," said the report. {SOURCE: CBC.ca} Desigual inspired by Cirque du Soleil [EXPANDED] {Aug.29} ------------------------------------------------- The floor of the Las Vegas Convention Center looked like more of a circus than usual on Tuesday at the MAGIC apparel trade show. That was due in large part to the acrobatic shenanigans of Cirque du Soleil performers, who bounded down the catwalk to highlight a new collaboration between the circus troupe and the Barcelona-based Spanish sportswear brand Desigual. Called "Desigual inspired by Cirque du Soleil," the 60-piece debut collection for men, women and children doesn't stray far from the distinctive eye-catching Desigual (pronounced "dezzy- GWAL") aesthetic, which falls somewhere between a comic book confetti flurry and an explosion at a crayon factory. (After all, the name translates to mean "unequal" as in "different" in English.) The collection of clothing and accessories includes T-shirts, dresses, short-dresses, handbags, totes and jackets. Prices will be mostly in the $59 to $98 range. A few statement pieces - such as this season's heavily embroidered jacket with gold foil detail at the shoulders, oversize enameled buttons and a cadre of clown-folk milling about the hem - are priced closer to $300. The collection is divided into three themes: “Troupe,” “Human Expression” and “Costume.” The “Troupe” line has a baroque feel and a palette based in traditional circus colors of white, red and black. Pieces bear hand-painted characters and scenes culled from Cirque du Soleil shows, a different one each season. The inaugural collection draws heavily on the zebra stripes and chubby-cheeked kewpie clowns of “O” (which makes its home at the nearby Bellagio Las Vegas). The “Human Expression” line’s pieces are designed to add a smidgen of softness and sexiness — by way of floral embroidery, sequins and flashes of silver and red foil printing. A third grouping, called “Costume,” is intended to emphasize multiculturalism, but appears to mostly riff on the details and patterns in the Cirque du Soleil costume archives. But in a very literal way, the circus performers’ costumes are a part of each garment in the collaboration. Sewn onto every one is a postage-stamp-sized piece of clear plastic that contains a tiny square of fabric taken from an actual Cirque du Soleil costume. The collaboration came about only a year ago — on the very same Las Vegas trade show floor, according to Manuel Jadraque, Desigual’s chief operations officer. “The Cirque du Soleil people were walking through the show and they met us,” Jadraque said. “Our two companies have a lot in common — the way we like to evoke emotion, the use of color and patterns. Both companies were even started in the same year — in 1984. So we ended up meeting several times over the year, and this is the result.” Jadraque said the five-year, worldwide partnership is not just the pairing of two like-minded companies — it’s a calculated effort to raise brand awareness on each other’s home turf. For Desigual that means the North American market (although founded in 1984, the label has had a U.S. presence only since opening its first stateside store in 2009). For the Montreal-based show business venture, it means exposure in Europe and abroad, where Desigual is already established. The collection will be available through Desigual’s website in November. Then in December it will roll out to Desigual boutiques worldwide (including in Beverly Center and Santa Monica stores) and Cirque du Soleil’s show boutiques (including the Kodak Theatre location in Hollywood, which is home to the new “Iris” show). While it might seem unlikely that the clown-car cacophony of color- and character-covered clothes would hold much appeal beyond fans of the two brands, in a way it’s almost beside the point. Desigual is sold through 8,000 retail doors globally — including 200 of its own standalone or shop-in-shop locations — and Cirque du Soleil has 22 shows — eight in Las Vegas alone — being staged around the world. If even a fraction of those customers wants a fashion-forward tchotchke to take home, the eye-catching collection will do just fine. {SOURCE: Vancouver Sun} ZAIA's New Artistic Elements {Aug.30} ------------------------------------------------- According to Asia Travel Tips.com, Cirque du Soleil is adding new artistic elements to its popular ZAIA show at the Venetian Macau. # # # From 1 September 2011, ZAIA will feature new diversified performances and new characters. One of the new performances includes a dazzling Hand to Hand act which requires absolute mastery of balance and control. Along with the new Hand to Hand performance, another high level acrobatic element is the Roller Skates. Passing through at a very high speed on a small table, the performers are sure to excite and dazzle spectators. Some new Asian elements have also been introduced, including a Lion Dance performance. An astonishing Juggling act is another new element. Wearing illuminated costumes, the jugglers will astound audiences with their skills. # # # Read the full article here: < http://www.asiatraveltips.com/news11/308-ZAIA.shtml > {SOURCE: AsiaTravelTips.com} Cirque du Soleil... Gift Card? {Aug.31} ------------------------------------------------- The Cirque du Soleil Gift Card - A spectacular gift idea coming soon! Introducing the Cirque du Soleil Gift Card*! Ideal for just about any occasion; a birthday gift, a mother's day gift or a father's day gift, a wedding gift, a graduation gift, an employee recognition, and more! Applicable towards Cirque du Soleil show tickets, the Cirque du Soleil Gift Card* is guaranteed to turn out to be your most spectacular gift. Be notified of the release of the Cirque du Soleil Gift Card by joining Cirque Club (it's free)! < http://www.cirqueclub.com/ >. * Applicable only to U.S. show ticket purchases exclusively at www.cirquedusoleilgift.com. {SOURCE: Cirque du Soleil} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Corteo, Koozå, OVO, Totem & Varekai} o) ARENA - In Stadium-like venues {Saltimbanco, Alegría, Quidam, Dralion & Michael Jackson THE IMMORTAL World Tour} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, ZAIA, ZED, Believe & VIVA Elvis} o) VENUE - Venue & Seasonal productions {Iris & Zarkana} 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 Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Corteo: Sevilla, ES -- Sep 7, 2011 to Oct 16, 2011 Paris, FR -- Nov 4, 2011 to Jan 8, 2012 Barcelona, ES -- Jan 19, 2012 to Feb 12, 2012 Amsterdam, NL -- Mar 30, 2012 to Jun 3, 2012 Gijón, ES -- Jul 25, 2012 to Aug 26, 2012 Zurich, CH -- Sep 7, 2012 to Oct 14, 2012 Antwerp, BE -- Nov 2, 2012 to Dec 23, 2012 Koozå: Osaka, JPN -- Aug 4, 2011 to Nov 6, 2011 Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012 Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012 Ovo: Calgary, AB -- Sep 7, 2011 to Oct 9, 2011 Mexico City, MX -- Oct 30, 2011 to Nov 20, 2011 Santa Monica, CA -- Jan 20, 2012 to Mar 25, 2012 Portland, OR -- TBA Brisbane, AU -- TBA Sydney, AU -- TBA Melbourne, AU -- TBA Totem: Toronto, ON -- Aug 11, 2011 to Oct 9, 2011 San Francisco, CA -- Oct 28, 2011 to Nov 27, 2011 London, UK -- Jan 6, 2010 to Feb 5, 2012 San Jose, CA -- Mar 2, 2012 to Apr 1, 2012 Atlanta, GA -- May 8, 2012 to Jun 17, 2012 Varekai: São Paulo, BR -- Sep 15, 2011 to Nov 27, 2011 Rio De Janeiro, BR -- Dec 8, 2011 to Jan 8, 2012 Belo Horizonte, BR -- Jan 18, 2012 to Feb 12, 2012 Brasilia, BR -- Feb 22, 2012 to Mar 18, 2012 Recife, BR -- Mar 29, 2012 to Apr 22, 2012 Salvador, BR -- May 3, 2012 to May 27, 2012 Curitiba, BR -- Jun 7, 2012 to Jul 1, 2012 Porto Alegre, BR -- Jul 11, 2012 to Aug 5, 2012 Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012 Santiago, CL -- Sep 28, 2012 to Oct 28, 2012 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Saltimbanco: Asia-Pacific ------------ Auckland, NZ -- Aug 25, 2011 to Sep 4, 2011 Russia & Beyond ---------------- Shanghai, CN -- Sep 21, 2011 to Sep 25, 2011 Ekaterinburg, RU -- Oct 15, 2011 to Oct 23, 2011 Kazan, RU -- Oct 26, 2011 to Oct 30, 2011 Moscow, RU -- Nov 3, 2011 to Nov 13, 2011 St. Petersburg, RU -- Nov 16, 2011 to Nov 21, 2011 Kiev, UA -- Nov 27, 2011 to Dec 4, 2011 Vilnius, LT -- Dec 15, 2011 to Dec 17, 2011 Riga, LV -- Dec 21, 2011 to Dec 23, 2011 Tallin, EE -- Dec 28, 2011 to Dec 30, 2011 Graz, AT -- Feb 22, 2012 to Feb 26, 2012 Malmoö, SE -- TBA Alegría: Oberhausen, DE -- Sep 7, 2011 to Sep 11, 2011 Leipzig, DE -- Sep 14, 2011 to Sep 18, 2011 Stuttgart, DE -- Sep 21, 2011 to Sep 25, 2011 Munich, DE -- Sep 28, 2011 to Oct 2, 2011 Salzburg, AT -- Oct 5, 2011 to Oct 9, 2011 Berlin, DE -- Oct 12, 2011 to Oct 16, 2011 Bremen, DE -- Oct 19, 2011 to Oct 23, 2011 cologne, DE -- Oct 26, 2011 to Oct 30, 2011 Frankfurt, DE -- Nov 2, 2011 to Nov 6, 2011 Mannheim, DE -- Nov 9, 2011 to Nov 13, 2011 Malaga, ES -- Dec 1, 2011 to Dec 4, 2011 Santiago, ES -- Dec 7, 2011 to Dec 11, 2011 Zaragoza, ES -- Dec 14, 2011 to Dec 18, 2011 Lisbon, PT -- Dec 21, 2011 to Jan 8, 2012 Granada, ES -- Jan 11, 2011 to Jan 15, 2012 Bilbao, ES -- Jan 18, 2012 to Jan 22, 2012 Toulouse, FR -- Jan 25, 2012 to Feb 29, 2012 Nantes, FR -- Feb 1, 2012 to Feb 5, 2012 Lyon, FR -- Feb 23, 2012 to Feb 26, 2012 Toulon, FR -- Feb 29, 2012 to Mar 4, 2012 Nice, FR -- Mar 7, 2012 to Mar 11, 2012 Montpellier, FR -- Mar 14, 2012 to Mar 18, 2012 Strasbourg, FR -- Mar 21, 2012 to Mar 25, 2012 Manchester, UK -- Apr 4, 2012 to Apr 7, 2012 Glasgow, UK -- Apr 11, 2012 to Apr 15, 2012 Birmingham, UK -- Apr 18, 2012 to Apr 22, 2012 Dublin, IE -- Apr 25, 2012 to Apr 29, 2012 Hambgurg, DE -- May 30, 2012 to TBA Hanover, DE -- Jun 6, 2012 to TBA Nuremberg, DE -- Jun 13, 2012 to TBA Quidam: Hartford, CT -- Aug 31, 2011 to Sep 4, 2011 Amherst, MA -- Sep 7, 2011 to Sep 11, 2011 State College, PA -- Sep 14, 2011 to Sep 18, 2011 Fort Wayne, IN -- Sep 21, 2011 to Sep 25, 2011 Hartford, CT -- Sep 28, 2011 to Oct 2, 2011 Reading, PA -- Oct 5, 2011 to Oct 9, 2011 Pittsburgh, PA -- Oct 12, 2011 to Oct 16, 2011 Milwaukee, WI -- Oct 19, 2011 to Oct 23, 2011 Philadelphia, PA -- Nov 10, 2011 to Nov 13, 2011 Washington, DC -- Nov 16, 2011 to Nov 20, 2011 Fayetteville, NC -- Nov 23, 2011 to Nov 27, 2011 Greenville, SC -- Nov 30, 2011 to Dec 4, 2011 Hampton, VA -- Dec 7, 2011 to Dec 11, 2011 Worcester, MA -- Dec 14, 2011 to TBA Toronto, ON -- Dec 20, 2011 to TBA Dralion: Duluth, GA -- Aug 31, 2011 to Sep 4, 2011 Tupelo, MS -- Sep 6, 2011 to Sep 8, 2011 Huntsville, AL -- Sep 10, 2011 to Sep 11, 2011 New Orleans, LA -- Sep 14, 2011 to Sep 17, 2011 Orlando, FL -- Sep 21, 2011 to Sep 25, 2011 Tallahassee, FL -- Sep 28, 2011 to Oct 2, 2011 Birmingham, AL -- Oct 5, 2011 to Oct 9, 2011 Gainesville, FL -- Oct 11, 2011 to Oct 13, 2011 San Juan, PR -- Oct 19, 2011 to Oct 23, 2011 Cypress, TX -- Nov 17, 2011 to Nov 20, 2011 Beaumont, TX -- Nov 23, 2011 to Nov 27, 2011 Houston, TX -- Nov 30, 2011 to Dec 4, 2011 Lafayette, LA -- Dec 6, 2011 to Dec 8, 2011 Bossier City, LA -- Dec 10, 2011 to Dec 11, 2011 Little Rock, AK -- Dec 13, 2011 to Dec 14, 2011 Montreal, QC -- Dec 18, 2011 to Dec 30, 2011 Quebec, QC -- Jan 3, 2012 to Jan 8, 2012 Kingston, ON -- Jan 11, 2012 to Jan 15, 2012 Michael Jackson THE IMMORTAL World Tour: 2011 ---- Montreal, QC -- Oct 2, 2011 & Oct 3, 2011 Ottawa, ON -- Oct 7 & Oct 8, 2011 Hamilton, ON -- Oct 12 & Oct 13, 2011 Detroit, MI -- Oct 15 & Oct 16, 2011 London, ON -- Oct 18 & Oct 19, 2011 Toronto, ON -- Oct 21, 2011 to Oct 23, 2011 Winnipeg, MB -- Oct 26 & Oct 27, 2011 Saskatoon, SK -- Oct 29 & Oct 30, 2011 Edmonton, AB -- Nov 1 & Nov 2, 2011 Vancouver, BC -- Nov 4, 2011 to Nov 6, 2011 Seattle, WA -- Nov 9 & Nov 10, 2011 Spokane, WA -- Nov 12 & Nov 13, 2011 Euguene OR -- Nov 15 & Nov 16, 2011 Portland, OR -- Nov 18 to Nov 20, 2011 Salt Lake City, UT -- Nov 28, 2011 Las Vegas, NV -- Dec 3, 2011 to Dec 27, 2011 Phoenix, AZ -- Dec 30 & Dec 31, 2011 2012 ---- Boise, ID -- Jan 3 & Jan 4, 2012 Denver, CO -- Jan 6 to Jan 8, 2012 Sacramento, CA -- Jan 10 & Jan 11, 2012 San Jose, CA -- Jan 13 to Jan 15, 2012 Oakland, CA -- Jan 17 & Jan 18, 2012 San Diego, CA -- Jan 21 & Jan 22, 2012 Anaheim, CA -- Jan 24 & Jan 25, 2012 Los Angeles, CA -- Jan 27 to Jan 29, 2012 St. Louis, MO -- Feb 7 & Feb 8, 2012 Houston, TX -- Feb 10 to Feb 12, 2012 New Orleans, LA -- Feb 15 & Feb 16, 2012 Tulsa, OK -- Feb 18 & Feb 19, 2012 Kansas City, MO -- Feb 21 & Feb 22, 2012 Indianapolis, IN -- Feb 24 & Feb 25, 2012 Miami, FL -- Mar 2 & Mar 3, 2012 Jacksonville, FL -- Mar 7, 2012 Raleigh, NC -- Mar 10, 2012 Charlotte, NC -- Mar 13, 2012 Milwaukee, WI -- Mar 16, 2012 to Mar 18, 2012 Montreal -- Mar 20, 2012 to Mar 22, 2012 Quebec City, QC -- Mar 24 & Mar 25, 2012 Minneapolis, MN -- Mar 27 & Mar 28, 2012 Newark, NJ -- Mar 30 & Apr 1, 2012 New York City, NY -- Apr 3, 2012 to Apr 5, 2012 Uniondale, NY -- Apr 7 & Apr 8, 2012 Philadelphia, PA -- Apr 10 & Apr 11, 2012 Pittsburg, PA -- Apr 13, 14 & 15, 2012 State College, PA -- Apr 24 & 25, 2012 Baltimore, MD -- May 5, 2012 Worcester, MA -- May 16 & May 17, 2012 Dayton, OH -- Jun 6 & Jun 7, 2012 Columbus, OH -- Jun 9 & Jun 10, 2012 Austin, TX -- Jun 15, 2012 San Antonio, TX -- Jun 23, 2012 Atlanta, GA -- Jun 29, 2012 Montreal, QC -- Jul 6 & Jul 7, 2012 Washington, DC -- Jul 13, 14 & 15 2012 Cleveland, OH -- Jul 17 & 18, 2012 Chicago, IL -- Jul 20, 2012 --------------------------------- 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. Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2011 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) 2011 Dark Dates: o September 3-7 o November 2 2011 Added Performances: o December 30th "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2011 Ticket Prices: o Orchestra: $150.00 o Loggia: $130.00 o Balcony: $99.00 o Limited View: $93.50 2011 Dark Dates: o October 9 o December 5-18 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2011 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 2011 Dark Dates: o September 20-24 o November 22 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday Dark: Wednesday & Thursday Two Shows Nightly - 7:30pm and 10:00pm 2011 Ticket Prices (18+ Only!): o Duo Sofas: $129.00 o Orchestra Seats: $105.00 o Upper Orchestra Seats: $79.00 o Balcony Seats: $69.00 o Cabaret Stools: $69.00 2011 Dark Dates: o September 2-6 o October 17-18 o December 16-20 2011 Added Performances: o November 23rd o December 31st KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices (adult) / (child 5-12): o Category 1: $150.00 / $75.00 o Category 2: $130.00 / $65.00 o Category 3: $99.00 / $49.50 o Category 4: $69.00 / $34.50 2011 Dark Dates: o August 30 - September 7 o November 15-16 2011 Added Performances: o November 27 o December 26 o December 31 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices: o Lower Orchestra: $150.00 o Upper Orchestra: $130.00 o Lower Balcony: $99.00 o Middle Balcony: $93.50 2011 Dark Dates: o October 3 o December 1-12 2011 Added Performances: o December 28th o December 31st ZAIA: Location: Venetian, Macao (China) Performs: Every Day, Dark: Wednesday One to Two Shows Daily - Times Vary 2011 Ticket Prices (adult) / (child 2-11): o VIP Seating: MOP$ 1288 / MOP$ 1288 o Reserve A: MOP$ 788 / MOP$ 394 o Reserve B: MOP$ 588 / MOP$ 294 o Reserve C: MOP$ 388 / MOP$ 194 ZED: Location: Tokyo Disneyland, Tokyo (Japan) Performs: Varies One to Two Shows Daily - Showtimes vary 2011 Ticket Prices (Non-Peak / Peak Time): o Category 1 ("Premium"): ¥15,000 / ¥16,000 o Category 2 ("Stage-Side"): ¥12,500 / ¥13,500 o Category 2 ("Center"): ¥12,500 / ¥13,500 o Category 3 ("Wide View"): ¥9,500 / ¥10,500 o Category 4 ("Value"): ¥7,500 / ¥8,500 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. 2011 Ticket Prices (all): o Category 1: $160.00 o Category 2: $130.00 o Category 3: $109.00 o Category 4: $89.00 o Category 5: $59.00 2011 Dark Dates: o September 6-10 o December 6-17 VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices o Category 1: $175.00 o Category 2: $150.00 o Category 3: $125.00 o Category 4: $99.00 2011 Dark Dates: o September 13-14 o November 8-12 2011 Added Performances: o November 27th o December 26, 31 -------------------------------------- VENUE - Venue & Seasonal Productions -------------------------------------- IRIS: Location /// Kodak Theatre, Hollywood, CA (USA) < http://www.cirquedusoleil.com/en/shows/iris/ tickets/los-angeles.aspx > Performances /// Times: Performances are held from Tuesday through Friday at 8pm, Saturdays at 2pm & 8pm (with the exception of Saturday December 24 at 1pm), and Sundays at 1pm (with the exception of July 24 & 31 at 6:30pm) and 6:30pm. There are no performances on Monday. 