======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 12, NUMBER 4 April 2012 ISSUE #99e ======================================================================= Ninety-nine issues of Fascination in your inbox, ninety-nine issues of news! Open it up, forward it around... I kid, I kid. Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil news-letter. Just when we thought it was safe to relax for a bit, Cirque stired things up with an announcement that just blew our sox off! After we put our last issue to bed, Cirque du Soleil announced the replacement of VIVA ELVIS at Aria, Las Vegas. And their choice certainly surprised us! ZARKANA?! Although perhaps not the most ideal one for fans (who wouldn't want to see ZED or ZAIA, or ZAIED, take up residence there?), the choice of ZARKANA does make the most sense for Cirque and for ARIA. But what of the MSG/Radio City partnership that ZARKANA was contracted for? Time will tell. Indeed, we would love to see ZED on the strip, but we were offered a number of reasons as to why that didn't happen even though ZED was considered. One, there were technical limitations with the presentation space at ARIA - ZED's stage area is considerably larger than what is available at the ARIA. And two, ZED was created for an Asian audience, specifically Japanese, and MGM International felt it wouldn't translate well here. Although we feel the thematical differences excuse is a little bogus, CityCenter chose Zarkana to replace Viva Elvis, not Cirque. So there we have it. And the more that I think about it the easier it gets to accept. Zarkana, despite its flaws, is more theatrical than Viva Elvis (so it feels a lot less like some musical revue you can get down at the Tropicana), is way more acrobatic than its predacesor, has a visual style that matches the CityCenter (a modern motif), and is a quick install since both shows are proscenium based. Besides, if Zarkana does not work out, Cirque can pull out - much like Alegria at Beau Rivage from the early 2000s - and something else can go in. Who knows how long this contract is for (I don't recall seeing a time frame) so this could be just a short one-year residency while plans are finalized for a proper replacement, or it could be a 10-year deal with a 3-year break just like with ZAIA and VIVA ELVIS. Again time will tell. Either way, if Cirque DOES take some acrobatic elements from Viva, Zaia and Zed that didn't end up elsewhere and integrates them into Zarkana, they really might have something! Mystère got some really good things from ZED, hopefully Zarkana can benefit too. So while all of this is speculation I look upon this news in a good light. And who knows, perhaps I'll even be willing to give Zarkana a second chance! Besides the announcement of ZARKANA taking up residence in Las Vegas, there are other auspicious events to celebrate - did you know that Saltimbanco celebrates it's 20th anniversary this month? That's right! On April 23, 1992 Cirque du Soleil gave us Saltimbanco, a world where fantasy and imagination, hope and laughter walk the cosmopolitan streets! Join us within for a retrospective look at the creation, from original spark and first curtain call, through to today's arena version. Part Two on "what ifs" from Cirque du Soleil's past can also be found within this month. This installment covers those projects that were announced or rumored but never came to fruition in the audio-visual realm. And just to kick us off on Saltimbanco's 20th, an original review of the show from 1992 as published in Variety Magazine. How about that! As always we've got the latest news items posted to Fascination! Web and, of course, updates to Cirque's touring schedule! 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 * "Saltimbanco Review, 1992" Special Reprint from Variety * "Saltimbanco: On 20 Years" By: Ricky Russo - Atlanta, Georgia (USA) * "Cirque's Dreams of the Past: A What If? Part 2: Cirque du Media" By: Ricky Russo - Atlanta, Georgia (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Images: Mystère's New Acts! {Mar.02.2012} --------------------------------------------------------- Check out these fantastic images of Mystère's new acts! < http://www.cirquefascination.com/?p=3113 > {SOURCE: Cirque du Soleil} Lamarre Talks Elvis, Jackson, 3D Movie, and Mystere [EXPANDED] {Mar.07.2012} -------------------------------------------------------------- In less than 24 hours, Cirque du Soleil executives expect to have plans wrapped up for the new show that will replace “Viva Elvis” at Aria, along with expected dates for “Elvis’ ” closing and the new production’s opening. “We have it down to three options,” said Cirque President and CEO Daniel Lamarre. The new Michael Jackson Cirque show set to open May 13, 2013, at Mandalay Bay is “on schedule and on target.” He confirmed that construction on the newly designed theater there is underway, and the reconfiguration will give them 200 additional seats for each performance. (“The Lion King” seated 1,600, so it will be 1,800 for M.J.’s show.) “It will definitely be far more of a theatrical experience than our Michael Jackson touring rock concert show, which has become the No. 1 box office show in the world every week of this New Year,” he added. Cirque officials also are convinced that the December worldwide release of “Titanic” and “Avatar” mastermind James Cameron’s spectacular “World’s Away” 3D movie featuring every Cirque show on the Strip will result in an extraordinary boost for Las Vegas tourism and our entertainment spectaculars. “We’re already seeing a phenomenal reaction from people who saw Cirque for the first time on the Academy Awards and are now headed to Las Vegas,” Daniel said. Those were the three stories that came out of casual conversations with the head honcho and Las Vegas executives of the Montreal-based entertainment giant when he flew in to celebrate this past weekend’s 18th anniversary of “Mystere” at Treasure Island with the cast and crew. Daniel also was here to introduce two sensational acts in the long-running production that debuted Cirque’s permanent theater productions on Christmas Day 1993 and changed the face of Las Vegas entertainment forever. NEW ‘MYSTERE’ ACTS Cirque’s creative team felt that two super acts from its show “Zed” in Japan could be moved to “Mystere” after it shut down from the tragic earthquake and tsunami damage there. “We thought it was a big opportunity to refresh ‘Mystere,’ ” Daniel said. “ We love and cherish it because no one show of this magnitude has lasted so long and still sells out. But this was an opportunity, and when we called T.I. owner Phil Ruffin, he said, ‘Let’s jump on it.’ The idea was in place, and it was just a matter of executing it properly. The T.I. people supported the artistic content and went further by investing in the theater, refreshing it and installing new seating.” “Any time we want to make an artistic change to our shows in Las Vegas, we present it to our hotel partners first. Even though we have creative control, we like our partners to be involved and have them agree and support our decisions.” When Phil purchased T.I. from MGM, “Mystere’s” contract was renewed and then extended to its current contract through 2016, with a five-year option through to 2021. “I am convinced the show will last forever,” Daniel said. “You know exactly what forever means, and it will be with us forever. “ ‘Mystere’ is the favorite of so many people. The first thing that Phil told us when he bought T.I. was ‘I’m a big fan. The show is amazing. Don’t do anything.’ We told him, though, we wouldn’t change the show, but we wanted to enhance it. We showed him a video of the two new acts, and he was so excited he wanted to personally invest to refresh the theater. “Everyone agrees that ‘Mystere’ was great as it was, but bringing in the amazing new acts means we have a better chance for repeat business. Some people in the audience have already seen the show, but we want to give them a reason to see it again. “The trapeze act has the reputation of being the best in the world. The artist on the silks is the most sensational anywhere. New acts change the entire pacing of the show, and it makes the show even tighter and better. People definitely notice new acts.” The cast and crew of “Mystere” includes Brian Dewhurst from the U.K., at 79 the oldest performer in any Cirque production; Canada’s Bruce Rickerd, a guitar player who has never missed a performance (8,633 and counting!); Sophia Stiperski of Canada, who as Green Lizard is seen around town in the new ad campaign; and Eligiusz Skoczylas of Poland, a Cirque du Soleil veteran who celebrates 20 years performing this July. Also, Ross Gibson of the U.K., the Mystere Red Bird featured in the main visual and new ad campaign; Ricardo Galvis of Colombia, a member of the new trapeze act; and Ginger Ana Griep-Ruiz of Canada, the solo aerialist who performs the new silk act. At the 18th anniversary show Saturday night, the gasps from the audience were audible, the applause was deafening, and the trapeze artists defied gravity. They have no sense of danger as they leap, somersault and triple spin from one swing to another or from one performer to another. We’ve all seen high-flying trapeze acts, but suffice to say, you have never seen one like this. Ginger is extraordinary, too, and you hold your breath as your hands sweat as she uses her feet to climb to the top of the theater before twisting down in