2011 Dark Dates: o Septemeber 6, 20, 25, 27 o October 10-19 o November 24 o December 5, 6, 7, 25 Tickets /// Preview Performances (July 21 - September 24): o Category Premium - $203.00 USD o Category 1 - $100.50 USD o Category 2 - $78.00 USD o Category 3 - $59.25 USD o Category 4 - $33.00 USD Weekday Matinees: o Category Premium - $253.00 USD o Category 1 - $123.00 USD o Category 2 - $93.00 USD o Category 3 - $68.00 USD o Category 4 - $43.00 USD Saturday Matinee & All Evening Performances: o Category Premium - $253.00 USD o Category 1 - $133.00 USD o Category 2 - $103.00 USD o Category 3 - $78.00 USD o Category 4 - $43.00 USD ZARKANA: Location /// New York, NY -- Jun 9, 2011 to Sep 4, 2011 Madrid, ES -- Nov 9, 2011 to Jan 1, 2012 Moscow, RU -- Feb 4, 2012 to Apr 8, 2012 Performances /// Full Schedule: < http://static01.cirquedusoleil.com/en/~/ media/shows/zarkana/pdf/new-york-schedule.pdf > 2011 Dark Dates: o June 13-15, 20-22, 27-28 o July 4, 11, 18, 25 o August 1, 8, 15, 22, 29 o September 4-5, 12, 19, 26 o October 3 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub o) Networking -- Cirque on Facebook, Youtube & Twitter --------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------- WATERWORKS AT "O" IN LAS VEGAS {Aug.01} ------------------------------------------------- "O" creates a world of surealism and romance AT EVERY GIVEN POINT, THERE ARE AS MANY AS 30 PEOPLE IN THE 1.5- MILLION-GALLON POOL THAT IS THE CENTERPIECE OF THE "O" THEATER. An underwater stage may pose some difficulties for pulling off a perfect show everytime, but with impeccable organization, the crew behind "O" brings it all together. Created with the elegance of water in mind "O" at Bellagio celebrates the beauty of this every-changing element. Each act in "O" seems to move fluidly from one reality to the next, and the stage itself continually shifts from water to land to air, bringing a range of talents and performances to one single seamless show. From a floating ship acting as a plateform for graceful aerial maneuvers to a high dive situated an astonishing 60 feet above the stage, diving acrobatics, swimming and daredevilry are inextricably combined. Eight of the divers in the pool are the equivalent of stagehands in full scuba gear. There are "handlers", whose task is to make shure the performers have access to air at all times; and safety divers, outfitted with full face masks. Those masks are equipped with with voice transmission and reception capability and are the main point of contact for the underwater world. At any given point, there are as many as 30 people in the 1.5-million- gallon pool that is the centerpiece of the "O Theatre. Seventeen synchonized swimmers, executing perfectly orchestrated movements in tune to both the music and each other. These swimmers add an unexpected component of dance to this water world. Suprisinglly, the costumes in "O" are just as detailed as those in other Cirque du Soleil productions, despite their submergence in water. Transforming performers into frolicking zebras, macabre aquatic creatures or regal, masked men in formal atire, the assemblage of characters align with the surrealistic atmosphere, as they seem to appear from a dream. Illustrating the beauty of performance art in all its forms, "O" is a breathtaking example of the infinite possibilities of theater and the imagination. GERALDINE CAMPBELL - Reporter Insider magazine GET A CLOSER LOOK AT IRIS {Aug.02} ------------------------------------------------- The synopsis A poetic phantasmagoria inspired by the world of cinema IRIS explores this magical medium, as it evolves from black and white to colour in a world of shadows and light. IRIS transposes into a language of dance and acrobatics all of cinema's splendor, inventiveness and, above all, its sense of wonder. The two young heroes - Buster and Scarlett - find themselves plunged into a universe that brings to life a succession of cinematic genres. Their escapades transport the spectator into a kaleidoscope of movement, moods and images supported by a strong orchestral score composed by Danny Elfman. IRIS conjures up a place between motion and picture, light and sound, that shifts constantly between reality and make-believe. Iris extends the limits of acrobatics by offering acts of the likes of performance acrobatics, hand-to-hand, contortion, trampoline, hand-balancing, trapeze bungee and so much more. By combining dance, acrobatics, live video, film footage and intractive projections, the show illustrates both the mechanics of cinema and its extraordinary power to deceive the eye. Take a look at our exclusive photo gallery and be the first ones to catch a glimpse of IRIS: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-04-iris-premiere.aspx > KÀ MARVELS DISPLAYED AT COMIC-CON {Aug.05} ------------------------------------------------- At eye level and above, KÀ at MGM Grand Hotel & Casino is a show unlike any other on the Las Vegas Strip. "How did they do that?" frequently echoes from the audience, as spectators bear witness to scenes crafted with precise choreography, daring acrobatics and a flurry of movement. The Massive Theatre The KÀ Theatre measures a massive Nine Stories and with approximately 300 cues in the show, a completely choreographed show with-in-a-show is a way to describe what goes on backstage. The adventure starts 51 feet below the stage in the "the pit", where swarms of 195 carpenters, riggers, lighting technicians and crew members work together with the precision of a Swiss watch. The Seven Stages As much a star of the show as its performers, the seven stages that make up the performance space inside the KÀ Theatre appear as if from nowhere and are used to create such varying environments as a beach, a cliff, and a hideout for evil-doers. The main stage alone, referred to as the "Sand-Cliff Deck" is an engineering marvel. The 80,000-pound, 50 foot long stage moves from the bottom of the pit, rotates 360 degrees and tilts past 90 degrees, almost reaching the top of the theatre. One of the most memorable stunts involves a performer falling nearly 60 feet at over 40 miles per hour - an ingenious combination of some of the world's largest acrobatic nets and air bags make sure the teeth-clenching fall always ends in a soft landing. KÀ Special Appearance at San Diego Comic-Con These death-defying stunts were witnessed in a totally new setting on Comic-Con's opening night, Thursday, July 21st, with a dramatic showdown on the outside walls of PETCO Park in San Diego. Especially created for the occasion, the outdoor performance took place directly across the street from the San Diego Convention Center and included a display of dazzling 3-D projections. Have a look at these amazing acrobatics: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-07-28-above-ka.aspx > FLOODING ON VIVA ELVIS {Aug.09} ------------------------------------------------- It finally rained in Las Vegas, and we have the water to prove it. While the cast was enjoying two weeks of rest and relaxation at the beginning of July, the rest of Viva ELVIS got a taste of what of our "O" family must feel like every day. Indeed, a very unlikely rainstorm hit Las Vegas. The temperature outside may have been in the 90s, but the rain came down in torrents and the city definitely felt the after-effects. Streets were flooded, trees toppled into house roofs and the Viva ELVIS loading dock turned into a mini pool. Luckily, we had all of our technicians ready and willing to get a little wet, and the water never made it passed the loading dock door. Some pants were unfortunately ruined, but really, who needs pants when the weather is only going to jump back to 100 degrees in less than a day? All in all, everyone made the most of it and worked hard to avoid any damages. Our loading dock got an impromptu cleaning and our technicians got a little impromptu shower. Take a look at our exclusive photo gallery and see the crew of Viva ELVIS under-water! < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-05-viva-elvis-flood.aspx > EXCLUSIVE NEW VIDEOS FROM ZARKANA {Aug.12} ------------------------------------------------- Get ready for some exclusive behind-the-scenes footage of Zarkana! With these three new Zarkana videos, see firsthand the ins and outs of working on such an awe-inspiring creation. Pushing Back Acrobatic Limits - Zarkana gravity-defying acrobatic acts: Philippe Aubertin, Head Coach, reveals just how much the limits of acrobatics have been pushed back for Zarkana. < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-05-zarkana-videos/zarkana-acrobatic-limits.aspx > Zarkana - A Taste of the Strange: Meet, Ann-Marie Corbeil, Artistic director on Zarkana, explains the different inspirations of this odd experience. < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-05-zarkana-videos/zarkana-surreal.aspx > Technical Scope of Zarkana: Dave Churchill, Production Technical Director, talks about the sheer scope of the technical difficulties and prowess involved in bringing Zarkana to life. < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-05-zarkana-videos/zarkana-big-technical.aspx > Read the original article here: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-05-zarkana-videos.aspx > LA NOUBA WELCOMES TWO EXCITING ACTS AND ITS 8 MILLIONTH VISITOR! {Aug.15} ------------------------------------------------- La Nouba performing at the Walt Disney World Resort in Florida has recently added two acts to its unforgettable story. Inspired by the playfullness of childhood, a juggling act aided by a green bird, features a juggler throwing balls, hoops and clubs in the air in unprecedented numbers at amazing speeds. This juggler is considered the best in the world! And also, to start off the show, a new opening scene with a thrilling feat involving skipping rope sets the stage for what's to come. This act gives way to vibrant dance, acrobatics and a steady stream of solo, duo and group jumps and formations. Two skippers combine artful moves, exceptional agility and impressive speed. The Skipping Ropes act brings a new dimension and high energy to the opening of the show. The speed of their movements is truly unbelievable. Gabi de Mello Costa - Reporter Insider magazine Read the original article here: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-10-lanouba-8million.aspx > LOVE AT FIRST SIGHT: AN ACROBATS JOURNEY FROM THE BIG TOPS TO THE BIG TIME {Aug.19} ------------------------------------------------- It's hard not to fall in love with The Beatles LOVE at The Mirage. Cirque du Soleil has certainly engraved its brand on the Strip with this crowd pleasing and critically acclaimed show based on the discography of The Beatles. LOVE manages to pay homage to the music of the famous four Brits through the show's soundtrack while creating a dynamic, original story full of war, heartbreak and - of course - love. On Board From the Very Start One key performer in LOVE is Katya, whom you can find defying gravity in numbers such as Something and Here Comes the Sun. As one of LOVE's original cast members, Katya has been part of the action since Cirque du Soleil built this show from the ground up back in 2005. "I feel very priviledged to be a part of LOVE," Katya says "It has been voted best show in Las Vegas for many years in a row. People from all around the world come to see it and be part of this unique show that brings The Beatles' music - songs we all know and love - to life on stage." Born for the Circus The opening of LOVE was hardly Katya's first time on stage. The circus veteran has been in the business since she was practically in diapers, performing as Snowflake in the Great Moscow Circus at two and a half years old. Despite being the youngest cast member, she relished her time onstage. "I think that performing was simply in my blood," she says "I am the third generation of a great family of Russian circus performers. I grew up in the circus world, and it's what I knew best so it seemed like I was destined to follow the family tradition." For the Long Run Katya joined Cirque du Soleil in 1990 and was part of the first North American Tour for Nouvelle Expérience, which had stoped in Vegas inside the big top in The Mirage Parking lot. Since then, the company - and Katya - have come a long way, giving a new spin on the idea of the traditional three-ring circus. "Cirque was one of the first in North America to change the image of circus to an innovative theatrical experience." Katya says. "I believe this is what led to Cirque's huge sucess. They are never afraid to push back the boundaries and bring performance to a new level, and LOVE is the perfect example of this." SHARON KEHOE - Reporter Insider magazine Read the original article here: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-15-love-at-first-sight.aspx > QUIDAM: ORIGINAL COSTUME SKETCHES {Aug.22} ------------------------------------------------- Quidam turned 15 this year! This original production inspired by surrealist painters such as Delevaux and Magritte was the first to use everyday clothes into its acrobatic acts. This poetic and meaningful examination of our own world inspires people to dream and embrace their individuality. To pay tribute to the original and street inspired costumes created by Dominique Lemieux, we're opened the archive coffers and offer a look on the original costume drawings and the costumes that still perform today. Read the original article here: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-10-quidam-costume-sketches.aspx > ORIGINAL SALTIMBANCO COSTUME SKETCHES {Aug.24} ------------------------------------------------- Saltimbanco is almost 20 years young! This colourful and imaginative show has been touring the world briging spectators to experience an allegorical and acrobatic journey into the the heart of the city. The costumes are as young and vibrant now as they were first created by Dominique Lemieux. The craftmasnhip is intricate as nearly every caracter has his own unique costume. The inspiration was drawn from city life, urbanity and inter-woven relationships. The paradoxes of urban life is revealed in these unique costumes. Check out the Original Saltimbanco Costume Sketches at CirqueClub: < http://www.cirquedusoleil.com/en/cirque-club/news/ 2011/2011-08-25-saltimbanco-costumes.aspx > MJ IMMPORTAL TOUR CHOREOGRAPHERS ANNOUNCED! {Aug.26} ------------------------------------------------- A team of 10 diverse choreographers, some of whom worked alongside Michael Jackson, will contribute their distinctive talents and understanding of Michael's unique creative choreography to the new Cirque du Soleil show Michael Jackson The Immortal World Tour in collaboration with the show's Writer and Director Jamie King. The world premiere of this unique tribute to Michael Jackson's musical legacy will take place in Montreal on Sunday, October 2, 2011 at Bell Centre and the show will then travel throughout North America and the rest of the world. These high-profile choreographers all have an impressive list of credits to their name and have, in addition to the work some did with Michael, they have all worked with many other international stars in the music industry. The team of choreographers is comprised of (see bios below): o) Travis Payne o) Rich and Tone Talauega o) Debra Brown o) Napoleon and Tabitha Dumo o) Jamal Sims o) Cloud and Tamara Levinson o) Mandy Moore "The creative force of 10 cutting-edge choreographers brings complexity and depth as we work together with the performers to bring Michael Jackson's music to life," explains Chantal Tremblay, Director of Creation of Michael Jackson The Immortal World Tour. With the addition of the 10 choreographers, the creative team of Michael Jackson The Immortal World Tour