frenzied flight. “We now have proof that we can refresh a show without changing the story of the show,” Daniel said. “Everyone in this show is still dedicated to it in the most passionate way. Guitarist Bruce Rickerd has never missed one of the 8,633 shows to date. That proves it.” “Mystere” might never have enjoyed a year’s run on the Strip let alone 18 Daniel revealed, “Our artistic people hesitated on the whole idea of Cirque coming to Las Vegas. They were second guessing [founder] Guy [Laliberte] saying our show was too artsy and too trendy for Vegas. Even Steve Wynn said he felt it boring when he watched the first rehearsals. Guy convinced them it would start as a flower planted in the desert and grow from ‘Mystere,’ and now the brand has fit very well in Vegas.” Daniel, who flew in from Montreal with Andre Agassi as his seatmate, added: “Andre and I talked about being good citizens in Vegas. We are proud to be a good citizen of Vegas not just selling tickets but doing our share within the community.” MICHAEL JACKSON UPDATES Meantime, the newest Cirque show to open in Las Vegas will be the Michael Jackson permanent spectacular at Mandalay Bay. “We are in full construction mode now,“ Daniel said. “The theater is being renovated, and the equipment is being redesigned. It is all set for Mandalay Bay -- there’s no chance of the show going anywhere else in Vegas. We are on target and on schedule for the May 13 opening next year. “The big difference between the touring show and the new permanent show is that this one will be much more theatrical. The month residency of the touring show in Mandalay Bay helped us tweak it. It’s even better now than when you saw it here. It has been No. 1 on the Pollstar box office rankings since the New Year began. It will remain in North America until the fall. “We then go to Europe for six months. We’d marked London for six dates, but they sold out immediately just to Cirque club members. We’re looking to add at least three more shows there. It’s a stampede in Asia with the promoters there, so we’re now putting that part of the plan into place. “A show of this kind would normally run two years, and now we’re looking at three, maybe four years. Many cities here in North America were sold out, so we would like the show to come back for repeat dates -- but not on this side of the country because we don’t want to cannibalize the new Mandalay show.” ’VIVA ELVIS’ UPDATES After the small, informal media gathering for “Mystere,” I talked separately with Daniel about the current Aria theater as “Viva Elvis” plans its announced December closing. “There are three options being looked at right now, we have a luxury of choice. We have an amazing partnership with MGM and are in conversation with them. We hope to be in a position to make an announcement pretty soon. … It is very important to come back with a concept and alternative that will meet the demographic of Aria.” I asked him what good had come to the company that had done no wrong previously with its Las Vegas shows and was there a learning experience from “Viva Elvis.” “I think what we’ve learned is two things. The first is that when people are looking for a Cirque De Soleil show, they are looking for a more acrobatic act. And going for an approach that was too biographic of Elvis I think was part of the problem. “There was no biography story with our Michael Jackson show because we had learned from Elvis. We also learned, and you know that probably better than we do, that in this city you have a specific clientele for each casino, and you have to understand which clientele is in each casino. I think Aria is bringing a lot of the young crowd, and we will come with something that will meet their taste and their needs.” I tried hard to pin down Cirque’s head honcho on whether “Elvis” will close ahead of December and the new show to replace it could be opened this fall. He politely refused to answer, saying, “You will know all the details very soon.” 3D MOVIE AND OSCARS Cirque chalked up a first-ever in its history in the same year: performances at the Super Bowl and the Academy Awards. “It was an amazing thing for our brand,” Daniel said. “No entertainment company has done that, and we have already seen ticket sales increase after both shows. It was a real challenge because Cirque is actually not the best product to try and show on television. “We spent hours and hours so they could understand how best to present our good product. TV just doesn’t show off the level of quality we have, but they did it, we did it. I have been overwhelmed by the reaction of people. I was particularly thrilled by the standing ovation of all the Hollywood stars to our 54 artists. “We are discovering that our new Hollywood cinema show has become a promotional vehicle to help more attendance at our Las Vegas shows. We think that the Dec. 21 worldwide release of James Cameron’s 3D movie of the Cirque story will be a great showcase for every one of the Vegas shows. They are all included. The trailers and promotions start this summer, so we will create a build up right through to Christmas. “It will generate a lot of interest for those who have never seen Cirque shows. We think it will really help our shows here and all of Las Vegas. It will be the only family movie during the big audience Christmas season.” {SOURCE: Robin Leach, Las Vegas Review-Journal} Press Release: Zarkana to replace Viva Elvis at Aria {Mar.07.2012} --------------------------------------------------------- Las Vegas, NV - Zarkana, the surreal acrobatic spectacle by Cirque du Soleil, will open at ARIA Resort & Casino with previews starting in October and an official opening slated for November. The production will take up residency at ARIA after Viva ELVIS ends its run in August. Following unprecedented success in Madrid and at Moscow’s Kremlin State Palace Theatre as well as two summers at the legendary Radio City Music Hall, Zarkana will find a permanent home in Las Vegas. More than 1.2 million guests have been awed by Zarkana and the show has been touted by press as "Aah- Inspiring" (The New York Times) and "Truly spectacular, awe- inspiring, gorgeous and stunning" (New York Post). "Zarkana is a production of the perfect size and scope for the beautiful theater at ARIA. With a high level of acrobatic performance, the show has garnered public appeal around the world. We are pleased that visitors to Las Vegas will be able to experience the show and feel that Zarkana is a perfect complement to the portfolio of Cirque du Soleil shows on The Strip," says Cirque du Soleil President and CEO Daniel Lamarre. Bill McBeath, ARIA’s President and COO, said, "We look forward to welcoming the cast and crew of Zarkana later this year. We’re certain they will love their new home and we’re equally certain that audiences from around the world will be wowed by this incredible production." ABOUT THE SHOW Zarkana is an acrobatic spectacle that blends circus arts with the surreal to create a world where physical virtuosity rubs shoulders with the bizarre. Zarkana is a visual vortex set in a slightly twisted fantasy universe where, little by little, chaos and craziness give way to festivity and love regained. The diverse cast of more than 75 international artists transports the audience into a fantastical and suspenseful world, blurring the boundaries between the real and imaginary. Individual and group tickets for Zarkana at ARIA will go on-sale in mid-April for preview performances starting in October. Tickets can be purchased by calling 702 531 3800 or 866 799 7711. Tickets can also be purchased on-line at cirquedusoleil.com or arialasvegas.com or by visiting any MGM Resorts ticket office. {SOURCE: Cirque du Soleil} How were the 2012 Oscars for Cirque? {Mar.08.2012} --------------------------------------------------------- From the Las Vegas Review-Journal: # # # "What it did for our brand was amazing," Cirque’s President and CEO Daniel Lamarre said before an 18th anniversary celebration of "Mystere" last weekend. "There is no entertainment company that did the same year the Super Bowl (and) the Academy Awards. For us, the timing couldn’t be better," Lamarre said. The week after the Oscars, "it helped our ticket sales worldwide. It was amazing." Production numbers have a way of backfiring at the Oscars, as Cirque remembers from a 2002 appearance that did not read well on television. This time, Lamarre says founder Guy Laliberte told him, "We’re not going to take a chance." The four-minute number included 54 artists, including aerialists transported from the closed "Zed" show in Japan to "Viva Elvis." # # # Read the original article here: < http://www.lvrj.com/neon/cirque-s-profile-raised-at-oscars- 141878313.html > {SOURCE: Las Vegas Review-Journal} Rock opera ‘Zarkana’ to replace ‘Viva Elvis’ at Aria [EXPANDED] {Mar.08.2012} ---------------------------------------------------------------- Elvis Presley sure seemed to be more familiar in Las Vegas than “Zarkana.” But that’s the name Cirque du Soleil now says is the sure thing it owes Aria. “We have the luxury today with ‘Zarkana’ to bring a sure bet,” Daniel Lamarre, Cirque’s president and chief executive officer, said Wednesday of the touring title that has sold more than a million tickets in other markets. “We know this show is working, we know this show is successful, and we owe it to our partner to bring a sure bet,” Lamarre said. The underperforming “Viva Elvis” will close at Aria on Aug. 18, and “Zarkana” will open Oct. 25 (with a formal debut Nov. 8), after spending its second summer at Radio City Music Hall in New York. The Aria theater will not have to be remodeled. “Zarkana,” described as Cirque’s version of a rock opera, will be the Canadian company’s return to its own in-house, nonbranded content in Las Vegas after the past three of its seven resident titles have been themed to Criss Angel and the music of The Beatles and Michael Jackson (“The Immortal” first visited as a tour but returns as a standing title in May of next year). “People are not going to compare it” to the other shows, Lamarre said. “I guess that was the first criteria.” “Zarkana” was chosen over “Zed,” which Cirque had to close in Tokyo because of the ravaged tourist economy, and the third option of creating a show from scratch. “Zed” was deemed “a little bit too traditional and not distinctive enough for this market,” Lamarre said. “Zarkana” uses video more prominently than most Cirque productions and is a love story framed around English-language songs by Nick Littlemore. Beyond that, when CityCenter CEO Bobby Baldwin saw “Zarkana” in New York, “he was probably ready to start talking contract by intermission,” MGM Mirage spokesman Alan Feldman said Wednesday. The board of directors signed off on the deal Tuesday. “When he saw the show, there was no way we could convince him to do other shows,” Lamarre added. “All the visual is very, very modern. It fits very beautifully with Aria and its target group.” Lamarre noted the “Viva Elvis” crew will remain with the new production. Redeploying the cast to other Cirque titles will be “a top priority.” {SOURCE: Mike Weatherford, Las Vegas Review-Journal} When is Big too Big? [EXPANDED] {Mar.09.2012} --------------------------------------------------------- We’ve often asked this question here at Fascination with regards to Cirque du Soleil: "when is big too big and has Cirque du Soleil reached or surpassed that point?" A recent article from the Las Vegas Sun had an interesting quote from Daniel Lamarre, President and COO of Cirque du Soleil with what he thinks that answer is: "We don’t want to be big. Being bigger is not an objective for us," says the president and CEO of Cirque du Soleil. "Being better is an objective for us. We don’t like to be called ‘big,’ we don’t like to be called ‘multinational’ because we don’t feel that way. Other interesting pieces from this article include the following: o) As Lamarre is eager to note, Cirque du Soleil has delivered to MGM Resorts, whom he consistently refers to as "our most important partner," a show that has moved more than $1 million tickets in three wildly diverse metropolitan regions. o) "You have no idea how much we are investing in research and development, and casting, and all of that for that reason," Lamarre says. "I don’t want to wake up one day and hear someone say, ‘Cirque was great in the ’90s and the early 2000s, but now there is this other company doing better.’ The only way to protect ourselves from that is to do what we are doing - to invest in R&D." o) In 2011, Cirque embarked on a nine-month developmental effort with "imagineers" from Disney Parks and Resorts. Cirque and Disney have previously collaborated on the show "Zed," which closed in December at Tokyo Disney Resort in Japan. Cirque and Disney also partner in the production "La Nouba" at Disney World in Orlando, Fla. o) Recently, there has been a distinct anti-Cirque pushback in Las Vegas from producers and performers who say the company has simply outgrown its capacity to viscerally connect with an audience. Lamarre strongly argues to the contrary. "The backlash is not coming from the public. If I were to have backlash from the public, I would be very concerned," he says, nodding to Cirque’s undeniably strong ticket sales in Las Vegas in the face of the worst recession the city has seen. "The only thing the public cares about is if they like the show, or they don’t like the show." So... what could be brewing, creatively, at Disney? Read the original article below # # # When is it that being big is too big? When will it happen that Cirque du Soleil unhappily realizes, as it explodes to 22 shows across the globe (including an octet on the Strip), a 3D movie in production and contributions to the Super Bowl and the Oscars in a single month, that it has sacrificed its edge? Daniel Lamarre hopes never to find out. “We don’t want to be big. Being bigger is not an objective for us,” says the president and CEO of Cirque du Soleil. “Being better is an objective for us. We don’t like to be called ‘big,’ we don’t like to be called ‘multinational’ because we don’t feel that way. “The way we feel is that we still nurture a small group of people.” Lamarre was in Las Vegas for the dual purpose of celebrating the 18th anniversary of “Mystere” at Treasure Island, and, more pertinent, the announcement that the rock-opera production “Zarkana” would be moving into Aria to replace “Viva Elvis.” The Cirque-Elvis experiment at Aria ends Aug. 18. “Zarkana” opens for previews Oct. 25, a swift load-out, load-in schedule made possible because the stage configuration at the Aria theater is similar to that of Radio City Music Hall, where “Zarkana” is currently staged (tickets are set to go on sale in mid-April at the Cirque and Aria websites, or by calling 702- 531-3800). “Zarkana” is presented as a mix of circus acts and seamless, surreal scenes punctuated by dazzling video imagery and rarefied acrobatics -- expect a more hard-edged variation of what Cirque has established in town. Elton John collaborator and electronic music trailblazer Nick Littlemore is the show’s composer and music director, and Sir Elton (who was reportedly initially approached to write the show’s entire score) has contributed to the song “Whenever” to the production. “Zarkana” also has played to impressive acclaim and ticket sales in Moscow and Madrid. As Lamarre is eager to note, Cirque du Soleil has delivered to MGM Resorts, whom he consistently refers to as “our most important partner,” a show that has moved more than 1 million tickets in three wildly diverse metropolitan regions. It is a somewhat staggering concept, 1 million tickets, considering the relationship between Las Vegas and Cirque started 20 years ago in the Mirage parking lot with the tented circus show “Nouvelle Experience,” which was akin to the “Absinthe” of its time. Always bounding for the next great thing, Cirque is holding up “Zarkana” as the latest example of the groundbreaking creative force the company has represented for more than 25 years. But size and success can often breed complacency and provide an opportunity for upstart performance companies to chip away at Cirque’s reputation as the world’s leader in live visual imagery and acrobatic-fashioned productions. Lamarre, in his always detectable French accent, is pointed in his contention that Cirque will never rest, creatively or otherwise. “You have no idea how much we are investing in research and development, and casting, and all of that for that reason,” Lamarre says. “I don’t want to wake up one day and hear someone say, ‘Cirque was great in the ’90s and the early 2000s, but now there is this other company doing better.’ The only way to protect ourselves from that is to do what we are doing -- to invest in R&D.” In 2011, Cirque embarked on a nine-month developmental effort with “imagineers” from Disney Parks and Resorts. Cirque and Disney have previously collaborated on the show “Zed,” which closed in December at Tokyo Disney Resort in Japan. Cirque and Disney also partner in the production “La Nouba” at Disney World in Orlando, Fla. “We had a workshop last year where I sat down with the president of Disney (Tom Staggs, president of Disney Parks and Resorts) and he says, ‘You know, we think at Disney we are very good in technology, but we think that you -- Cirque -- are the best in human performance. Can we have our people work together?’ So we put the Disney imagineering people with the Cirque people, and we said, ‘Figure it out.’ ” The effort was merely a joint task force for creative exploration. Three weeks ago, Lamarre and Staggs watched in astonishment at what havoc their creative people had wrought. “I was in Burbank, at Disney Imagineering, and I was flabbergasted to see what our people and their people have been working on together for nine months,” Lamarre says. “I thought I would just see ideas. No, no, no, they showed us performances of five new technologies with robots and 3D. They showed it to us live, and the president of Disney and I were looking at each other saying, ‘Oh my God, we have an axis of development for the next five to 10 years.’ “And that’s what makes me feel good. We’re not sitting on our laurels, saying, ‘We’re the big Cirque du Soleil!’ ” Cirque also is scouring universities -- 21 in all in the United States and Canada -- seeking the best and brightest creative ideas. “We will walk into an engineering class and say, “If you can make this chair fly, we’ll buy it, because we are interested,” Lamarre says. “That’s what we do all the time.” Lamarre also invokes the creative approach of Cirque founder Guy Laliberte. “We say, “Guys, get crazy. Create a new show,’ Guy Laliberte will kill to perfect that,” Lamarre says. “He doesn’t want to hear about the business side or the administrative side. He just cares about pushing, again, the boundaries of our creativity. He says, ‘Guys, when I created Cirque, I was 25 years old. I am 52 now. I’m no longer 25 years old. Get me kids who are in their 20s or early 30s who are dreaming to do the next thing.’ You have no idea how obsessed we are about that.” Recently, there has been a distinct anti-Cirque pushback in Las Vegas from producers and performers who say the company has simply outgrown its capacity to viscerally connect with an audience. Lamarre strongly argues to the contrary. “The backlash is not coming from the public. If I were to have backlash from the public, I would be very concerned,” he says, nodding to Cirque’s undeniably strong ticket sales in Las Vegas in the face of the worst recession the city has seen. “The only thing the public cares about is if they like the show, or they don’t like the show.” Cirque’s mission, established more than a quarter-century ago, remains as clear at the watery stage in “O.” “It doesn’t matter how big we are or how smart we are,” Lamarre says. “At the end of the day, it’s the public that is the ultimate judge. Our job is to understand that, always.” {SOURCE: Las Vegas Sun} LVRJ: "Cirque's Moscow Show Was a Hit" [EXPANDED] {Mar.09.2012} --------------------------------------------------------- Russian officials were aghast when Cirque du Soleil dropped the "Zarkana" bombshell. Cirque's question was: Would Moscow's city fathers consider Cirque's request to put its new show in the legendary 5,000-seat Kremlin Theater? During an interview at Aria on Wednesday, Daniel Lamarre, Cirque's president and COO, recalled the Moscow mayor's reaction. The rough translation, in Russian: "You want what!?" "So here I am," said Lamarre, "meeting the new mayor, tall guy, former KGB, and there are about 60 people in front of me and the mayor looked at me and said, 'Do you know what you're asking for?' "I said, 'Sir, I have no idea." The mayor explained: It would be akin to asking for a three- month run in the White House theater. "That's what you are asking for," the mayor said. "I don't know what happened to me but I just said, joking, 'If there (was) a theater at the White House, we'll be there.'?" With that, said Lamarre, "everybody cracked and from all the protocol and the seriousness of the meeting, it became more relaxed." Assisted by his icebreaker, that's how "Zarkana," the acrobatic rock opera that is replacing "Viva Elvis" at Aria, ended up setting records in Russia's hallowed theater. "It was a first," Lamarre said. "Zarkana" had wowed New York City to the tune of a half-million ticket sales and added 300,000 more in Madrid and 300,000-plus in Moscow. "If you succeed in New York City and Moscow, there's no way it's not going to work in this city," Lamarre said. It didn't hurt, he said, that the Russian audiences felt a connection to Cirque founder Guy Laliberte, who rode aboard a Soyuz spacecraft for a stay at the International Space Station in 2009. They admired Laliberte, said Lamarre, because he went to the space station "with their technology. Guy is part of them, and he's a celebrity in Russia. "He cannot walk on the street because of that adventure. Therefore, it is almost like he had endorsed them, and now they are endorsing him by endorsing Cirque du Soleil." The soft opening of "Zarkana," the story of a magician (Zark) who loses at love and loses his powers, will be Oct. 25. Premiere is Nov. 8. {SOURCE: Las Vegas Review-Journal} LVRJ: "Mystère Never Disappoints" [EXPANDED] {Mar.09.2012} --------------------------------------------------------- Cirque du Soleil will be making a push to advertise what's new about "Mystere," but the show's real strengths are still the things that aren't. When Cirque had to close "Zed" in Japan last year, it made room for two of the acts to land in "Mystere," the oldest of the company's seven Las Vegas titles -- and coincidentally, one that now has a separate landlord at Treasure Island, which is not concerned with the inter-casino priorities of MGM Mirage. But the new acts don't really come off so new. How much you will be impressed, or really even notice, is a matter of nuance. In the first, a female soloist, Ginger Ana Griep-Ruiz, takes flight entwined in long swaths of silk fabric. The basic premise is seen all over town in various shows and nightclubs. But this is Cirque, so she does it at higher altitude, falls farther before catching herself and swings way out over the first rows of the audience. Her music, too, is classic Cirque counterpoint: subdued classical guitar and airy vocalizations from the two female singers. The other change is a new team performing the closing trapeze act, which was always the weakest link of “Mystere.” It’s physically distanced from most of the audience, and perhaps just too conventional and old-school to fall so late in a parade of wonders supporting the company’s original premise, “circus reinvented.” The new troupe uses more compact rigging, but still performs at the very rear of the stage. If you know your trapeze, you may appreciate that more of the catches are made by people hanging upside down from the bar, or that performers such as Ricardo Galvis flip as they fly to the opposite bar. If the changes alone don’t add up to a marketing campaign, the show as a whole never disappoints. With 18 years, more than 8,630 shows and 13 million customers under its belt, “Mystere” still reflects the purity of a company that genuinely surprised and delighted us in the early ’90s. There were enough original ideas to go around before six more titles brought the need for high-concept brand ventures such as Michael Jackson songs. “There are still a lot of people that say it’s their favorite show,” Cirque’s president and CEO, Daniel Lamarre, said before Saturday ‘s show. Lamarre said he likes to play a game with cabdrivers, asking them their favorite show. “Mystere” is “often mentioned.” Backing up to see the forest through the pastel leotards, one thing comes into focus upon a repeat viewing: “Mystere” is the funniest Cirque on the Strip. And it wasn’t supposed to have recognizable stars, but now it’s hard to imagine the show without two individuals. Brian Dewhurst, its unstoppable 78-year-old funnyman and the show’s MVP, literally makes contact with the audience: dumping popcorn on our heads, dragging one of us to the stage to be locked in a box, and knocking a little of the wind out of the etherealness of it all. A prototypical Cirque character with red bowler hat and bizarre puppet (Marek Haczkiewicz) delivers the announcements at the beginning. When Dewhurst gets the best of him later, he announces in a flourish of Marx Brothers anarchy, “You can smoke now if you want!” Then there’s Francois Dupuis, who created the “big baby” character and has been finding his Mama or Papa up front for all 18 years. Chances are your children’s memories of this show involve these two guys as much as Paul Bowler, the dude who goes airborne with a big cube. “Mystere” takes its time with the comedy between acrobatic sequences, and nearly all of the bits somehow involve the audience, even when a pole-climbing acrobat strays off to flirt with a front-row patron. It’s a direct interaction. You don’t see golf carts driving through the audience in the theatrical “Ka” and “Love.” The acrobatics also shine on their own without the need for context (though if you look for it, there are themes of birth and innocence, and society’s need for ritual — pomp versus circumstance — floating around in there). Flying off a teeter board to a triple-stacked landing, or shimmying up a pole upside down speaks for itself. If anything about the show seems dated, it’s the new age-ier stretches of the music and some of the costumes by Dominique Lemieux, which have worn into self-parody over the years as Cirque’s surprise attack faded into the Las Vegas norm. Pastel was so ’90s. Perhaps something to take a look at for the 20th anniversary? With Lamarre confirming Treasure Island’s continued investment and support, it’s just around the corner. {SOURCE: Mike Weatherford, Las Vegas Review Journal} MJ Immortal #1? {Mar.10.2012} --------------------------------------------------------- According to ThisBeatGoes.com, the hip-hop duo of Jay-Z and Kanye West’s ‘Watch The Throne’ tour, took second place to Michael Jackson’s The Immortal Cirque du Soleil show on the top concerts list. [The "Watch the Throne"] only managed to pull in the number 2 spot with an impressive $1,902,032. This number averages out to each fan spending around $113 per ticket. ‘Michael Jackson: The Immortal’ was a Cirque du Soleil show that pulled in the number 1 spot, thanks to a mind boggling $2,2362,502 in revenue being generated over the past three months in ticket sales. {SOURCE: ThisBeatGoes.com} Presse: "Women Rule in Cirque’s New World" [EXPANDED] {Mar.11.2012} --------------------------------------------------------- This is definitely a first: a Harvard drama professor directing a Cirque du Soleil show. But Diane Paulus, director of Cirque du Soleil’s new tent show, Amaluna, scheduled to open mid-April in Montreal, is not your typical academic. She directed the 2009 production of Hair that won the Tony Award for best revival of a musical that year. And her controversial, tightly edited revival of Porgy and Bess is very likely to be a Tony contender this year. “I’m just a great believer in popular theatre,” Paulus said when she spoke to The Gazette from New York this week. “I have such