is the largest ever for a Cirque du Soleil production. The other creators include: Guy Laliberté - Creative Guide Gilles Ste-Croix - Creative Guide Chantal Tremblay - Director of Creation Jamie King - Writer and Director Carla Kama - Associate Show Director Kevin Antunes - Musical Designer Greg Phillinganes - Music Director Mark Fisher - Set Designer Michael Curry - Props and Scenic Designer Zaldy Goco - Costume Designer Germain Guillemot - Acrobatic Performance Designer Scott Osgood - Rigging and Acrobatic Equipment Designer Olivier Goulet - Projection Designer Martin Labrecque - Lighting Designer François Desjardins - Sound Designer Florence Cornet - Makeup Designer About the show A riveting fusion of visuals, dance, music and fantasy that immerses audiences in Michael's creative world and literally turns his signature moves upside down, Michael Jackson The Immortal World Tour unfolds Michael Jackson's artistry before the eyes of the audience. Aimed at lifelong fans as well as those experiencing Michael's creative genius for the first time, the show captures the essence, soul and inspiration of the King of Pop, celebrating a legacy that continues to transcend generations. The Immortal World Tour takes place in a fantastical realm where we discover Michael's inspirational Giving Tree-a wellspring of creativity that illuminates for the audience Michael's thoughtful inner world, offering new paths to express his love for music, dance, fairy tale and magic, and the fragile beauty of nature. The underpinnings of The Immortal World Tour are Michael Jackson's powerful, inspirational music and lyrics-the driving force behind the show-brought to life with extraordinary power and breathless intensity. Through unforgettable performances Michael Jackson The Immortal World Tour underscores Michael's global messages of love, peace and unity. CHOREOGRAPHERS MICHAEL JACKSON - THE IMMORTAL WORLD TOUR Travis Payne Twice Emmy-nominated choreographer, director, and producer Travis Payne is an acknowledged innovator of screen, stage, and song. Born and raised in Atlanta, Payne's work encompasses some of the most influential visual and musical moments of contemporary pop culture, created for and performed by global entertainment icons from Michael Jackson, Beyonce, Shakira, and Usher to Lady Gaga, Jennifer Lopez, The Pussycat Dolls' Nicole Scherzinger, and Madonna. Payne was a collaborator on and off for more than 15 years with the late Michael Jackson. He served as the co-choreographer with Michael as he prepared for his series of sold-out shows in London in July 2009 and was the associate producer on the award winning film, Michael Jackson's This Is It, documenting those rehearsals. Payne began his career as a dancer on Janet Jackson's Rhythm Nation 1814 World Tour and was soon choreographing for Jackson and En Vogue as well as Madonna, Sting, Lenny Kravitz, Paula Abdul, Faith Hill, and Ricky Martin. In addition to his Emmy Awards, Payne is a two-time recipient of the Music Video Producers Association Award for Outstanding Achievement in Choreography, an Obie Award winner, and a four-time winner of the MTV Video Music Award for Best Choreography. This is his first collaboration with Cirque du Soleil. Rich and Tone Talauega Rich + Tone Talauega are two of the most sought after creative directors, choreographers, producers, and directors in today's film, music, TV and commercial industries. As teenagers, Rich + Tone were discovered by Michael Jackson's choreographer while free-styling at a club in Oakland, California. Within months of moving to Los Angeles, Rich + Tone toured with both Diana Ross and Michael Jackson. They continued to work with Michael over the years on various projects and were the choreographers chosen to work on the short film for "Hollywood Tonight" from the posthumous Michael Jackson album, Michael. Rich + Tone have proven themselves as world class choreographers, having multiple MTV Award nominations, as well as an Emmy nomination for Best Choreography. The two are renowned for their diversified abilities and unique style. Their elite echelon of clients includes Madonna, Chris Brown, Jennifer Lopez, Gwen Stefani, and Christina Aguilera to name a few. They have also choreographed for multiple motion pictures, which include Step Up 3D, StreetDance Together, Take the Lead. As Producers they brought light to the dance form Krumping in the critically-acclaimed documentary Rize. Now with an established production company they are actively taking on new projects and broadening their horizons. Rich + Tone will be part of a Cirque du Soleil production for the first time. Debra Brown Debra Brown is world renowned for her unique choreographies blending acrobatics and dance. She joined Cirque du Soleil in 1987 as a choreographer for We Reinvent the Circus and went on to choreograph the shows Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam, "O", La Nouba, Corteo, one act in Zumanity, ZED and Zarkana. She has also worked with artists and groups from a wide variety of disciplines including the 1990 Festival Mondial du Cirque de Demain (Paris), the John Corigliano's opera The Ghosts of Versailles, presented at the Metropolitan Opera in New York and Wagner's Ring Cycle, put on by the Lyric Opera of Chicago. In 1994, Debra created and produced Apogée, a 50-minute trampoline-based ballet which premiered in Toronto and was also presented in both Los Angeles and San Francisco at "Passport '96," an AIDS benefit hosted by Elizabeth Taylor and Magic Johnson. In 1995, she worked with Luciano Pavarotti on the Metropolitan Opera's production of La Fille du Régiment (The Daughter of the Regiment) in New York. Debra also choreographed Aerosmith's Jaded video and energetic performance for the American Music Awards in 2001, as well as Madonna's Drowned world tour. Debra has worked with major musical acts such as Shakira, Wyclef Jean, Céline Dion and Madonna. Her film work includes Catwoman, Van Helsing and Barney's Great Adventure. She received the Innovative Choreography Award in honour of her exceptional contribution to choreography and dance at the 14th Bob Fosse Awards in Los Angeles in 1997. In 2002, she received an Emmy Award for her choreography of an act created by Cirque du Soleil for the Academy Awards. Napoleon and Tabitha Dumo Napoleon and Tabitha Dumo have contributed their choreography and directing talents to every genre of the entertainment industry. They have been featured choreographers for multiple seasons on the hit TV show So You Think You Can Dance, for which they received an Emmy nomination. They were the Supervising Choreographers of America's Best Dance Crew on MTV for multiple seasons and directed the live US tour. Their work can also be seen on American Idol, the FOX show Mobbed, as well as the feature film Cobu. Other credits include Christina Aguilera's Back to Basics Tour, Céline Dion's Taking Chances Tour, as well as the 2009 Emmy Awards and the season premiere of The Ellen DeGeneres Show. They have also worked with such artists as Jennifer Lopez, Ricky Martin and Carrie Underwood. The Dumos travel the globe as master teacher for the dance conventions, Monsters of Hip Hop, Shock and Coastal Dance Rage, teaching and inspiring the next generation of dancers. They are contributing choreographers for Cirque du Soleil's Viva Elvis and have been invited back for Michael Jackson THE IMMORTAL World Tour. Jamal Sims Jamal Sims has an impressive list of credits as artistic director and choreographer in many areas including film, television, music videos, tours and live shows. He has worked with Britney Spears (Circus tour), Madonna (Sticky and Sweet tour), the Spice Girls and Céline Dion, among others. In film and television, Jamal has collaborated on productions that include Step Up, Step Up 2 the Streets and Step Up 3D, Dancing with the Stars (Miley Cyrus), Dancing with the Stars - Macy's Stars of Dance, Hannah Montana, Get Smart, Hairspray, Footloose (2011 release) and the 82nd and 83rd Annual Academy Awards. He has also directed and choreographed one episode of the Web series LXD and has contributed his talent to music videos for Austin Brown, John Travolta, Enrique Iglesias, Jennifer Lopez and many more. Jamal is working on a Cirque du Soleil show for the first time. Daniel "Cloud" Campos Internationally renowned dancer, choreographer, actor, and director Daniel "Cloud" Campos is one of the industry's top artists. A master of the art of movement, Daniel's ability to transcend space and time with his effortless prowess has made his work both captivating and unique. A Florida native, Daniel began his early dance career as member of the Al Fuentes High Voltage Extreme Acrobatic Dance Team. Recognized for his work with Madonna (The Re-Invention Tour, Confessions Tour, Live 8 and Live Earth), Daniel has worked with several high profile artists such as Shakira, Mariah Carey, Paulina Rubio, Jennifer Lopez, and Chris Brown. He has numerous film and television credits including Step Up 3D directed by John Chu, Grace starring Debbie Allen, Bolden! starring Jackie Earl Haley and Anthony Mackie, and The Muppets starring Jason Segel and Amy Adams. Commercial and print credits include works for several national campaigns. He is also a member of the world famous dance crew Skills Methodz. As a director, Daniel has made his mark as a rising talent. He has directed and co-directed several short films including the award-winning short Heaven Awaits (2005 Filmerica Challenge: Best Cinematography, Best Editing, Best Audio, Best Editing, Best Horror Film, and the 2005 Grand Prize). Michael Jackson THE IMMORTAL World Tour will be Daniel's first collaboration with Cirque du Soleil. Tamara Levinson Born in Buenos Aires, Argentina, Tamara Levinson is one of the highest-ranked American rhythmic gymnasts in history. Although her competitive career was relatively short, she influenced a generation of up-and-coming U.S. performers. Levinson then transferred her dance skills to the New York theatre scene, where she has performed in many different shows including the popular off-Broadway productions Fuerzabruta and De La Guarda. She has also danced for several famous hip-hop musicians. Her credits include Madonna (Drowned, Confessions and Re-Invention world tours), Gwen Stefani and Avril Lavigne. She was recently inducted into the USA GYMNASTICS hall of fame. Michael Jackson THE IMMORTAL World Tour will be her first collaboration with Cirque du Soleil. Mandy Moore Two-time Emmy Award nominee Mandy Moore is a world-class director, choreographer and dancer best known for her ground-breaking work on the global television hit So You Think You Can Dance. Mandy's contemporary and jazz choreography has been performed on television, in film and on concert and theater stages around the world. Her long list of credits include: Did You Hear About The Morgans with Hugh Grant, Austin Powers with Mike Meyers, American Idol, The Drew Carey Show, Malcolm in the Middle, That '70s Show, Dancing With The Stars, So You Think You Can Dance (where she also appears as a Guest Judge), Nickelodeon's Fresh Beat Band, Céline Dion's Taking Chances concert tour and the Los Angeles Ballet's innovative New Wave LA program. Mandy also directed and choreographed a crowd-pleasing theater production of The Wedding Singer and she continues to teach in Los Angeles at Edge Performing Arts Center and internationally for the JUMP dance convention, private studios and independent performers. Mandy Moore is choreographing for Cirque du Soleil for the first time. ORIGINAL DRALION COSTUME SKETCHES {Aug.29} ------------------------------------------------- Dralion has completed over 4000 shows in its 11 year existence! Over 7 million spectators have enjoyed its unique blend of eastern and western influences. A driving force behind the show rests upon Eastern philosophy's quest to achieve the delicate balance between human and nature. The primary inspiration sources for the costumes were drawn from China, India and Africa. Each of the four elements and its associated family are represented by their own unique color. Blue is identified with air, green symbolizes water, red is for fire, and ochre represents the earth. We invite you to take a look at the original sketches Designer François Barbeau and the costumes that still perform to this day. Check out the original costume sketches at CirqueClub: < http://www.cirquedusoleil.com/en/cirque-club/news/2011/ 2011-08-25-saltimbanco-costumes.aspx > --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- ---[ ALEGRIA ]--- {Aug.17} Thank you North America! 752 shows in 90 cities and many beautiful memories which we will cary with us on the road ahead. PIC [1] /// < http://photos-h.ak.fbcdn.net/hphotos-ak-ash4/ 296327_10150337596725746_38543815745_9539648_ 2657028_s.jpg > {Aug.05} 30 fantastic photos of our training and opening night in Charlotte, NC! LINK /// < http://www.charlotteobserver.com/2011/ 08/03/2501642/alegria.html > ---[ CIRQUE DU SOLEIL ]--- {Aug.29} SAFEWALLS, an art project curated by Cirque du Soleil. FOTO [7] /// < http://www.facebook.com/media/set/?s et=a.10150207785347501.376589.144074117500&type=1 > ---[ DRALION ]--- {Aug.22} Those accustomed to the usual look and feel of a Cirque du Soleil production might be surprised by the company’s “Dralion.” It returns next week to Atlanta, with an openly gay lead vocalist in Cristian Zabala. According to Zabala, “Dralion” differs greatly from other Cirque productions, in more ways than simply not being under a traditional tent. It is Cirque’s 12th traveling show and perhaps its most divisive. The show focuses on a Chinese circus/acrobatics element. Zabala promises lots of colors – which are used to represent the elements of the earth – and notes, “this is what Cirque does best – combine styles.” Zabala has been with the company for nine years and has performed in a variety of Cirque’s signature shows. His first was “Alegria.” However, he much prefers singing than the gymnastics and acrobatics he has done in the past, since it is easier on his body and requires less rehearsal. In “Dralion,” Zabala is the lead vocalist in the large cast of singers and performers, all from around the world. Born in Argentina, he has found a home as an openly gay man in the company. He himself came out at an early age and views himself fortunate in that aspect. “Everyone was accepting — I was very gay when I was a kid. It was very obvious,” he laughs. {Aug.30} Good morning Atlanta! Stay tuned as Stacey Elgin from Good Day Atlanta Road Warrior is visiting Dralion in Gwinnett Arena on Wednesday, August 31st! Don't miss Stacey trying the Aerial Hoop and Trampoline! LINK /// < http://www.myfoxatlanta.com/subindex/ good_day_atl/road_warrior > ---[ LA NOUBA ]--- {Aug.01} La Nouba is Voted as Best Entertainment Experience by Orlando Magainze LINK /// < http://www.facebook.com/media/set/? set=a.10150250650324902.330566.16315569901&type=1 > {Aug.16} We Celebrate our 6,000 performance!! PHOTO [25] /// < http://www.facebook.com/media/set/? set=a.10150262590424902.334391.16315569901&type=1 > ---[ MJ THE IMMORTAL ]--- {Aug.03} Ladies! Get your EXCLUSIVE Michael Jackson THE IMMPORTAL World Tour limited-edition tee now (it won't be sold at the show!) BONUS: Facebook fans get 10% off with this coupon code; MJ10CDS. LINK /// < http://on.fb.me/nxf5BU > {Aug.08} Hear what Zaldy Goco, designer, has to say about his experience in making the costumes for Michael Jackson The Immortal World Tour and catch a glimpse of what he is up to... LINK /// < http://cirk.me/oeOOO6 > {Aug.09} Stay hydrated this summer with your EXCLUSIVE Michael Jackson THE IMMORTAL World Tour limited-edition reusable bottle - available exclusively online for a limited time (it won't be sold at the show!) BONUS: Facebook fans get 10% off with this coupon code: MJ10CDS. LINK /// < http://on.fb.me/nxf5BU > {Aug.10} Production Journal Day 1 LINK /// < http://youtu.be/93Jg1UeP0CA > {Aug.11} Production Journal Day 2 - Greg Phillinganes runs into Kevin Antunes, Musical Designer for the show. They talk about how they're working together to blend Michael's voice with the live band for fans to experience something