an interest in audience and such a belief in audience that I kind of always put my foot down and say populist work can be challenging, artistically fulfilling work. Populism doesn’t always equal the lowest common denominator in entertainment. Quite the contrary. This has been my passion and interest. It’s so interesting to be at Cirque, which is a company that I think really shares that point of view.” Although the show has been in the works for two years, and she has been in Montreal for rehearsals since early January, Paulus’s time here is tightly scheduled, without windows for interviews. “Right now is the two weeks where all the equipment transfers from the headquarters to the tent at the Old Port (are happening),” she explained. “So I get a little break.” The Cirque big top was erected on Feb. 29. Paulus, who has taught at Yale as well as Harvard, studied ballet and classical piano before taking up theatre. Her undergraduate degree, at Harvard, was in social studies. She went on to do a master’s degree in arts at Columbia University. Her theatre career began in earnest when she, her husband, Randy Weiner, and other theatre artists formed Project 400 Theatre Group, which is dedicated to mixing up classical theatre and modern music. They began with Shakespeare’s The Tempest, then won raves and hit box-office gold with The Donkey Show, a disco- music take on A Midsummer Night’s Dream. It ran off-Broadway for six years. Weiner, who has been Paulus’s constant artistic collaborator for the past two decades, will also be working on Amaluna, as its dramaturge. Since 2008, Paulus has been the artistic director of Harvard’s renowned American Repertory Theater – a professional, non-profit company known for harvesting Pulitzer Prizes as well as Tony Awards. She was the first woman to land the job. It was something of a coup for the Cirque to hire Paulus. But it sounds like she was eager to work with them, following in the footsteps of Quebec director Robert Lepage (director of Cirque’s Ka and Totem), whom she refers to as a mentor. Having already made the acquaintance of another Quebec circus, Les 7 doigts de la main, during its off-broadway run, she knew Quebec artists have successfully learned to tread the fine line between high and low culture. (Three days after this interview, Paulus announced in New York that she would be directing the musical Pippin in December, with choreography by Gypsy Snider of Les 7 Doigts.) “That’s very enlightened,” she said. “I think it’s a more European culture.” In the rest of North America, she said, “We get more defined.” There’s serious theatre and then there’s popular entertainment. Paulus believes theatre was more vibrant in its early incarnations, in ancient Athens, or in Elizabethan times. “Everyone in the community was involved,” she said. “There were festivals. There was an ownership of the audience of their art.” Her association with the Cirque began with a phone call from Amaluna creative director Fernand Rainville, she said. He told her that the 2012 tent show was going to be an homage to women. When she finally met Cirque owner Guy Laliberté, he posed a double-barrelled question: “What would our world be if women had been in charge? What would we be today, as a planet?” “I really took that to heart,” she said. She began looking at the show’s concept in terms of “female value” and at the “ethics of a gathering of women” as a general inspiration. This led her to draw upon the great women, and goddesses, depicted in drama over the centuries. The Tempest was one facet of her inspiration, with Prospero transposed into a female, Prospera. “What I loved about The Tempest was the idea of an artist, of a shaman, of a kind of queen that rules her island,” Paulus said. “But truly it was the relationship with the daughter that got me interested.” (Being the mother of two daughters, age 7 and 5, herself.) This led her into the Greek myths of Demeter, Persephone and Juno, the protector of women and childbirth, when working on Amaluna, creating a “constellation” of characters in a world run by heroines. Mozart’s The Magic Flute, she said, was another source. As with all Cirque shows, there will be very little dialogue in Amaluna, give or take a quip or two from a clown. But the organizing principle of the show will be story-based. Beyond the magnificence of Shakespeare’s text, Paulus said, she admires the ideas in his plays, many of which come from other sources. “There’s a Shakespearean idea that you can have the same story played out on multiple levels. There’s a movement of the spirit. That’s what I’m looking at. There’s a chaos moving through to a certain kind of harmony in the romances, of which The Tempest was one.” Paulus, who worked once before in Canada, directing The Magic Flute in Toronto, has fallen in love with Montreal. But New York frequently beckons as she continues her follow-up with Porgy and Bess, which she calls “an amazing journey and such a labour of love.” A cast album is in the works. And its stars (Audra Mcdonald and Norm Lewis) are making the rounds of the talk shows. The 2012 Tony nominees will be announced May 1. Watch for Porgy and Bess to be among them. Amaluna begins performances under the Big Top at the Old Port on April 19. Visit cirquedusoleil.com. {SOURCE: Montreal Gazette} MGM Resorts International and Cirque du Soleil in Las Vegas Join Forces to Support ONE DROP {Mar.14.2012} --------------------------------------------------------- LAS VEGAS, March 12, 2012 /PRNewswire/ - MGM Resorts International (NYSE: MGM) and Cirque du Soleil®, two global organizations long renowned for inspiring and engaging entertainment, announced that they are joining forces in support of the mission of ONE DROP, a global non-governmental organization that promotes global awareness of the central role of water, one of our most precious common goods, essential to all life on Earth. From March 20 to March 25, and in recognition of WORLD WATER DAY on March 22, MGM Resorts and Cirque du Soleil will donate the proceeds from ticket sales of performances of Cirque du Soleil Las Vegas shows to help further ONE DROP’s mission. "At MGM Resorts, environmental sustainability is a key pillar of our vision for social responsibility," said Jim Murren, the company’s Chairman & CEO. "We recognize that a comprehensive strategic approach to water stewardship is fundamental to the continuing survival of life on our planet. We also believe that access to safe water can serve as the lifeblood for social and economic development. We are honored to partner with Cirque du Soleil in support of ONE DROP in this vital area," Murren said. Guy Laliberte, Founder of Cirque du Soleil and Chair of ONE DROP, said, "This incredible commitment from MGM Resorts International, Cirque du Soleil’s business partner of nearly 20 years in Las Vegas, truly expresses one of the goals I had when I founded ONE DROP in 2007: creating a powerful ripple effect of solidarity made up of companies, individuals and people around the world. I am so grateful that MGM Resorts International will not only support in an important financial manner, but also shares our belief by raising awareness of this precious resource. This bring us one drop closer to realizing the dream of ensuring that safe water is accessible to all, today and tomorrow." The United Nations WORLD WATER DAY is observed on March 22 to spotlight the importance of freshwater and the sustainable management of freshwater resources. {SOURCE: MGM Resorts International; PRNewswire} Miss Cirque at Google? {Mar.14.2012} --------------------------------------------------------- Don’t worry! They recorded it. Check out the Roller Skating act as performed at the Googleplex AND the ensuing Q&A! < http://www.youtube.com/v/lS0D0xiXU3w > {SOURCE: Google} ONE DROP Commemorates World Water Day {Mar.15.2012} --------------------------------------------------------- MONTREAL, QUEBEC-(Marketwire - March 15, 2012) - ONE DROP is making every effort to significantly mark World Water Day (WWD) on March 22. Whether by raising public awareness, field work, or active involvement in discussions regarding important water- related issues, ONE DROP will deploy a multitude of diverse initiatives throughout the world. Since 1992, the United Nations has encouraged people to celebrate water on March 22 of every year. Since its very beginning, ONE DROP-an initiative of Guy Laliberté, founder of Cirque du Soleil®-has commemorated this special and important day by a plethora of activities at various levels and across different territories. "The mission of ONE DROP is to make safe water accessible for all a reality, today and tomorrow. We must find global solutions, while taking concrete action where there are needs. That is why we’re striving to implement innovative and creative projects that produce lasting results throughout the world," states Lili-Anna Pereša, Executive Director of ONE DROP. "There’s water on our plates!" The initiative "There’s water on our plates!" falls under the theme of the WWD 2012: Water and Food Safety. This awareness campaign consists of a series of tools, primarily geared toward social media, in order to make people aware of the consequences of their food choices on water resources and to encourage them to adopt eco-friendly food behaviours. World Water Forum ONE DROP will participate in the discussions and reflections of the World Water Forum taking place between March 12 and 17 in Marseille, France and will be presenting the conference "Social art - A complement to water-access projects." Moreover, one of the projects proposed by ONE DROP was selected from over 1,000 projects and will be presented at the Solutions Forum, which aims to promote particularly beneficial initiatives. The World Water Forum is a platform for exchanges and partnerships between all the water organizations in the world and today includes over 400 organizations from some one hundred countries. Participation in the World Association of Community Radio Broadcasters (AMARC) ONE DROP will collaborate with CIBL and the Maison Mondiale de la radio communautaire to organize an international awareness- raising and mobilization operation regarding water. More than 20 stations of the World Association of Community Radio Broadcasters throughout the world will produce vignettes, reports and shows aimed at creating interest concerning water issues. On March 22, a special show will be co-produced with CIBL101.5, and aired globally afterwards. 7 DAYS FOR A BETTER WORLD From March 19 to 25, 2012, Cirque du Soleil will hold the 7 DAYS FOR A BETTER WORLD campaign, which will present the various Cirque du Soleil initiatives aimed at supporting social actions, at the heart of which is ONE DROP. Over the course of this week, $5 will be donated to ONE DROP for each Cirque du Soleil touring show ticket sold. Moreover, MGM Resorts International, Treasure Island and Cirque du Soleil have joined forces to support ONE DROP. The revenues from the various Cirque du Soleil shows performed in Las Vegas between March 20 and 24 will be donated to ONE DROP. The Run Away With Cirque du Soleil at the Springs Preserve will be held on Saturday, March 24. This will be the 11th edition of the event, which includes a five-km run and a one-km walk in collaboration with ONE DROP. Special activity in India The stakeholders of ONE DROP’s Project India will launch "Visions for Water," the first water focused film festival to take place in the region of Orissa in India. Eleven documentary screenings about water will be presented, followed by a discussion panel to debate the question ; How can the arts be agents of change in water management behaviours? Special activity in Haiti The agents of ONE DROP’s Project Haiti will inaugurate two new communal water centres in Mariani and Beloc, and will perform the multidisciplinary show "Ayïti Pawol Lapli ak Lakansyèl," based on the water issues in Beloc. La Soirée ONE DROP in Quebec City There will also be a benefit evening on March 24, this time in Quebec City, in partnership with Cirque du Soleil, with the proceeds going to ONE DROP. The complete programing is available at: < http://www.onedrop.org/en/projects/projects- overview/WorldWaterDay/wwdactivities.aspx > {SOURCE: One Drop; Marketwire} A Conversation with Marjon Van Grunsven, Artistic Director OVO [EXPANDED] {Mar.19.2012} --------------------------------------------------------- "What’s your dream?" she asks. I look at my friend Marjon across the table at the little café on Second Avenue, where we regularly go for an affordable bowl of pasta and a glass of wine after work. It is 1997 in New York City, and she is waiting for my reply. I am embarrassed to respond. My face feels flushed to even contemplate my dreams and goals. I fumble and take a long drag off my cigarette avoiding the question. "I’m not really sure. What is your dream?" "I want to be in Cirque du Soleil." Fourteen years later Marjon and I have long lost touch. It is January, 2011 and I am sitting at my kitchen table in Los Angeles, California drinking a cup of tea and listening to NPR’s Elizabeth Blair report on the trust of trapeze artists in Cirque du Soleil. An unmistakable, warm and lyrical Dutch voice explains, "A flying act is built on trust - but first, each artist needs individual strength and training." Instantly I remember our conversation and smile, raising my tea mug to toast the little red radio on the shelf. "Well done, Marjon. Dreams do come true!" In Cirque du Soleil’s warm family kitchen, next to the trademark Cirque blue and yellow "grand chapiteau," I meet my old friend Marjon. I recognize immediately that Cirque du Soleil is a community. The kitchen feels like the central nervous system of the larger Cirque body teeming with partially costumed OVO performers (which of course make me think of molting reptiles), crew members and, to my surprise, children. This community has become Marjon’s home - the company, her family. We sit down at an empty table happy to acknowledge that almost fifteen years hasn’t changed either of our appearances much. I ask her if she remembers our conversation years earlier at the café on Second Avenue. She smiles, "I do remember. I tell that in almost every interview that I do." Cirque du Soleil first inspired Marjon in 1996 when she attended a New York City performance of Alegría. “I was mesmerized by the fusion of the costumes, the music, for sure the acts, but what I loved was…the technicians working together with the artists…It was such a beautiful feeling…for a number to never end but flow flawlessly into the next.” She paused and smiled again, “Yes, that was my dream and I have been so lucky in my life.” How does this happen that your dream fourteen years later is a reality? She shares her path and I note that gratitude and respect for others are common themes. “I remember auditioning [for Cirque du Soleil] and I was already super happy that they didn’t cut me right away. I always got very far and then at the very end there were like four people left and they only needed two.” In 2000, Marjon returned to Europe, residing in Paris for a period before re-establishing her roots and her dance company Memento in The Netherlands. She opened Memento Bodyworks studio for Pilates - Body Therapy and Performing Arts. While her company and career took off, she maintained correspondence with former teachers and mentors who had helped her along the way. In 2007, a former teacher, Ria Martins, who had left Holland twelve years earlier to join Cirque du Soleil, contacted Marjon. “They need someone at Cirque and I’ve recommended you. Would you be interested? It’s only for three months.” Though Marjon had just opened her own studio, bought a house and settled down, she replied, “Oh my god, this is my dream coming true!” Marjon joined Cirque du Soleil and began her adventure. Continually amazed and thankful for her life and career, she describes the role of Artistic Director as the person who guards the “artistic integrity” of the show’s creators. Because of the longevity of a touring show – Big Top shows can run 10 to 12 years – she works consistently to maintain the show and make it better. “My daily life, my week, or my year consists of managing 66 people… what I have to do is watch the show, give notes, decide where there are moments in the show where I don’t feel that magic any more, then I call a rehearsal, so there is a lot of planning.” Keeping everyone inspired, Marjon also acts as ear, listening to problems. “This is their life, they travel with their family, so sometimes I’m like their mom, sometimes I’m like their director, sometimes I’m a sister or an enemy or a friend or an advisor. It’s a big role.” The OVO cast consists of 55 performers from 14 different countries. Casting insects for OVO was a creative endeavor in itself. When Deborah Colker decided she wanted insects such as ants, crickets, and spiders, a creative team had to decide which Cirque performers matched these types of creatures. As an example Marjon shares, “If you think about a cricket who can jump three times its own height and then you think about what Cirque artists can do, you think of trampolinists that can jump…so they became our crickets.” As another example, she explains, “ants work, they are energetic, they are cute, they are fast, they always work, so somebody in Cirque said… what do you think of foot jugglers?” Marjon proudly shares that many of the performers had never been in a theater production before. Instead they came from Olympic backgrounds, competitions, and sports. “My role is to help them become an artist.” She helps the performers understand their importance on stage by working with them individually. “Sometimes I would take one out and say, ‘I would like you to watch tonight.’ They would come back to me and say ‘oh my god, I had no idea that if I would be there, by that light, that is what I would look like.’" In this way Marjon believes that each performer co-creates the individual role. As it nears 4PM, and the first of the day’s two performances, I ask Marjon about all the happy children I see running about. She explains that they have an onsite school because approximately 26 children travel with the company. “Our red spider has a beautiful little son, so her husband travels with us.” Lois Yaroshefsky, an onsite teacher, walks by our table and Marjon introduces us. She tells me that she is teaching English to a group of six Chinese girls. “One of the things I do - and I did it with the boys on Iris, I did it with the kids on Totem - is I teach them the song “Imagine” by John Lennon. I go through the whole thing where I explain to them who The Beatles are because they don’t know at all, they have never heard of The Beatles. They have come from a communist country and it is a whole different thing. So I explain that, and then I explain what peace is…I go through the whole thing of what happened to John Lennon…and then we sing the song and they get it. And then I give them this analogy, ‘what [Lennon] wanted is very much what Cirque du Soleil is. It is the only place that I know…that has what John Lennon wanted which is all these people from all over the world, everybody working together, living together, performing together.” For twenty-seven years Cirque du Soleil has brought together people from around the world. I think John Lennon would be happy to see this community; and as I walk up the boardwalk and back to my car, I am happy to see my friend living her dream and thriving in such a sustainable, loving community. {SOURCE: TheWhip.net} Mystère’s Tissu act soars to new heights [EXPANDED] {Mar.20.2012} --------------------------------------------------------- Caroline Fontein from the Vegas.com blog had a moment recently to chat with Ginger Ana Greip-Ruiz, the new tissu aerialist in Mystère: # # # Twisting, spinning and flipping up to 45 feet in the air is all in a day’s work for Ginger Ana Griep-Ruiz. She performs a Tissu act in Cirque du Soleil’s Mystère at Treasure Island. Instead of a solid platform,her performance space is above the stage where she suspends herself with two pieces of fabric hanging from the ceiling without any safety nets or harnesses. Her aerialist routine was added to Mystère in January as part of the show’s artistic revamp in honor of its 18th anniversary in Vegas. Before that she performed in other Crique du Soleil productions including “La Nouba,” “Delirium” and “ZED.” Her awe-inspiring Tissu routine in Mystère incorporates contortion, acrobatics and movement. Together these elements create optical illusions that leave spectators asking themselves, “How did she do that?” While she’s the only aerialist on stage during her routine, her act is really a duet. Griep-Ruiz works in combination with an off-stage operator who initiates cues that move the fabric up and down. “The timing between us is key for the acts to come off looking perfect,” said Griep-Ruiz. Stemming from a circus family, she started performing when she was 3 years old. Her mom was a single-trapeze artist and her father was a sword-swallower/magician/clown/escape artist. She grew up in a traveling circus where her first discipline was the tight wire. From there she moved to performing on the swinging trapeze. In 1998, her mom gave her a set of fabric, and she fell in love. At the time, Tissu didn’t already have a well-defined technique assigned to it. This meant there was more room for Griep-Ruiz to be creative and push the boundaries. “It was just about what you could find, what you could create,” said Griep-Ruiz. She was also drawn to the freedom that went along with performing off the ground. “I love being up in the air. You have to be completely aware of what you’re doing, so it’s kind of like you can only focus on one thing at a time. I find in life, so many times we’re multitasking, and in the air you’re just doing one thing. It’s nice,” said Griep-Ruiz. The primarily self-taught artist developed her first Tissu act within months of receiving her new gift, and she started to perform in the circus she was a part of at that time. Her routine in Mystère is a combination of elements that she’s been working on for the past 13 years. “Working in Vegas I wanted to include the best elements I can do and to give the audience something that they’ve never seen. There’s a lot of circus in this city, but I wanted to show fabric and Tissu in a way that hadn’t been seen before in Las Vegas,” said Griep-Ruiz. With the music in Mystère as her guide, she created a routine that features both tricks and motor movements. Not only does she move up and down the fabric, but the fabric moves, allowing Griep-Ruiz to soar over the audience and at varying heights above the stage. “I didn’t want to create something that was different compared to other things, I just wanted to create something that was interesting in my own eyes,” said Griep-Ruiz. Her routine is one of a series of circus-style acts featured in Mystère. Each of the acts is more mystical than the next. Featuring colorful characters, vibrant costumes and fantastical prop pieces like a giant snail that fills the stage, Mystère offers guests a wondrous escape through a succession of highly- talented specialty performers. “Each act pushes the extreme of the discipline, and that’s what I really love about Mystère… It has this wonderful classic feel, but it’s classic in a timeless way,” said Griep-Ruiz. {SOURCE: Vegas.com Blog} Le Voyage Inspiré by Infiniti JX {Mar.23.2012} --------------------------------------------------------- Exemplifying a unique partnership, Cirque du Soleil and luxury auto maker Infiniti are pleased to present the first-ever, live streaming event featuring the all-new Infiniti JX in a Cirque du Soleil performance. Viewable exclusively online at 12pm EST, Thursday, March 29 on Facebook.com/Infiniti and Facebook.com/CirqueduSoleil, see the versatile Infiniti JX combine with the artistry of Cirque du Soleil...all at gravity challenging heights! Inspired by the all-new Infiniti JX, Cirque du Soleil’s Special Events team has incorporated Infiniti’s all-new, 7-passenger luxury crossover into an approximately 11 minute performance, complete with 9 Cirque du Soleil performers - all streamed live from Cirque du Soleil’s headquarters in Montreal. And immediately following the performance, stay online for an exclusive, interactive video Q&A where you may have your questions about the performance answered in real-time by Mario D’Amico, Senior Vice President, Cirque du Soleil Corporate Marketing and Wendy Durward, Director, Infiniti Canada. With a shared commitment to creativity and performance, Infiniti is an Official Sponsor and exclusive Automotive Partner of Cirque du Soleil. To view a behind-the-scenes video, visit: < http://youtu.be/DJ8hJXhSxjI > To access images and additional video clips, please visit the Infiniti Canada media site: < media.infiniti.ca > To Learn More and Access the Live Performance Access to the live-event is no-charge and you may RSVP NOW and/or submit a question for the interactive video Q&A in advance on the ‘Events’ page at www.facebook.com/infiniti. At 12pm EST, March 29, 2012, simply visit the ‘Infiniti Live’ Page on www.facebook.com/infiniti or www.facebook.com/cirquedusoleil. {SOURCE: Cirque du Soleil} KnoxNews Talks to Mark Ward [EXPANDED] {Mar.26.2012} --------------------------------------------------------- A gymnast, tennis player, musician and actor who took up classical ballet his senior year in high school, Mark Ward never dreamed he'd one day have a chance to combine all of his diverse talents in a single forum. But that's exactly what happened in 1993 when, after his eighth year of classical ballet, while performing with the Ballet of Chicago, Ward got a call to audition for the cast of Mystere, a new Las Vegas-based production by the Canadian performance troupe Cirque du Soleil. The Denton, Texas, native was tapped as a founding member of the cast and went on to five years in a role that challenged his skills as an athlete, acrobat and performer. "It was great, because I had never really stopped being a gymnast," says Ward, now the longtime star of another Cirque show, Quidam. Quidam will play Knoxville April 4 through 8 at Thompson-Boling Arena. "My acrobatics helped me excel as a dancer that much faster, because I already had more control over my body than other dancers," he continues. "And now, suddenly, I get to do all the things I trained to do over the years in one company. And working with artists like this from all over the world, in an atmosphere like this, from so many countries, that's something that rarely happens." Founded in 1984 by Canadian street performers, Cirque du Soleil puts on a host of multi-media productions, fanciful melanges of musical theater, dance, acrobatics, and carnival showmanship. "We take all of those elements and put them into a show," Ward says. "You're not just coming to see acrobats. It's acting; it's singing; everything, all in one polished gem. We train constantly so we can do those things, but it's for the end resulting of molding it all into a show." Not all of the Cirque performers have to be contortionists or world-class tumblers, he says. "It depends on what they're hiring you for. They may hire you for your voice or your acting. When they hire someone, they're looking for a specific thing. They have different acts in one show, so they know what they're looking for." Still, a multi-talented performer like Ward certainly has a leg up — pun intended — on other would-be performers. "If they have an audition and they're looking for someone to perform on the ropes, they need someone who either already has those capabilities or who can be trained that way. So you have to show them what you've got. You have to be prepared. "That's what's great about Cirque du Soleil, is that they will teach you to do other things. I ended up doing contortionism, ball walking, trampoline, many things. I came with some skills, but I leave with many. So they've trained me very well." For the past 13 years, Ward, 46, has been the principal in the touring production of Quidam, the musical story of a young girl in a loveless home who escapes to an imaginary world where she learns to "free her soul." Ward plays John, the Ringmaster, her - and the audience’s - guide in the "other