they have never heard before. LINK /// < http://www.youtube.com/watch?v=hv9DAiZ5e64 > {Aug.12} Production Journal Day 3 - Greg Phillinganes introduces Jory Steinberg, background singer on the show. Sporting a vintage Michael Jackson t-shirt, Jory, shares a bit about herself and her return "home" to Canada to join the show. LINK /// < http://www.youtube.com/watch?v=YlteCZY1Cn8 > {Aug.15} Meet some of the cast from Michael Jackson THE IMMORTAL World Tour by Cirque du Soleil as they explore the streets of Montreal LINK /// < http://www.vimeo.com/25303373 > {Aug.16} Production Journal Day 4 - In today's installment, Kevin Antunes gives us a glimpse of the studio and sound gear assembled especially for him to work creating the 360' surround sound for the show, from his unprecedented access to Michael Jackson's master recordings. LINK /// < http://www.youtube.com/watch?v=x6XS0xLV0zM > {Aug.17} Production Journal Day 5 - Greg Phillinganes is excited to share that, for the first time, hornes will be part of a Michael Jackson band. Saxophonist Mike Phillips and trumpeter Keyon Harrold give us a little sample of what they can throw down. LINK /// < http://www.youtube.com/watch?v=p7gxEZdNe14 > {Aug.18} Production Journal Day 6 - Next up in our series: Kevin Antunes elaborates on how his work and the work of Musical Director Greg Phillinganes, along with the live band, blend together to make the show. LINK /// < http://www.youtube.com/watch?v=MIZmb9GS2LU > {Aug.19} Production Journal Day 7 - An excited Greg Phillanganes coming to you from "eighty four hundred" (Cirque du Soleil Int'l Headquarters' address) introduces three new band members: Tina Guo, Fred White and Taku Hirano. Each share what they're brining to the band's musical range. LINK /// < http://www.youtube.com/watch?v=Wql4wV_jLv4 > {Aug.22} Production Journal Day 8 - Greg Phillanganes introduces 32-year veteran drummer Jonathan "Sugar foot" Moffat who kicked-off his professional career with Michael Jackson and the Jacksons LINK /// < http://www.youtube.com/watch?v=-BSBcEKMJ_4 > {Aug.23} Production Journal Day 10 - Further insights from Kevin Antunes, Musical Designer, for MJ The Immportal World Tour, on working with the band for the show. LINK /// < http://www.youtube.com/watch?v=PKAzYoUD2bM > ---[ MYSTERE ]--- {Aug.04} It's Mystery Character Time: Writer/Director Franco Dragone describes this part of Mystère this way: "Human dreams taking flight, borne by the hopes of a new millennium." Who are they? The rest of the description goes: "The pendulum movement emphasizes that time continues but never stops passing. The benefits outweigh the risks, for the adventure is the reward." So, who are they? AERIAL HIGHBAR. {Aug.23} Mystère animation at Magic. FOTO [14] /// < http://www.facebook.com/media/set/? set=a.10150339243194919.391104.18155469918&type=1 > ---[ OVO ]--- {Aug.03} Ovo performed live this morning on ABC7 Chicago's Windy City LIVE - you can view the performance and listen to the interview by Artistic Director Marjon Van Grunsven! LINK /// < http://windycitylive.com/episodes/ Cirque-Du-Soleils-OVO/8286350 > {Aug.23} Backstage at OVO, Part 1: LINK /// < http://www.youtube.com/watch?v=HAV-LD0STJ8 > {Aug.26} Calgary offers you the chance to win tickets and a backstage tour on September 16th! LINK /// < http://www.visitcalgary.com/cirque-du-soleil-ovo? ref=home%2Ffeature%2Fcirque > {Aug.29} Cirque du Soleil's Grand Chapiteau began taking shape yesterday in Calgary's Stampede Park for the big opening on September 7. CTV Calgary was there! LINK /// < http://calgary.ctv.ca/servlet/an/local/CTVNews/ 20110828/CGY_cirque_ovo_110828/20110828/ ?hub=CalgaryHome > {Aug.31} Calgary says hello to Cirque du Soleil's OVO LINK /// < http://www.calgarysun.com/2011/08/28/ calgary-says-hello-to-cirque-du-soleils-ovo > ---[ QUIDAM ]--- {Aug.18} Take a sneak peek at Quidam in Chocolate City! LINK /// < http://www.abc27.com/video > {Aug.19} Review of Quidam in Hershey, PA by MODE Magazine LINK /// < http://www.facebook.com/notes/harrisburgpa/ cirque-du-soleil-quidam-at-hershey-giant- center-aug-18-21-2011/10150263588915994 > ---[ SALTIMBANCO ]--- {Special} Behind the Scenes of Saltimbanco Webisode Series: {May.03} Episode #1: "Australian Premiere" VIDEO /// < http://www.youtube.com/watch?v=SCSFKD-jJNg > {May.17} Episode #2: "Costume & Makeup" VIDEO /// < http://www.youtube.com/watch?v=litMKf9Ej8A > {Jun.03} Episode #3: "How Cirque Comes Together VIDEO /// < http://www.youtube.com/watch?v=_Qo1WSaCwzs > {Jun.23} Episode #4: "Life in Cirque" VIDEO /// < http://www.youtube.com/watch?v=sh2rPmvEWHA > {Jul.05} Episode #5: "The Creative Side of Cirque" VIDEO /// < http://www.youtube.com/watch?v=MBVQ5U_9gUg > {Jul.26} Episode #6: "The Music of Cirque" VIDEO /// < http://www.youtube.com/watch?v=BQ9CCtuiD7M > {Aug.03} Episode #7: "The Show Goes On" VIDEO /// < http://www.youtube.com/watch?v=NSY5ewm49n8 > {Aug.16} An inside look at our Costume Wonderland LINK /// < http://www.stuff.co.nz/entertainment/arts/ 5441079/Dressing-the-Cirque-du-Soleil > {Aug.23} Cirque du Soleil's oldest running show comes to NZ LINK /// < http://www.3news.co.nz/Cirque-du-Soleils-longest- running-show-comes-to-NZ/tabid/368/articleID/ 223082/Default.aspx > {Aug.25} Excellent review by the NZ Herald on Saltimbanco Opening Night in Auckland!!! LINK /// < http://www.nzherald.co.nz/entertainment/news/ article.cfm?c_id=1501119&objectid=10747490 > {Aug.26} Saltimbanco coming to Vector Arena LINK /// < http://tvnz.co.nz/entertainment-news/saltimbanco- coming-vector-arena-1-45-video-4367289 > ---[ TOTEM ]--- {Aug.11} Beautiful Opening of TOTEM last night in Toronto! FOTO [31] /// < http://www.facebook.com/media/set/? set=a.250887594931938.67594.111798252174207&type=1 > {Aug.11} Review: News Hour New Cirque Show / Global Toronto LINK /// < http://www.globaltoronto.com/video/new+cirque+ show/video.html?v=2087320423&p=5&s=dd#video > {Aug.24} Crystal Ladies live performance on Canada AM this morning! LINK /// < http://www.ctv.ca/canadaAMPlayer/ index.html?video=521686 > ---[ VIVA ELVIS ]--- {Aug.02} Here's a video trivia question from Kevin Owens, our head of audio here at Viva ELVIS! LINK /// < http://www.facebook.com/video/video.php ?v=10100754043612439 > {Aug.04} Here's the answer to Kevin's video trivia question about speakers! LINK /// < http://www.facebook.com/video/video.php ?v=10100756448577869 > {Aug.06} Check out the cover story and great photos in this week's Las Vegas Magazine! LINK /// < http://lasvegasmagazine.com/gallery-viva-elvis/ > {Aug.16} Pictures from Elvis Week at VIVA ELVIS LINK /// < http://www.facebook.com/media/set/? set=a.10150252451824109.324236.167136344108&type=1 > {Aug.19} Check out this behind the scenes video from our friends at VEGAS.com LINK /// < http://www.youtube.com/vegas#p/u/2/JTTnKt1VVDo > ---[ ZAIA ] --- {Aug.11} Hello ZAIA Fans!! This fanspage will be our official ZAIA fanspage from September 2011. There will have some surprises on the page by then! LINK /// < www.facebook.com/ZaiaCirque > ---[ ZARKANA ]--- {Aug.03} Zarkana premiere photos! FOTO [33] /// < http://www.facebook.com/media/set/? set=a.214342041951026.62362.139797212738843&type=1 > {Aug.24} Zarkana themed food and beverages around NYC LINK /// < http://www.facebook.com/notes/zarkana-by-cirque- du-soleil/zarkana-themed-food-beverages-around- nyc/224885374230026 > {Aug.30} Get a free download today only of the Ralphi Rosario remix of "Whenever" from our show at MP3.com! LINK /// < http://cirk.me/ZRemix > ---[ ZUMANITY ]--- {Aug.08} We recently asked some audience members to describe Zumanity for us! Here's what they had to say! LINK /// < http://www.youtube.com/watch?v=coUNSZVtpTc > {Aug.16} Sexy fun at the ZU FOTOS /// < http://www.facebook.com/media/set/? set=a.10150284805583847.354583.13931088846&type=1 > {Aug.25} Ever wanted a behind-the-scenes look at our sexy Midnight Bath act? Here our very talented artists Willie and Agnes take Vegas Minute's Denise Pernula on a wild ride in the tub! LINK /// < http://www.youtube.com/vegas > ======================================================================= 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"} o) Did you know it takes 1,450 gallons of fuel each year for the fire acts? o) Did you know each carousel horse in "O" weighs more than 900 lbs? o) Did you know the clown house weighs more than 7,000 lbs? o) Did you know that 1,800 towels are needed every night to do 2 performances of the show? o) Did you know all the props in the show are driven by performers or technicians? No tracks in the water are used to bring pieces on and off. o) Did you know that each performer in "O" has an average of 5 different looks they wear on stage? there are 3 to 5 copies of each of the costume items. With 85 performers in the show, this adds to thousands of costume pieces, wigs, masks, headpieces, etc. {Dralion} o) Over 5,000 meters (16,000 feet) of fabric were used in creating Dralion's costumes. The fabrics come from regions around the globe, including China, the United States, Italy, France, England and Quebec. o) To create the texture on the chest plate on the singer's Costume in Dralion, bugs were glued on and then molded into different shapes. o) Dralion has close to 1500 costume pieces including shoes, hats and accessories. o) Over 300 pairs of shoes are cleaned and painted by hand every week at Dralion. {IRIS} o) Did you know: around 2,000 brushes have been distributed to the 72 artists in IRIS to complete their make-up kits? That's 28 per person! o) IRIS features 8,300 square feet of floor surface, but that's the tip of the iceberg. o) Did you know that close to 50 people are involved in costume creations for IRIS? They develop all of the 200 costumes needed for the show. o) All together, the costume team for IRIS worked around 70,000 hours and they sewed more than one kilometer of fabric to deliver all the costumes. o) In order to prepare the space for the performances, IRIS required digging 40 feet underneath Kodak Theatre to install massive stage lifts. o) Jean-Francois Bouchard, Director of Creation for IRIS, joined Cirque du Soleil in 1998 to create the interior design of the boutique connected to Cirque du Soleil's La Nouba theater in Orlando. {KA} o) The Counselor's Son character has the most complex make-up application, involving 33 steps and 8 different brushes, 4 sponges, and 1 powder puff. o) Did you know the Sand Cliff Deck and Gantry Crane have a combined weight of approximately 280,000 pounds? That's 140 tons! {La Nouba} o) La Nouba celebrated its 8 millionth guest on Saturday, July 16, 2011 at 6:00pm o) Did you know there are 10 bikes in La Nouba? 1 upside down bike, 1 blue bike on the stage during the high wire act, 1 penny farthing on the high wire, 3 bikes for Les Cons (the fourth one rides a scooter), 2 stunt bikes (mountain and BMX), 1 Little Walker's mini bike AND 1 unicycle on the back wall. {Mystere} o) The glue used on the Chinese Poles to give the artists a better grip when performing is made from 15 pounds of rosin rock and 8 bottles of castor oil melted together in a large pot. We go through 90 pounds of rosin rock and 768 ounces of castor oil per year! o) 22 miles of bungee cord are used in the show. {Quidam} o) There are approx 250 costumes, 500 costume accessories and 200 to 300 shoes in Quidam. o) Each Quidam artist has between 2 and 7 costumes o) The Quidam tour travels with washers and dryers to allow the wardrobe staff to care for the costumes. All costumes are washed daily. o) Eighty percent of the fabric used in Quidam's costumes is custom dyed. These fabrics are usually white and are hand-dyed and printed in custom colors in the Montreal costume workshop. {The Beatles LOVE} o) The Trains of Light, which are operated manually by technicians, drive within inches of a 20 foot drop. To ensure safety, the Trains have been fitted with a custom breaking system at the rear that will automatically engage if it senses the front of the train dropping off the stage. o) The smallest prop in the show is Sgt. Pepper's whistle! {Saltimbanco} o) Most artists in Saltimbanco have three to five costumes each which can include up to 12 individual pieces. o) There are more than 80 different kinds of buttons that are used to maintain the costumes on the Saltimbanco Arena tour. o) Over 2,500 costume items travel with Saltimbanco from city to city in more than 50 road cases and one complete van to bring everything they need to destination. o) There are more than 250 pairs of custom-made shoes for Saltimbanco. Shoes for the Chinese pole act are repainted before each performance. {Viva ELVIS} o) The drummers in our live band go through 7,550 drum sticks and 2,500 drum heads a year, while the guitarists use 7,000 guitar strings every year. {ZED} o) Our high wire artist Pedro Carrillo holds an amazing Guinness world record for "The most consecutive turns skipping with a rope on a high-wire" {ZUMANITY} o) Did you know 136 yards of silk is required to make one of the large red capes? We rotate capes for the show and nine are always kept active. That means more than 1,200 yards of silk is needed to keep the show running at any given time. o) 3,460 hand strung beads are used for ONE Dance Bead costume! o) 23 different types of stones for a total of 3,316 stones are used on the bra cubs for the La Muerte bra! ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * Sep.01.2003 -- Tapis Rouge CD released (BMG/CDS Musique) * Sep.01.2003 -- "Parade of Colors" Book Published * Sep.01.2010 -- Saltimbanco Arena opened Berlin, DE * Sep.01.2010 -- Alegría Arena opened Kamloops, BC * Sep.02.2009 -- Alegría Arena opened Albany, NY * Sep.03.1987 -- Le Cirque Réinventé opened Las Angeles * Sep.03.1993 -- Saltimbanco opened Boston * Sep.03.2009 -- Ovo opened Toronto, ON * Sep.03.2010 -- Quidam opened Lima, PE * Sep.04.2002 -- Saltimbanco opened Brussels * Sep.04.2008 -- Koozå opened Boston * Sep.05.2005 -- Cirque held 5th Run Away with Cirque du Soleil 5k Run and 1 Mile Fun Walk at Paseo Verde Park * Sep.06.2005 -- "O" CD released in US (CDS Musique) * Sep.06.2005 -- La Nouba CD released in US (CDS Musique) * Sep.06.2005 -- Mystère (Live) CD released in US (CDS Musique) * Sep.08.1985 -- 1984 Tour opened Montréal * Sep.08.1989 -- Cirque Réinventé opened Santa Monica * Sep.08.1995 -- Alegría opened Boston * Sep.08.2005 -- Dralion opened Zurich * Sep.08.2006 -- Corteo opened Boston * Sep.08.2010 -- Saltimbanco Arena opened Munich, DE * Sep.08.2010 -- Alegría Arena opened Victoria, BC * Sep.09.1988 -- Cirque Réinventé opened Washington DC * Sep.09.1993 -- Saltimbanco opened in Boston * Sep.09.1999 -- Saltimbanco opened in Perth * Sep.09.2005 -- Quidam opened Singapore * Sep.09.2009 -- Alegría Arena opened Syracuse, NY * Sep.09.2009 -- Name of CirqueVaudeville Released [Banana Shpeel] * Sep.09.2010 -- OVO opened Washington, DC * Sep.11.1990 -- Nouvelle Expérience opened San Jose * Sep.11.2008 -- Quidam opened Barcelona, Spain * Sep.12.1986 -- Le Magie Continue opened Toronto * Sep.12.1997 -- Alegría opened Vienna * Sep.12.2003 -- Varekai opened Los Angeles * Sep.12.2005 -- Zumanity celebrated its 1000th performance * Sep.13.1991 -- Nouvelle Expérience opened Chicago * Sep.13.1996 -- Saltimbanco opened Zurich * Sep.14.2001 -- Quidam opened Zurich * Sep.14.2007 -- Alegría opened Curitiba, Brazil * Sep.14.2010 -- Banana Shpeel opened San Francisco, CA * Sep.15.1995 -- Saltimbanco opened Düsseldorf * Sep.15.2002 -- Fire Within premiered in Canada [7:00pm EST/Global TV] * Sep.15.2005 -- Name of "Cirque MGM" released - KÀ * Sep.15.2008 -- Mystère celebrated 7,000th performance [9:30pm] * Sep.15.2010 -- Saltimbanco Arena opened Milan, IT * Sep.15.2010 -- Alegría Arena opened Tacoma, WA * Sep.16.2004 -- Varekai opened Washington DC * Sep.16.2008 -- Corteo opened Ottawa * Sep.16.2009 -- Alegría Arena opened Amherst, NY * Sep.16.2010 -- Koozå opened Calgary, AB * Sep.17.1998 -- Alegría opened Zurich * Sep.17.1998 -- Quidam opened McLean * Sep.17.2009 -- Saltimbanco Arena Tour Begins in Europe * Sep.17.2009 -- Saltimbanco Arena opened Stockholm, SE * Sep.17.2009 -- Dralion opened Monterrey, Mexico * Sep.17.2010 -- Varekai opened Zurich, CH * Sep.18.2009 -- Quidam opened Brasilia, Brazil * Sep.19.2002 -- Varekai opened Philadelphia * Sep.19.2003 -- Saltimbanco opened Zurich * Sep.20.1989 -- Cirque Réinventé opened Santa Monica * Sep.20.2001 -- Saltimbanco opened Yokohama * Sep.20.2003 -- Zumanity Gala Premiere (Previews End) * Sep.21.2001 -- Saltimbanco opened in Yokohama * Sep.21.2001 -- Alegría celebrated 2,500th performance [Brisbane] * Sep.21.2003 -- Cirque wins Outstanding Nonfiction Program award * Sep.21.2004 -- "Le Best of..." CD Released (CDS Musique) * Sep.22.2002 -- Cirque lost Emmys (nominated Jul.18.2002) Outstanding Variety, Music or Comedy Special - Alegría Outstanding Choreography for 74th Academy Awards - Debra Brown * Sep.22.2005 -- Varekai opened Hartford * Sep.22.2010 -- Saltimbanco Arena opened Zargoza, ES * Sep.22.2010 -- Alegría Arena opened Spokane, WA * Sep.23.1999 -- Dralion opened in Santa Monica * Sep.23.2009 -- Saltimbanco Arena opened Helsinki, FI * Sep.23.2009 -- Alegría Arena opened Rochester, NY * Sep.24.2008 -- Cirque2009 tickets go on sale! * Sep.25.2005 -- Corteo opened Minneapolis * Sep.25.1996 -- Quidam opened in Santa Monica * Sep.25.2002 -- Cirquedusoleil.com won four awards for its website: "Best of Show", "Experience", "Content & Information", "Experimental" * Sep.25.2008 -- Varekai opened Vienna, Austria * Sep.26.2002 -- Quidam opened Cleveland * Sep.27.1994 -- Alegría CD released in Canada (RCA/Victor) * Sep.27.2001 -- Dralion opened in Philadelphia * Sep.27.2003 -- Cirque du Soleil HQ Open House * Sep.28.2003 -- Cirque du Soleil HQ Open House * Sep.28.2006 -- Quidam opened St. Louis * Sep.29.2010 -- Saltimbanco Arena opened Granada, ES * Sep.30.1997 -- Quidam opened Denver * Sep.30.2009 -- Saltimbanco Arena opened Turku, FI * Sep.30.2009 -- Alegría Arena opened State College, PA * Sep.30.2009 -- Guy Laliberté, Cosmonaut! ======================================================================= FASCINATION! FEATURES ======================================================================= o) "The KÀ App for Android - a Quick Review" By: Ricky Russo - Atlanta, Georgia (USA) o) "CirqueCon Update #6 - We Have a Group Meal!" By: Keith Johnson - Seattle, Washington (USA) o) "Remembering ZED: A Timeless Evocation" Part 1 of 4 - "The Meeting of Two Worlds" By: Ricky Russo - Atlanta, Georgia (USA) o) "Bhavsar Blogs in Gymnast Magazine" [EXPANDED] A Special Collection from IG Online o) "TOTEM Hits Toronto" [EXPANDED] A Special Collection of Reviews in the Press --------------------------------------------------------- "The KÀ App for Android - a Quick Review" By: Ricky Russo - Atlanta, Georgia (USA) --------------------------------------------------------- On Tuesday, August 17th, a tweet from Cirque du Soleil regarding a new app resource came across my mobile phone that piqued my general interest. Usually I ignore those messages because although Google's Android is one of the most popular mobile phone platforms world-wide now, Cirque du Soleil and its mobile partners seem to develop only for the iOS platform, the platform for Apple's iPhone and iPad series of devices. What, we on Android are second-class citizens? Not so! So when this tweet suggested there was indeed a Cirque app now available for the Android platform... "@Cirque: We've got 3 options for KA apps now! iPad (http://t.co/VTM3vUo), Android (http://t.co/VTM3vUo) & iPhone (http://t.co/kH9cY5q)" As an owner of an HTC EVO, I took quite an interest and downloaded the app. Here's what I found: Hitting the Menu key on your phone brings up four options: SHARE THIS APP, GENERAL SETTINGS, SEARCH and ACCOUNTS. SHARE THIS APP gives you the option to shave via SMS, Twitter or Facebook. SEARCH brings up a general search bar. ACCOUNTS will allow you to sign-in to either your Facebook or Twitter profiles (no doubt for ease of sharing), and it's relatively simple to set-up. And GENERAL SETTINGS contains your basic operations, such as turning on/off: push notifications, direct messaging, email updates, and location services. And if you happen to be on another page, the "Share this App" button becomes HOME. On the Homescreen you have: CIRQUE NEWS, VIDEOS, PHOTOS, FAN WALL, ABOUT KA, KA CHARACTERS, QR SCANNER, MY PROFILE and CIRQUECLUB on the first home screen, and TOP USERS, FAVORITES and COPYRIGHT on the second home screen as options to choose from. CIRQUE NEWS - is not what I expected at first blush. I thought perhaps this would be a RSS feed from CirqueClub or some other aggregation with Cirque-based headlines available to read. What it is, however, is a tweetdeck featuring all tweets where Cirque du Soleil (@Cirque) is mentioned, or tweets @Cirque themselves sends out into the twitterverse. Options to select ALL TWEETS, OFFICIAL and MENTIONS exist for further organization. Although just incorporating twitter feeds, this is a nice feature to have if you don't have a Twitter account. VIDEOS - at the time of review, the video's section of the app only has four options to choose from: "Inside KA at G4", "Make-Up Tutorial", "Extreme Engineering" and "Trailer". The "Inside KA at G4" option opens up two videos: "Airbag Training" and "Battle Wall". "Make-up Tutorial" opens up a native video called "KA: All Made Up". "Extreme Engineering" opens up a video on the engineering behind KA. And "Trailer" is, of course, the official Cirque du Soleil trailer for the show. PHOTOS - this section offers a number of photo categories for you to choose from, opening up your selection natively in the app: CHARACTERS, CREATIVE STORYBOARDS, BACKSTAGE, LIVE AT MGM GRAND, and SCENES FROM KA. FAN WALL - is exactly what it sounds. Similar to the Facebook Wall, where friends and family post comments about their general life, you can do the same about KA right here through the app. There are a few comments out there today and like the old CirqueClub forum, open to any topic. Don't expect more than you'd see on an average Facebook wall here. ABOUT KA - takes us to a page full of text from Cirque du Soleil's press release on the show, giving us a brief overview of the concept, acts, plot and the company at large. KA CHARACTERS - is a visual listing of the myriad of characters that exist in the world of KA. Although laid out like a photo album (each character is on one screen, with its name below), running your finger over the picture will take you to another screen where the character's motivation (aka description) is foretold. And, unfortunately, there is a tab where you can leave comments about the character (much like the Fan Wall). QR SCANNER - is obviously to be used in conjunction with Cirque du Soleil and the show KA; however, it is just a generic scanner option. MY PROFILE - takes you to the before-mentioned profile options, allowing you to connect with either your Facebook or Twitter accounts (or both!). CIRQUE CLUB - This is an option that takes you to an in-app page for you to sign up for CirqueClub announcements via email, regrettably, not a link to a mobile version of the Cirque Club site or an aggregation of its content in-app. Of all the options available in the app that had the most promise, this one was it, and there's just nothing to it. TOP USERS - is a section that breaks down the app's top users in Daily, Weekly, Monthly and All Time categories. This is interesting because users actually earn points for just about everything they do in the app (so the more you do the more you earn) and when you fulfill certain activities (like commenting, sharing and the like), users earn specific badges (like Gowalla, FourSquare and GetGlue) that can also be shared and displayed. FAVORITES - is a place where all the topics you "hearted" are saved. As I didn't "heart" any, there weren't any for me to see. But should you choose to do so (no doubt earning you points and badges in the process), they'll be displayed here. COPYRIGHT - Last, but not least, the generic copyright page. It's so generic I'm surprised anyone bothered to make it an option from the home screen menus, but there you have it. The application, developed by Mobile Roadie, can be currently found in the Android Marketplace - it's 2.44 MB in size and is currently sporting version 0.1.3.1. It's free so if you have an Android-based phone, love KA and enjoy interacting with the show as much as possible, this app is for you. Enjoy! --------------------------------------------------------- "CirqueCon 2011 Update #6 - We Have a Group Meal!" By: Keith Johnson - Seattle, Washington (USA) --------------------------------------------------------- Greetings, Passionates! We want to thank everyone who took the time to respond to our poll about where to eat. In an interesting turn (though perhaps not, considering Cirque Passionates? lack of hesitation to spend money) though we presented options at several different price points it turned out the most expensive option was the most popular. So, as on America's Got Talent, we will go with America's decision! More on that below. HAVE YOU GOT YOUR ROOMS/TICKETS - Our exclusive deals for tickets and hotel rooms are still available, through the links we've sent to members previously (see more about our deals at our website, www.cirquecon.com ). Don't wait too much longer before reserving, when the hotel reaches a certain occupancy level the offer will expire. ANNOUNCING OUR GROUP MEAL! - 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. In looking for a restaurant to hold our Group Meal, we looked at all the restaurants in the Hollywood & Highland complex (www.hollywoodandhighland.com) as well as the block surrounding it, providing several options at several price points to you, our members, for input. YOUR CHOICE? ------------ THE GRILL ON HOLLYWOOD < http://thegrill.com/locations/the-grill-on-hollywood > 6801 Hollywood Boulevard, #407 Hollywood, CA 90028 323-856-5530 They are located on the fourth floor of the Hollywood & Highland complex. The entrance to the Kodak Theatre is on the second floor. HOW MUCH? --------- PRICE - $59.00 EACH, $61.00 EACH VIA PAYPAL. This includes food, beverage, gratuity and tax. (Instructions on how to reserve a space below.) THE FOOD? --------- The menu is: Starter: Caesar Salad - romaine, parmesan cheese, garlic croutons, ceasar dressing Main Course (choose one of these): o) Chicken Piccata - chicken breast medallions, lemon butter caper sauce, chef vegetable o) Charbroiled Atlantic Salmon - salsa fresca, chef vegetable o) Charbroiled Skirt Steak - marinated in citrus juices, soy sauce and special seasonings, chef vegetable o) A vegetarian option available upon request Dessert: Fresh Baked Cobbler - whipped cream Drink: House Brewed Ice Tea, Coffee, Hot Tea or Soft Drink (Coke, Diet Coke or Sprite). Refills are free. Beer ($6-7), wine ($9) or mixed drinks ($8-11) are on your own. We will be sitting in a glassed-off section of the restaurant near the back (check out the ?360-degree virtual tour? on the website. HOW TO PAY: ----------- We accept Check, Money Order, International Money Order (in USD) and PayPal. Note that due to PayPal's fee structure the cost will be higher through PayPal than by other means. ** CREDIT CARD via PAYPAL. We have our PAYPAL account for those that wish to pay via credit card. Please send $61.00 USD per person to PAYPAL account Hollywood@cirquecon.com . Be sure to also advise us of your entrée selection. ** By CHECK, MONEY ORDER, OR INTERNATIONAL MONEY ORDER (in USD). Please send $59.00 USD per person. Be sure to also advise us of your entrée selection. Checks should be made out and sent to: Keith Johnson 31241 4th Avenue South Federal Way, WA 98003-5203 DEADLINE: WEDNESDAY, NOVEMBER 23, 2010 (the day before Thanksgiving). So there ya go. All of the major pieces of CirqueCon are now in place: our Hotel, Ticket Deal and now Group Meal. Now we start the countdown to another wonderful weekend! Thank you again for believing in us. In the meantime, Live Passionately! Keith, Lucy and Ricky Your CirqueCon '11: Hollywood! Team www.cirquecon.com Hollywood@cirquecon.com --------------------------------------------------------- "Remembering ZED: A Timeless Evocation" Part 1 of 4 - "The Meeting of Two Worlds" By: Ricky Russo - Atlanta, Georgia (USA) --------------------------------------------------------- Shocking news hit the Cirque du Soleil fandom around Noon on Sunday, July 24th- ZED, Cirque du Soleil's resident show in Tokyo, Japan would cease operations and close as of December 31, 2011 - and it was the proverbial shot heard around the world for Cirque fans. It was no surprise to learn that ticket sales and attendance had plummeted since the 2011 Tokoku earthquake and tsunami, and Oriental Land Company (OLC), Cirque du Soleil's partner in Japan, said the decision to close the show amounted to just that - low attendance and a bleak overall outlook on the show's future. Thankfully this will not be the last time we hear from the world of ZED, as pieces of the show will be salvaged and used to upgrade VIVA ELVIS and MYSTERE on the Las Vegas Strip. While we absorb the full impact and meaning of this closure, and contemplate the knowledge that we may never again see ZED staged whole, I'd like to take a moment to reflect upon my experience with ZED and highlight the fascinating characters and acts we'll now miss once the final curtain is called. * * * "Hey, I saw you guys running around before the start of the show... what happened?" With only a few moments to spare before the curtain would again rise on ZED, Cirque du Soleil's then newest resident production in Tokyo, Japan, my friend (and fellow Cirque du Soleil fan) Rich Alford and I entered the theater complex on the afternoon of November 8, 2008 in triumph, though huffing and puffing from the rather long and extensive walk we took from inside this beautiful gem in Disney's resort crown, located at 1-1 Maihama, Urayasu-shi, Chiba-ken - DisneySEA. Tokyo DisneySEA, which is a take on DisneyLAND, opened next to Tokyo Disneyland Park on September 4, 2001 at a cost of ¥338 Billion, and is divided into seven "ports of call", or themed lands, containing a number of unique as well as time-honored Disney attractions: Mediterranean Harbor (offering the old-world charm of a romantic southern European seaport as its backdrop), Mysterious Island (a very foreboding, rocky and devoid place set within a South Pacific volcanic caldera of the 1860s - "20,000 Leagues Under the Sea" and "Journey to the Center of the Earth" attractions are here), Mermaid Lagoon (a whimsical "under the sea" world of fun and play with Ariel, the little mermaid), Arabian Coast (harking back 10 centuries to the mysterious enchantment of Arabian Nights - "Sinbad's Seven Voyages", "Caravan Carousel" and "Aladdin" are here), Lost River Delta (the foreboding jungles of Central America in the 1930s on the shores of El Rio Perdido, the ‘Lost River' - "Indiana Jones and the Temple of the Crystal Skull" and "Mystic Rhythms" attractions are here), Port Discovery (the marina of the future as inspired by the futuristic writings of Jules Verne as sseen from the 1800s - "StormRider" and "Aquatopia" can be found here), and American Waterfront (which recreates two distinct American harbors at the dawn of the 20th Century - New York and Cape Cod; "The Tower of Terror" can be found here.) Styles, themes, attitude, atmosphere and ambiance of each land are all richly invoked and distinctly themed to the likes I've never before seen in a Disney Park. You'll literally lose yourself within it - I know I have - and enjoyed every moment doing so, as if I were a kid in a candy store! I could wax poetic about this park, and have on multiple occasions in the past, but there just isn't time for that here. Getting back on point, we found ourselves at Tokyo DisneySEA, that morning as hosts to a CirqueCon lunch for a table of eight patrons at Magellan's, a fantastic exploration-themed restaurant under the golden globe of Fortress Explorations, the citadel anchoring Mediterranean Harbor on the foothills of Mount Prometheus, the park's signature volcanic icon. The atmosphere of the restaurant recalls the glory days of oceanic explorers, with a deeply detailed décor that screams refinement, but the food is distinctly western. CirqueCon held three tables for lunch for the maximum accompaniment (eight), at three different times: 11:00am, 12:00pm and 1:00pm. Rich and I hosted a table of 8 at 11:00am, Keith hosted at Noon and Lucy at 1:00pm. Heather & Jim and the Duval party made up our eight; it was a great time to socialize. Rich and I chose the early table so we would be free to attend ZED's early show, and once the hour struck Noon, we were on our way to the Cirque du Soleil Theater as soon as we could say our goodbyes (likely we'd not see many of these people again on this trip) and make our way over. But I'm getting ahead of myself. CirqueCon - the Unofficial Gatherings of Cirque du Soleil Passionates - is a fan-organized assembly of like-minded individuals who share a singular passion: that of the Québécois circus arts. Our humble story began with fans proposing a small gathering in 2004 during the Vancouver run of Quidam, a show which had just delighted audiences throughout the Japan the year prior. Add a little ingenuity and hard work by the fans, and a touch of folly from Cirque du Soleil and viola - CirqueCon came to be. While the tale of our genesis is somewhat more complicated than just a "coming together", since our inaugural event we've made similar journeys across the continent seeking out our favorite avant-garde circus whenever possible. It's a drive which has taken us to a number of cities across two continents: Vancouver (2004), Montreal (2005), Las Vegas (2006), Orlando (2007), Tokyo (2008), Monterrey (2009), New York City & Montreal (2010) and Hollywood (2011). When the announcement that Cirque du Soleil was creating a new resident show specifically crafted for and performed exclusively to audiences in Japan fell upon the council chambers at CirqueCon (of which I am a founding member), we knew exactly where our group was headed in 2008: Tokyo! Thus ZED, the name of this new creation, became the impetus for yet another return to the Land of the Rising Sun. Although the lunch at Magellan's was not the last official CirqueCon outing of the weekend - most of the important activities having occurred the day before - it was also not the last. The day before we held a Meet & Greet at our Headquarters Hotel (the Tokyo Disneyland Hilton) from 10:00a - 11:30a, allowing Passionates to mingle with one another; followed by a Training Session/Q&A at the Cirque Theater from 2:30p - 3:30p, Inside we watched a rehearsal with members from the artistic staff to explain what was going on (which wasn't necessary - we know a flying trapeze when we see it!), but we did appreciate the time spent with us answering our questions and pandering to our curiosity about all things Cirque; then a Group meal at the Ikispari Rainforest Café from 4:00p - 6:00p, set by ourselves in the "Cave" room; ZED from 7:00p - 9:45p, a show that completely exceeded my expectations; and lastly, a Group Photo with some of the cast and crew atop the stage just after the show bows. Good stuff! Despite our hurried nature, as both Rich and I looked very much forward to our second performance of the show (we, of course, attended the official CirqueCon performance the previous evening), we paused in the sprawling lobby only to compose ourselves before entering through the portal gates and into the theater proper. After gaining control of our heaving chests, we entered the theater, spotting a number of our friends from various corners of the North American continent - Wayne Leung from Ottawa, Canada; Rodolfo Elizondo from Monterrey, Mexico; Heather Smith & Jim Strain from New York City, USA and many, more. But what we never expected was to spot someone sitting comfortably in our seats. With a quick glance at our tickets, our worst fears were realized... "Oh man, these are not our tickets!" The billets issued to Rich upon arrival were not only not from the show we had requested - today's 2:00pm performance - rather, they were for the later 6:00pm time-slot, a time we couldn't see the show! They weren't even in Rich's name! With only a few short minutes before the start of the show we were at a loss of what to do. Figuring out that we received the wrong person's tickets, we dashed down to guest services to try and straighten things out. Had we been in America, the urgency wouldn't be quite as pressing, but here in Japan, where everything is virtually lost in translation, what should have been a simple check at the box office turned into a very stressful fiasco for all parties involved. Unfortunately the theater folks did not understand our sense of urgency - the show would be starting any minute and someone was in our seats! - nor did they seem to comprehend we paid for tickets to that particular showing. "It's all sold out," we were advised, over and over. We knew that, of course. That's why we bought tickets in advance. With about a minute before curtain call and with the box office on the phone to Kyoko Hasegawa (our friendly contact at Cirque Tokyo), we dashed back into the theater advising them we were going to take a set of secondary seats they offered us while it all got straightened out. We weren't about to miss the opening of the show! And we didn't... they found us another set of alternative seats, which we took quickly, settling down to gaze over the white canvas that keeps the world of ZED tightly wrapped. TO BE CONTINUED... Next time: we'll take a peek behind "the vortex" and discover a little bit about ZED's performance space. --------------------------------------------------------- "Bhavsar Blogs in Gymnast Magazine" [EXPANDED] A Special Collection from IG Online --------------------------------------------------------- Set to star in Cirque du Soleil's new Hollywood-themed show, world and Olympic medalist Raj Bhavsar writes an exclusive blog for IG Online with periodic behind-the-scenes updates. "IRIS: A Journey Through the World of Cinema" begins July 21 with preview performances at the Kodak Theatre at the Hollywood & Highland Center in Los Angeles. PART 1 ------ It's been a while since I've checked in with my beloved gymnastics community, so I thought I would drop a note and let everyone know where I have been channeling my passion lately. In November of 2010, I left my hometown of Houston, Texas, and embarked on a journey with Cirque du Soleil. The decision to do so was made after analyzing all aspects of my life, many career options, and by diving deep down to ask one of life's most important questions: what are my most genuine passions? . For me, one answer came quickly: gymnastics. As a 30-year-old retired gymnast, I still had juice in the tank and found myself clocking into the gym to play gymnastics. I am a physical person and love to participate in all sports, but to me, there isn't another like gymnastics. However, it wasn't the competition that I was still in love with, nor had the desire to do. Throughout my career, it was the feeling of doing gymnastics that I've loved the most. While I will always miss competitive gymnastics and am grateful for all the valuable life lessons it has taught me, I knew the time was right to move on without totally relinquishing my physical talent. I mentally toyed with the idea of Cirque for almost five years, starting with my post-2004 season. I thought about retiring after the 2004 Olympics, but that decision never sat well with me, as I had unfinished goals in the sport. Four years and an Olympic medal later, I knew the time was right. I loved performing and always had a strong urge to expand on gymnastics in creative ways. I had seen many Cirque shows before and always remember sitting in the audience thinking how beautiful it is to see these acrobats combine gymnastics and theater elements in magical ways. I remember one moment specifically as I was watching "O" in Las Vegas. The boat act (or "Bateau") was one of the most fascinating things I had ever seen and I was literally moving in my seat, trying to feel what the acrobats were feeling as they were pushing the envelope, throwing some amazing tricks. Maybe someday I would feel it for real.... After compiling a video highlighting my gymnastics career and some fun tricks in the gym, I began talking with Stacy Clark in the casting department at Cirque to see if I would be a good fit for one of their shows. Turned out that I got really exciting news when they told me they wanted me for "Kodak," a new Los Angeles resident show, now titled "IRIS." I've been wanting to live and work in Los Angeles for a long time, so one dream was now coming true. I arrived in Montreal on Nov. 21, 2010, and began training the next day. I remember, vividly, the first time I walked through the doors at headquarters. I was a mixed bag of emotions; excited, nervous, anxious.... a bit like being at the Olympics. Meeting other members from the cast was a joy as Team IRIS is fully represented by former athletes and entertainers from all over the world. It was even nice to talk gymnastics and recall people we know in the community. It made the new world I was stepping into feel more comfortable and not so far from home. The creation experience in Montreal is something I will cherish for a lifetime. It felt similar to being at the Olympic Training Center in Colorado as we lived right across the street from the studio, and we made several trips back and forth for training sessions, physio appointments and cross training. What was interesting though was to walk into the training rooms and see in one corner, someone balancing a one-arm handstand on someone else's head, or a contortionist with her leg pulled over her head and feet tucked under her chin, and maybe even someone flying 40 feet in the air on a trapeze. It definitely isn't the normal scene I'm used to, but that's what I love about Cirque. I spent the first three months training new acrobatic skills and devoting a lot of mental energy to getting acclimated to my new life as an artist. Cirque knows gymnasts can bring many acrobatic tricks to the table, but what I love is that they spend a good deal of time nurturing an ex-gymnast like myself to become a theatrical entertainer. Outside of the acro, we were fortunate to learn about all aspects of production. In the mornings, we had dance, acting, clown and yoga classes. My favorite classes were the acting and clown classes, or "bouffon." Sounds a lot like buffoon, and that's exactly what you behave like. (I'm sure most of my friends know that it suits me well!) On a deeper level though, what I really love is that these classes pushed me to free myself of judgement from myself or the outside world. As an artist, I am learning that the best performances are given when an entertainer is truly committed and has absolute conviction to the role he/she is playing. In June, the entire team, production and cast, moved to our new home city of Los Angeles. We were taken to see the Kodak Theatre the same week, and when I first saw the stage, my jaw was on the ground. For one, I could not believe that we will be sharing the same stage that previous Oscar-winning actors and actresses have walked and talked on. When I set foot on the stage for the first time, I could literally feel the immense energy of the place. Believe me when I say, there is something magical about this theater. There is a special quality about it and I haven't yet found the words to describe it. All I can tell you now is that it's a pleasure and I am humbled to be performing there. Upon arrival in LA, we had many things cluttering our minds. Before we enjoyed the California sun, everyone was scurrying to find apartments, buy bikes and scooters, and pretty much settle down in Hollywood. Of course there is some pleasure in saying that I am an entertainer in the industry's lead city, but what I get more satisfaction from is knowing that I have a responsibility to entertain the very tourists that I pass every day on my way to work. Many of us walk along the Hollywood Walk of Fame on our way to the theater, most of the time with our heads down staring at the names of successful entertainers encased in gold stars. I want to believe that on some level, we aspire to be like them. Right now a typical day consists of training sessions from 9 a.m. until noon. We break for lunch, which is readily available as the Hollywood & Highland Center is packed with restaurants and great places to grub. We come back in the afternoon for staging sessions where we run certain numbers and put the Cirque quality polish on our work. Evenings consist of some cross training, physio treatments and dinner. I crash early nowadays as I'm drained after work, but honestly, I don't mind being tired from something I love doing. All in all, I have thoroughly enjoyed my experience thus far. Being a member of this cast has not only given me the opportunity to enjoy gymnastics in a different format, but has mainly placed me around creative, imaginative and quality people. Our team has sacrificed some of life's immediate gratifications for the last six months — including a winter in Canada, some physically taxing training sessions and a complete relocation to another city — in an effort to produce a breathtaking show for the world to enjoy. If you get a chance, come see "IRIS." You will love it! PART 2 ------ Set to star in Cirque du Soleil's new Hollywood-themed show, world and Olympic medalist Raj Bhavsar continues his exclusive blog for IG Online with behind-the-scenes updates. "IRIS: A Journey Through the World of Cinema" premieres Sept. 25 at the Kodak Theatre at the Hollywood & Highland Center in Los Angeles. In my first blog, I told IG readers about my new adventure with Cirque du Soleil and how much I have enjoyed the creation of IRIS to this very day. It really is amazing how time flies in life, and when I take a moment to reflect back on my life as a competitive gymnast and where I am now, I get goose bumps. It's been seven months since I joined this project, and I am proud to announce that IRIS opened magnificently on Thursday, July 21, 2011. While this is just a "soft" opening (meaning the general public is invited to view the complete show as it stands now), it is still an accomplishment, and I would like to publicly thank Cirque du Soleil for providing me with the opportunity to perform in an amazing show. Also, a hearty congratulations goes out to the cast, crew and production team at IRIS, as we have all worked very hard and I believe it shows. Lastly, thank you to everyone who has supported me in this adventure. I have received so many exciting letters and online postings mentioning how elated people are to see IRIS. That is the fuel that keeps me going in this direction. In a short and sweet sentence, I will say this: The July opening of IRIS was a highly anticipated event for not only our new home city of Los Angeles, but for all of us involved in the show. It went very smoothly and before I knew it we were at the end of the show, on stage, taking in a standing ovation. In the weeks leading up the premiere, our workload was not the only thing that increased. Within the cast there was a bubbling of excitement, as we were ready to show this new baby to the world. I use the word baby, because that is what this show is at this stage. We still have two more months of previews, while minor changes are made. As a result, this show is going to evolve: it will only get better and develop more personality and character as time goes by. Sept. 25 marks another big date as it is our premiere, or hard opening. It is the next big moment for Team IRIS. Without spoiling it for everyone, I will reference here the essence of our show. Official text states: "This new production from Cirque du Soleil is a lyrical, fanciful, kinetic foray into the seventh art. Bringing together dance, acrobatics, live video, filmed sequences and animation, the show takes spectators on a fantastic voyage through the history of cinema and its genres, taking them into the heart of the movie-making process. From illustration to animation, black and white to colour, silent films to talkies, fixed shots to swooping camera movements, spectators witness the poetic construction/ deconstruction of this art as an object and as a way of transcending reality." You also catch on to a fantastical love story between Buster, a melancholic composer and Scarlett, who longs to become a star. In this great escapade, you will see Buster traveling through different circus environments on his way to finding his one true love. Also scattered throughout the show are several movie references, so it is fun to watch and see where this show gets its food. One of the most common questions I get from my family and friends is, "Raj, what are you doing in the show?" Until now, I have spoken in generalities to just a few of my closest people, but now that we have opened, and I know you will come see the show soon, it makes sense to also give you a sneak peek into my role on IRIS. As a Cirque du Soleil artist, I have the opportunity to be in many acts throughout the show. Our acrobatic cast of 20-plus artists is fully loaded with talent and years of experience. I consider myself fortunate to among such a group. I would call "roof tops" my main act and it's heavy! This explosive cops-and-robbers chase scene is full of trampoline tricks, parkour, high bar and column work (colonne). Fifteen very talented acrobats jumping and flying around on a multilevel structure resembling a roof top scene from Warren Beatty's "Dick Tracy" is my kind of scene. Most of my creation time in Montreal was dedicated to training this number and there are so many elements involved that to me it is the gymnasts' ultimate playground. Putting into words my entire track would put us into the New Year so I'll just tell you to look for a short policeman in a purple uniform with a black eye. We run and jump off rooftops, swing around poles and disappear into houses, all while stunt fighting, acting and dodging machine gun fire. One of my favorite tricks is a fifteen foot long jump from a tramp, flying over a second tramp, to land in a doorway Jason Bourne style. It is not fun when I miss this one, but the thrill is immense when I hit it. Perched near the top of the structure is a half-length high bar 20 feet high on which I and another acrobat perform. I'm used to a high bar eight feet high with mats under me; this one is more than double the height and we dismount to our backs on the trampoline bed. Currently there is a crash mat under us as the bounce afterward is something only birds are used to. When I arrived in Montreal and saw the high bar structure for the first time, I was silent. I never would have believed that I would someday conquer it, but just like gymnastics, Cirque emphasizes step-by-step training and safety. This has led to many successful high bar dismounts from both me and my fellow high bar artist, a former gymnast from France. Our final trick as of now: giant, giant, layout flyaway ... drop 20 feet to our back, then double kaboom. I am still working toward this; my kaboom was never the best, so I might land on my back and bounce rotating forward. Either way, we fly. While high bar is something I am used to training as a gymnast, column work, or "colonne," on the trampoline was something I never did before in my life. In short, colonne is when acrobats stack on top of each other by standing on each others' shoulders sometimes three to four people high. As a gymnast, I believe we have the ability to pick up sports and new skills very naturally, and colonne has become a new talent I never knew I had. You may have seen acrobats in other shows do flips from a teeterboard and land on a tower of people. This is the same concept except that we are on a trampoline and the person on the bottom (porter) is working extra hard due to the lack of a hard surface for solid support. The colonne team in this act has spent many hours learning tricks that are very appealing to the eye. We do back flips and land on our porter's shoulders every night – it's become quite fun and challenging. Though July 21 has come and gone, we still have work to do before our premiere in September. We rarely get to see our own show live, but I do get to see the reaction on people's faces which tells me enough. Even my toughest critics, my parents, were all smiles after this one. I've really enjoyed plugging my fans and readers into this adventure- of-a-lifetime. Stay tuned — in my final installment I will be sharing with you what it means to be performing in a world-class show, on a world-class stage, with world-class people. PART 3 ------ Now performing in Cirque du Soleil's new Hollywood-themed show, world and Olympic medalist Raj Bhavsar concludes his exclusive blog for IG Online with behind-the-scenes updates and impressions. "IRIS: A Journey Through the World of Cinema" premiered Sept. 25 at the Kodak Theatre at the Hollywood & Highland Center in Los Angeles. Lights, camera, action! The stage has been set and the big moment finally arrived! The new Cirque du Soleil show, "IRIS" premiered on Sept. 25, exclusively at the Kodak Theater in Los Angeles. It's amazing to think that this show started from a mere blank canvas or a simple figment of one's imagination, and has evolved into a live, three-dimensional, dynamic theater show. Before I get into the meat of my bantering I want to give you a quick fun fact. In 1987, Cirque was invited to participate in the Los Angeles Arts Festival, where it was a huge success. The show and company were warmly embraced by the public and the local entertainment community alike, thus giving it the necessary fuel to become the entertainment mogul it is today. The IRIS premiere, 24 years later, is momentous not only because it's back in Los Angeles, but because it pays homage to its humble beginnings. I'm sure the night of the premiere was a "Kodak" moment for Guy Laliberte and the early founders of the company. Recently I had the pleasure of watching the show live for the first time. It's hard to imagine that after eight months of being involved in the project, I am just now witnessing it live for the first time. Strange you may say, but until now, I have been involved in every performance in some capacity and have only seen trainings, rehearsals or run-throughs; really not the same experience as watching the show top to bottom, in its entirety. I am not a certified critic named Ebert or Roeper, but I want to say that this show is magnificent and thoroughly entertaining! I found myself sitting in the seats getting lost in its uniqueness just as any other spectator would. I was in awe of our acrobats, wowed by our talented dancers, and I laughed at all the jokes. Not to mention, the music by Danny Elfman soared through the house, connecting flawlessly to my emotions. I even went into the lobby during intermission so I could join in on conversations with our lovely patrons, who were all impressed as well. I wish to share with you a bit more about my role with IRIS. Outside of "roof tops," which is my main number, there are several "cues" which I perform. During act one, my role is much more mental than physical, in that I am focusing my attention on remotely controlling a baby machine on stage. This baby machine is one of many elements that create the cinematic world of IRIS. "Baby machine," you ask? I'll explain. There are three motorized baby machines in the show, which are radio controlled from "somewhere" in the house. These knee-high little creatures symbolize the three distinct elements of the movie making process (light, sound and film) and are masterfully decorated to emphasize the antiquity of the past. I have several cues with the Baby Pavilion (sound machine) and the Baby Camera. I trained and ran choreography with them for many months, since they take on personality traits, transform themselves into characters that give life to the artists who operate them. Act two is where things start to pick up for me. It all starts immediately following intermission, with a number we call "movie set." This chain reaction scene is jam packed with full-blown acrobatics using a number of different apparatuses like teeter boards and Russian bars. It's fueled by some energized dance choreography and musical genius that has an almost comical feel. I can't even begin to touch on all the elements in this scene without leaving something precious out (like the props) so I'll let you witness it. Did I mention ALL the artists are on stage for this one? This is one of my favorite numbers as it's so skillfully choreographed and there is so much going on, there isn't much time for a mid-number applause. Outside the little pockets of acting and dancing, you can see me doing an iron cross on a ladder toward the beginning, spinning on a camera dolly in the middle of the number, and doing some funky gymnastics on an acro-table in the end. Very fun. Rather than give more details about the show and spoil some of the greatest moments with words, I want to take this time to give an analysis of my life as a gymnast and now as an artist. In terms of this new "job" and my old one as a professional gymnast, another stark difference is the schedule and training/peak cycles. As gymnasts, we are used to six-week training cycles during which our intensity, workload and mental focus increase as competition nears. Once competition finishes, there is maybe one or two weeks of decompression time where you still work out but the work load is lightened to give necessary rest and recovery time to your body. For 20 years as a competitive gymnast, my body was wired for this schedule. In the circus realm and especially with this show, we have to find it in us to give everything we have every night. We have 360-plus shows a year and that means we will have people in the seats night after night, ready to be entertained. While some skills in Cirque are just tough as gymnastics, it's not the skills alone that entertain people. An artist can learn to entertain people through their emotions and conviction to a role or character. Artists entertain through giving selflessly and projecting outwardly, and by bringing an immense amount of life-energy every time they set foot on stage. One off day in the gym, where you are tired, hurt and drained may just slightly affect your overall long term goal. However, an off day as a performer — where you aren't fully alive on stage — is easily noticeable and could have an impact on the overall feel of your act in a negative way. For an ex-gymnast like myself, a certain period of rewiring must take place mentally and physically in order to acclimate to a show schedule of this nature. The main similarity between the two realms is the aspect of performance. Both gymnastics and artistic performance are extremely similar in this regard, hence the term "artistic gymnastics." Even after retiring from the sport, I find myself reliving the glory days quite often, but the images that come to mind first are those related to the performance of routines and tricks. I haven't talked to a single gymnast or artistic performer who got bored with the feeling of sticking the final dismount in front of a huge crowd or taking in a standing ovation at the end of a show. Performance is an incredible stimulant for the body and mind. It usually justifies the sacrifices made in life, and makes the work leading up to the performance worthwhile. I could go on about the similarities and differences between the two realms but the truth in comparing the two so closely is like comparing apples to oranges. One day I might want an apple, and the other an orange. Both have a unique ability to wow, yet at the same time, are derived from different roots; sport and art. I have taken note of valuable lessons since becoming a performer on stage that I would bring with me to my life as a gymnast if I were to do it all over again. I will leave you with this important piece of personal advice to all budding and established gymnasts out there: start thinking of the sport as an art. Competitive gymnastics, at its highest level, is like trying to paint a "Monet" under extreme pressure. As a gymnast, it's easy to get caught up in scores, rankings, accolades, start-values... Pay closer attention to the artistry and performance aspect of what you are doing. In gymnastics, people are also buying tickets; they are coming to see you perform. Approach every competition as if it were a show and every routine as if it were a piece of art. From the moment you set foot in the arena, know that you are ultimately there to show off your talent. From the moment you salute, know that you are painting a beautiful picture for those watching, using only body and mind as your instruments. Set your routine to music. Does it flow? Is it appealing to the eye? In the end, it doesn't matter where you placed, people will soon forget, but people will always connect with the emotion you gave them through your performance, and chances are you will unleash the true competitor in you. In closing, I want to openly confess that even though I am now retired, I will always have a long-lasting love affair with gymnastics. Gymnastics has tremendous gifts to offer and honestly, it brought me here, to this point: performing on stage every night. Regardless of how your career fares, commend yourself for participating in one of the world's toughest sports, and — now in my mind — most incredible art forms. --------------------------------------------------------- "TOTEM Hits Toronto" [EXPANDED] A Special Collection of Reviews in the Press --------------------------------------------------------- "Laveau Comes Full Cirque" FROM: The Toronto Sun ----------------------------------- TORONTO - Christian Laveau was born from a union of two worlds, so, in retrospect, it is only fitting he finds himself inhabiting multiple worlds today — even while he’s doing his level best to make all those worlds one. His mother and father, while both of the Huron (or Wendat) nation, came from two very different worlds — his mother from the world of the trapper in English Ontario, his father from the world of the reservation in French Quebec where Laveau was raised. And even though the 37-year-old was raised in the French language, he was steeped not just in the culture of his people, but in its traditions as well. Which is how he found himself centre stage, singing traditional songs in the ceremonies commemorating the 400th anniversary of the founding of Quebec a few years back. After his performance, he was approached by no less a personage than Robert Lepage, who explained he was in the process of creating a new work for the visionaries at Cirque du Soleil — a work that would trace the very evolution of mankind from the beginning of time. “He said to me: ‘I see you inside my show,’ ” Laveau recalls. Honoured at the invitation, Laveau was more than a little reluctant to tackle such a complex project. “I was afraid to be not ready,” he says, striving for fluency in an English language that still sits a little uncomfortably on his tongue. But Lepage persevered. “He said: ‘What we need is the spirit,’ ” Laveau recalls. Lepage must have said it in a rather compelling fashion, for Laveau ended up signing a contract to perform — in his native Wendat tongue — as the main singer in the show Lepage was creating. That show is called Totem and it is slated to open an already-extended run under Cirque’s trademark Grand Chapiteau in the Portlands on Cherry Street next week. A year and a half into his contract, Laveau says it has proved to be a good choice. “They have never tried to change me,” he reports, as he recalls Lepage telling him: “It is you who is going to teach us.” For Laveau, who in addition to his music also devotes his considerable energies to an acting and television career (he’s host and co-producer of APTN’s cultural magazine, Chic Choc), the principal thrill has been performing in the language of his ancestors — a language he is working hard to reclaim, not just for his personal use, but for his people as well. “When the missionaries arrived, they obliged us to speak in French,” he explains. “For 80 years, my language was sleeping.” And while he strives every day to awaken his own knowledge of that language, he seems to harbour no rancour at how close his people came to losing it. “I cannot change the history,” he says. “I have to see the present and the future — but I have the memory of my ancestors.” And that memory is what he strives to pass on, not just in his work with Totem, but in his own music and in his television show. “Our children are our future,” he says. “I help the children now to always be proud of the culture — to be proud to be native Canadian.” And that pride and passion for his culture is not confined to preserving its music and its language either. He’s also passionate about the husbanding of a knowledge of native plants and has worked for several years in the First Nations Garden at the Montreal Botanical Garden, learning and passing on centuries of hard-won wisdom in the only way he feels it should be passed on. “It’s the elders who teach it to us,” he explains “And they don’t want us to write the book. It all comes from the plant and you have to take what you need.” It is, finally, all part and parcel of a personal philosophy that certainly has its seeds in the Wendat culture but has grown until it seems to embrace all of humanity. “Wendat means ‘human’ — it’s very simple.” he says. “All these things that I do, it’s just sharing.” And he’ll continue to travel and to share. “If (people) don’t understand what I’m saying, I know they feel it in their hearts,” he says. “Of course, I miss my home, but I’m very happy here and the experiences I have here I will take back to the young people.” "Cirque's big top pitched in the port lands" FROM: Inside Toronto ---------------------------------------------- The cirque has once again come to town. With a big push by an estimated 85 people, Cirque du Soleil's blue and yellow 'grand chapiteau' was officially raised at noon Thursday, Aug. 4. "It's a bit of a tradition. It means the show is here," said Tent Master Raoul Van Nistelrode, who serves as operations production manager for TOTEM, the Montreal-based circus company's newest show. A mere hour after the big top was pitched, tech crews were installing lighting and preparing to set up the show's four-piece moving bridge feature designed in the shape of a scorpion tail, he said. "From there we'll build the (rest of the) stage," Van Nistelrode said. The process to bring TOTEM from Montreal's Old Port to a 45-acre site in Toronto's port lands is a complex one that takes months to coordinate. Despite having staged two previous Cirque du Soleil productions at the former industrial site near Commissioners and Cherry streets, crews must still examine every detail such as the grading of the site to ensure water flows away from the big top as well as the overall site plan to ensure people can get around safely. "Everything must be exactly level to ensure the safety of both the performers and the guests," Van Nistelrode said. A week before cirque's 65 tractor-trailers of gear, costumes and various other equipment rolls in to the touring show's next destination, workers are already on site going over the technical details as well as placing markers where the production's 2,500-seat big top will go, as well as its artistic, concession and VIP tents. "Everything is pre-organized and pre-marked. It's a huge operation, but we do this on a regular basis," said Van Nistelrode, a native of Holland who has worked for Cirque du Soleil for the last 10 years. "Every site is different; some larger, some smaller. Toronto has a very nice site and it's close to the city." To get the job done on time, Van Nistelrode relies on a crew of 30 permanent workers as well as 20 travelling technicians who fly all over the world to set up cirque productions. An additional 30 to 40 temporary workers have also been retained for the duration of the show. "TOTEM is a Dazzling History of Humankind" FROM: The Globe and Mail -------------------------------------------- How do you gauge the success of Totem, the new Cirque du Soleil’s touring show? Before the first act was even over, two of the acts had already received standing ovations. The reception during the final curtain call was rapturous. Totem opened in Montreal in April, 2010, and toured in Europe before coming to Toronto. What makes this show of particular interest is that Quebec’s iconic man of theatre, Robert Lepage, is the writer/director. His director of creation is Neilson Vignola. Their concept for Totem is grandiose. The show presents the evolution of humankind, from our amphibian ancestors to our desire to fly. Each of the acts supposedly says something about our historical progress. The title is inspired by creation myths. Now let’s be frank: Does anyone attending Cirque du Soleil actually care about the artistic vision behind the show? Granted, the concept would clearly have an impact on the sets, costumes and music, but in reality, we’re there for the thrills, chills and performers’ skills. Break down a Cirque show and you will find circus acts (non-animal, of course) interpolated with clown shtick. In other words, there is a formula at play, and the basic structure is easily recognized. Some of the acts are of the super-duper kind, the ones that leave you gobsmacked by the performers’ physical prowess. Take Unicycles and Bowls. Five winsome Chinese lasses are on very tall unicycles. While they keep the cycles balanced with one foot on the pedal, the other foot is used to throw small metal bowls onto their own heads, or onto the heads of the other girls. The two big male acts are Perches and Russian Bars, both performed by, what else, Russians. One ended the first act, and the other ended the second. Perches includes a series of pliable, metal poles linked together. One man balances these poles on his shoulder, and later on his head, while a couple of men scale up to the very top. The most dazzling variation has one top man holding the second man who is swinging on rings. Russian Bars are flexible planks. There are three in the act, and various men jump from them high in the air, do somersaults and then land back on these planks. The big deal here is that the planks keep changing levels and placement. The plank they jump from is not necessarily the plank they land on. The smaller acts of Totem are showy in their own way. For example, Hoops Dancer is a solo performed by aboriginal artist Nakotah Larance. As he dances, various hoops are arranged in shifting patterns about his body. In Fixed Trapeze Duo, Louis-David Simoneau and Rosalie Ducharme are supposedly having an argument, which translates into a physical fight in which he is holding her in very dangerous partnering as she rapidly keeps changing her positions. On a visual and aural level, Totem is one of Cirque’s most beautiful creations. Carl Fillion’s set evokes a marsh with a large rock surrounded by reeds. Stunning videos of nature, be it the pounding surf or a quiet lily pond, are projected on the rock. Kym Barrett’scostumes are things of beauty, and they all keep to the theme in some way. The score by composers Guy Dubuc and Marc Lessard (known collectively as Bob & Bill) is filled with gorgeous riffs on native rituals and world beat. One can certainly try to match theme to act, but why bother? This is Cirque du Soleil, after all. Just sit back and enjoy the spectacle. "New Cirque Show Takes Acrobatics to Another Level" FROM: Post City Toronto ----------------------------------------------------- If I didn't know any better, I'd think there were some serious shenanigans going on in the row behind mine during last night's premiere of Cirque du Soleil's new show Totem in Toronto's Port Lands district. "Oh my god, oh, oh, oh, no," was such a frequent refrain it was almost comical, as was the slightly less provocative "Yes! wow, oh god, yes!" Foreheads were slapped, jaws dropped. But that actually sums up the experience as ovation after ovation after ovation greeted Cirque performers: Totem proved to be an enormously entertaining show that was a step beyond even their usual brilliance. The show involves some sort of take on evolution and water being the spark of life and what not. But, really, you don't go to Cirque for the storyline — vague, and disconnected as it sometimes is. And there was one hiccup involving scantily clad pseudo-Aboriginals canoeing to a roller skating rink perched on top of a drum. Ahem. The hoop dancer was a nice touch, but there were a few drops and miscues and the performer never really drew the crowd into the performance. Beyond those minor quibbles, the show was one incredible feat piled onto the next reaching awe-inspiring crescendos at the end of both acts. But being Cirque, even the tiny details and moments between the big performances were something to behold. The stage featured a massive mechanical centrepiece that moved and curled up and in many instances acted as a prop-aid. The clowns were wonderful: one, a stereotypical Italian beach-goer complete with Speedo-esque swimwear, gaudy sunglasses and epic pelvic dance moves; the other — the polar opposite — got the most laughs for simple prop devices such as bouncing a ping-pong ball off metal shoulder pads followed by doe-eyed glances at the audience. Performance highlights included a unicycling troupe on tall bikes tossing plates from their feet to their heads with synchronized grace, a trio of ripped and athletic performers on rings, a pair of women spinning cloth mats on their feet while posing in a number of excruciatingly difficult to watch strength postures including a climax (cue the back row!) that saw one performer lying on her back on a chair feet up in the air balancing the other on her fully stretched legs while both were spinning mats on all available limbs. Ridiculous! Somehow, Cirque takes it to another level. It has to be seen to be believed, but to make a long story short that new level involves one dude balancing and walking along a slim pole elevated in the air. No, wait. On this guy's head is a pole, maybe 20 feet long and at the other end is another guy, who is doing a headstand into a little cup! It seemed to defy physics and the bottom guy's neck was flared out to a genuinely scary level. The second act sexed things up a bit with a trapeze duo performing a mating ritual. It was a bit cheeky and flirty for a standard Cirque show, but the incredible athleticism and choreography on display when coupled with a bit of cute acting and sex appeal proved a welcome and very enjoyable change of pace. Then came the roller skates, and there is no denying the athleticism on display. 'Nuff said. And this was followed by some new, fun takes on traditional Cirque standards: juggling and devil sticks. The highlight of the second act — the Russian bars — was another thriller to cap off the evening as performers executed complex acrobatic manoeuvres after being propelled 20 feet into the air by long slim boards held on the shoulders of hefty strongmen. Another standing ovation to end the night. After witnessing every show Cirque has brought to town over the last seven or eight years, it is safe to say Totem is pushing the boundaries in a number of areas, including technical difficulty and sex appeal, without sacrificing the creative brilliance that makes Cirque the greatest show on earth. There may still be tickets available for purchase as a new block of tickets was recently added. If not, troll Craigslist, follow Kijiji, enter contests… do what you can to see this show. "TOTEM is Cirque's Most Entertaining Show in Years" FROM: The Toronto Star ----------------------------------------------------- Directed by Robert Lepage. Until Oct 9 at the Grand Chapiteau in the Port Lands, 51 Commissioners St. 1-800-450-1480. Every time I review a Cirque du Soleil show, I find myself trying to find new ways to says things like spectacular, artful and breathtaking. With Totem, now playing under the Grand Chapiteau in the Port Lands, there’s no such problem, because one word leaps to mind ahead of all the others. Entertaining. Yes, Totem is directed by Robert Lepage, one of the weightiest theatrical names in the world today and it’s also — if you look closely — a deliciously ironic look at the entire process of man’s evolution in the universe. I was very impressed with the show when I first saw it in Montreal in 2010, praising it for its unity of structure and the refreshing sensuality it contained. After a year on the road, it still possesses those things, but it now moves with even more grace, more ease and a greater sense of fun. There are none of those often tiresome, totally extraneous clowns who jabber at you in what sounds like Esperanto, run around while scenery is being changed and give you time to construct next week’s grocery list in your head. Lepage has banished them. There’s a lot of humour in Totem, but it comes from the performers, even the aerial ones. Two men who work wonders with a series of acrobatic rings are first established as buffed, strutting beach boys out to impress the ladies. When one super-stunning lady flies in from above, the games really begin. Another sequence involves a couple on a fixed trapeze who achieve postures that defy gravity. It’s also a saucy, sexy give-and-take between a very attractive couple who do their courting way up in the air. Want to have your mind totally blown? Watch “the Scientist,” who seems to hover benignly in the background, until he takes centre stage inside a giant beaker with a display of multi-coloured, gravity- defying ping pong balls that will leave you gasping. Things move seamlessly throughout the whole show. Even the mats needed to protect the artists and the risers used for a certain sequence are brought on and removed with visual ease and beauty. One transition is effected by having a cell phone-addicted businessman join a circling line of apes in various stages of evolution. He takes the final position in the line, making the point that we may not have progressed all that far. Then — just as that perception has had time to sink in — he rips off his suit and moves into another spectacular acrobatic sequence. Sheer brilliance. On this second viewing of Totem, I spent much of the time marveling at how glorious it is just to look at. Carl Fillion’s set is dominated by the skeleton of a giant tortoise, which is used in stunningly inventive ways. He also provides a tilted disc, like a giant lily pad, on which the never-endingly fascinating projections of Pedro Pires create everything from molten lava to a rain-spattered lake. Through it all, Étienne Boucher splashes everything with his bold lighting, using all the hues of nature — yellow, orange, green — with as sure a hand as the Almighty must have done when he painted the world for the first time. Kym Barrett’s costumes are witty, sexy or primal as the need arises, including some wondrously realistic refugees from Rise of the Planet of the Apes who run through the audience, stealing your popcorn and generally dispensing merriment. The packed audience I saw the show with, on an ordinary matinee day, sat there entranced, cheered frequently and leapt to their feet at the end, with me happily joining them every step of the way. I have seen dozens of Cirque shows in the past 25 years. Not all of them are great; some of them are just so-so. But Totem is well worth your time. It sends out just the message you need to hear at the end of summer: live large, think big and have as much fun as you can. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly publication, available through subscription via the World Wide Web in text format at the newsletter's website: < http://www.CirqueFascination.com/ >. To subscribe, please visit our website and enter your name and email address in the "About Fascination" box and press Subscribe. You,ll receive an email to confirm your selection. Once confirmed you,ll be added to our mailing list. To Subscribe via Realy Simple Syndication (RSS) Feed (News) use the following: < http://www.cirquefascination.com/?feed=rss2 >. To view back issues, or other online Newsletter content, please visit us at: < http://www.CirqueFascination.com/ >. Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 11, Number 9 (Issue #92) - September 2011 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2011 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. { Sep.02.2011 } =======================================================================