world." Ward says the role challenges on many levels. "I’m the link to the public; I can actually touch the people," he says. "I have four acts of my own, and some of them require props. Being the principal character, I don’t have to do double back-flips now. But I’m running all the time, and my brain always has to be there. I’m doing the entire show, and I do have to do some flips throughout. "What I like is that it’s constantly changing. Every city I go to, what one group of people might find funny, it might not work with another. I have to always be willing to change my approach to connect with the people. I think that’s kept me fresh." Fresh enough that after 19 years with Cirque du Soleil, Ward says he plans to forge ahead for at least another six years before he assesses his career options further. "I’d like to do 25 years," Ward says. "Then maybe I’ll see if I want to do another show, or if I want to retire, or be a talent scout, or work somewhere else in the company. There are other opportunities in the company for me, but right now my goal is to go year by year and see how I feel. Right now, I’m really enjoying performing." {SOURCE: Knoxville News} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Corteo, Koozå, OVO, Totem, Varekai & Amaluna} 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, Believe & VIVA Elvis, Zarkana & Iris} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna: Montreal, QC -- Apr 19, 2012 to Jul 15, 2012 Quebec, QC -- Jul 26, 2012 to Aug 19, 2012 Toronto, ON -- Sep 6, 2012 to Sep 30, 2012 Vancouver, BC -- Nov 22, 2012 to TBA Corteo: Amsterdam, NL -- Mar 22, 2012 to Jun 3, 2012 Antwerp, BE -- Jun 13, 2012 to Jul 1, 2012 Gijón, ES -- Jul 25, 2012 to Aug 26, 2012 Zurich, CH -- Aug 31, 2012 to TBA Dusseldorf, DE -- Oct 17, 2012 to TBA Berlin, DE -- Nov 28, 2012 to TBA Koozå: Phoenix, AZ -- Jun 8, 2012 to Jul 15, 2012 Houston, TX -- Jul 26, 2012 to TBA Dallas, TX -- Sep 19, 2012 to TBA Tampa, FL -- Nov 8, 2012 to TBA London, UK -- Jan 2013 to TBA Ovo: Portland, OR -- Apr 5, 2012 to May 20, 2012 Brisbane, AU -- Jul 14, 2012 to Aug 5, 2012 Sydney, AU -- Sep 13, 2012 to Oct 7, 2012 Melbourne, AU -- Jan 17, 2013 to Feb 3, 2013 Adelaide, AU -- Feb 27, 2013 to Mar 30, 2013 Perth, AU -- Apr 14, 2012 to Apr 28, 2013 Totem: San Jose, CA -- Mar 2, 2012 to Apr 15, 2012 San Diego, CA -- Apr 25, 2012 to May 13, 2012 Boston, MA -- Jun 10, 2012 to Jul 1, 2012 Washington, DC -- Aug 15, 2012 to Sep 16, 2012 Atlanta, GA -- Oct 25, 2012 to TBA New York, NY -- Nov 19, 2012 to TBA Varekai: Recife, BR -- Mar 30, 2012 to Apr 22, 2012 Salvador, BR -- May 3, 2012 to Jun 3, 2012 Curitiba, BR -- Jun 15, 2012 to Jun 24, 2012 Porto Alegre, BR -- Jul 26, 2012 to Aug 5, 2012 Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012 Santiago, CL -- Sep 28, 2012 to Oct 28, 2012 Lima, PE -- Nov 16, 2012 to Dec 23, 2012 Bogota, CO -- Jan 10, 2013 to Feb 24, 2013 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Saltimbanco: Casablanca, MA -- Apr 6, 2012 to Apr 15, 2012 Beirut, LB -- May 10, 2012 to May 13, 2012 Manila, PH -- Aug 9, 2012 to Aug 19, 2012 Alegría: 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 Budapest, HU -- May 17, 2012 to May 20, 2012 Prague, CZ -- May 23, 2012 to May 27, 2012 Hambgurg, DE -- May 30, 2012 to Jun 3, 2012 Hanover, DE -- Jun 6, 2012 to Jun 10, 2012 Nuremberg, DE -- Jun 13, 2012 to Jun 17, 2012 Vienna, AT -- Jun 20, 2012 to Jun 24, 2012 Belgrade, RS -- Jun 29, 2012 to Jul 1, 2012 Tel Aviv, IL -- Aug 8, 2012 to Aug 18, 2012 Athens, GR -- Sep 3, 2012 to Sep 9, 2013 Lille, FR -- Nov 21, 2012 to Nov 25, 2012 Paris, FR -- Nov 28, 2012 to Dec 2, 2012 Barcelona, ES -- Dec 26, 2012 to Jan 6, 2013 Santa Cruz de Tenerife, ES - Jan 13, 2013 to Jan 20, 2013 Quidam: Knoxville, TN -- Apr 4, 2012 to Apr 8, 2012 Evansville, IN -- Apr 26, 2012 to Apr 29, 2012 Green Bay, WI -- May 1, 2012 to May 2, 2012 Duluth, MN -- May 4, 2012 to May 6, 2012 Sault Ste Marie, ON -- May 10, 2012 to May 13, 2012 Saginaw, MI -- May 16, 2012 to May 20, 2012 East Lansing, MI -- May 23, 2012 to May 27, 2012 Grand Rapids, MI -- May 30, 2012 to Jun 3, 2012 Toledo, OH -- Jun 6, 2012 to Jun 10, 2012 Rockford, IL -- Jun 13, 2012 to Jun 17, 2012 St. Louis, MO -- Jun 20, 2012 to Jun 24, 2012 Indianapolis, IN -- Jun 27, 2012 to TBA Winnipeg, MB -- Jul 19, 2012 to Jul 22, 2012 Regina, SK -- Jul 25, 2012 to Jul 29, 2012 Lethbridge, AB -- Aug 1, 2012 to Aug 5, 2012 Edmonton, AB -- Aug 8, 2012 to Aug 12, 2012 Kamloops, BC -- Aug 15, 2012 to Aug 19, 2012 Kelowna, BC -- Aug 22, 2012 to Aug 26, 2012 Abbotsford, BC -- Aug 29, 2012 to Sep 2, 2012 Victoria, BC -- Sep 5, 2012 to Sep 9, 2012 Honolulu, HI -- Oct 4, 2012 to Oct 14, 2012 Dralion: Cleveland, OH -- Apr 4, 2012 to Apr 8, 2012 Hamilton, ON -- Apr 26, 2012 to Apr 29, 2012 Halifax, NS -- May 2, 2012 to May 6, 2012 Saint John, NB -- May 9, 2012 to May 13, 2012 London, ON -- May 16, 2012 to May 20, 2012 Rochester, NY -- May 23, 2012 to May 27, 2012 Manchester, NH -- May 30, 2012 to Jun 3, 2012 Syracuse, NY -- Jun 6, 2012 to Jun 10, 2012 Bridgeport, CT -- Jun 13, 2012 to Jun 17, 2012 Rosemont, IL -- Jun 20, 2012 to Jun 24, 2012 Chicago, IL -- Jun 27, 2012 to Jul 1, 2012 Sunrise, FL -- Jul 19, 2012 to Jul 29, 2012 Estero, FL -- Aug 1, 2012 to Aug 5, 2012 Richmond, VA -- Aug 8, 2012 to Aug 12, 2012 Raleigh, NC -- Aug 15, 2012 to Aug 19, 2012 Baltimore, MD -- Aug 22, 2012 to Aug 26, 2012 Atlantic City, NJ -- Aug 29, 2012 to Sep 2, 2012 Pittsburgh, PA -- Sep 5, 2012 to Sep 9, 2012 CHarleston, WV -- Sep 12, 2012 to Sep 16, 2012 Minneapolis, MN -- Sep 19, 2012 to Sep 23, 2012 Ontario, CA -- Oct 24, 2012 to Oct 28, 2012 Long Beach, CA -- Oct 31, 2012 to Nov 4, 2012 San Deigo, CA -- Nov 14, 2012 to Nov 18, 2012 Phoenix, AZ -- Nov 21, 2012 to Nov 25, 2012 Topeka, KS -- Dec 5, 2012 to Dec 9, 2012 Tulsa, OK -- Dec 12, 2012 to Dec 16, 2012 Okalahoma City, OK -- Dec 19, 2012 to Dec 23, 2012 Michael Jackson THE IMMORTAL World Tour: New York City, NY -- Apr 3, 4 & 5, 2012 Long Island, NY -- Apr 7 & 8, 2012 Philadelphia, PA -- Apr 10 & 11, 2012 Pittsburg, PA -- Apr 13, 14 & 15, 2012 State College, PA -- Apr 24 & 25, 2012 Columbia, SC -- Apr 27 & 28, 2012 Hartford, CT -- May 2 & 3, 2012 Baltimore, MD -- May 5 & 6, 2012 Hampton, VA -- May 8, 2012 Greenville, SC -- May 11 & 12, 2012 Worcester, MA -- May 16 & 17, 2012 Quebec, QC -- May 19 & 20, 2012 Albany, NY -- May 22 & 23, 2012 Cincinnati, OH -- May 25, 2012 Dayton, OH -- Jun 6 & 7, 2012 Columbus, OH -- Jun 9 & Jun 10, 2012 Nashville, TN -- Jun 12 & 13, 2012 Austin, TX -- Jun 15, 2012 Memphis, TN -- Jun 20, 2012 San Antonio, TX -- Jun 23, 2012 Dallas, TX -- Jun 26 & 27, 2012 Atlanta, GA -- Jun 29 & 30, 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 & 21, 2012 Ottawa, ON -- Jul 24 & 25, 2012 Toronto, ON -- Jul 27 & 28, 2012 Boston, MA -- Aug 3 & 4, 2012 Vancouver, BC -- Aug 10 & 11, 2012 Los Angeles, CA -- Aug 14 & 15, 2012 Salt Lake City -- Aug 21, 2012 Europe 2012: ------------ London, UK -- Oct 12, 13 & 14 2012 Herding, DK -- Oct 24 & 25, 2012 Copenhagen, DK -- Oct 27 & 28, 2012 Stockholm, SE -- Nov 2 & 3, 2012 Helsinki, FI -- Nov 5 & 6, 2012 Frankfurt, DE -- Nov 16 & 17, 2012 Oberhausen, DE -- Nov 20, 2012 Munich, DE -- Nov 24 & 25, 2012 Hannover, DE -- Nov 28, 2012 Vienna, AT -- Dec 1 & 2, 2012 Manheim, DE -- Dec 5, 2012 Leipzig, DE -- Dec 8 & 9, 2012 Hamburg, DE -- Dec 11, 2012 Cologne, DE -- Dec 15 & 16, 2012 Berlin, DE -- Dec 19 & 20, 2012 Madrid, ES -- Dec 26 to Dec 29, 2012 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2012 Dark Dates: o May 12 - 16 o September 8 - 12 o November 14 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2012 Dark Dates: o April 9 - 15 o June 10 o August 6 - 12 o October 14 & 17 o December 3 - 18 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2012 Dark Dates: o May 15-26 o July 24 o September 18-22 o November 27 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:30pm and 10:00pm 2012 Dark Dates: o April 13, 14, 15, 16 and 17 o June 19 o August 24, 25, 26, 27, 28 and 31 o September 1, 2, 3, and 4 o October 23 o December 14, 15, 16, 17 and 18 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o April 3 o May 29 - June 2 o July 31 o August 1 o September 28 - 29 o November 20 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o April 5 - 9 o June 4 o August 2 - 6 o October 1 o December 6 - 19 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. 2012 Dark Dates: o April 10-14 o May 29-31 o June 1-2 o July 17-21 o September 4-11 o December 18-25 VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o March 13-17 o May 8 o July 10-21 NOTE: VIVA ELVIS to have final show on August 18, 2012 ZARKANA: Moscow, RU -- Feb 4, 2012 to Apr 8, 2012 New York, NY -- Jun 6, 2012 to Sep 2, 2012 Las Vegas, NV -- Oct 25, 2012 to TBA IRIS: Location: Kodak Theatre, Hollywood, CA (USA) Performs: Tuesday through Friday @ 8:00pm Saturday @ 3:00pm and 8:00pm Sunday @ 2:00pm and 7:00pm DARK: Monday Select Weekday Matinee Performances Wednesday and Friday at 3:00pm 2012 Dark Dates: o May 29 and 30 o July 3 and 4 o August 7 o September 4 -11 o October 23 o November 22 o December 4 and 25 ======================================================================= 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 --------------------------------------- "What’s coming up for our shows in 2012? [EXPANDED] {Mar.11.2012} --------------------------------------------------------- Discover a milestone for each of our 21 shows: Alegría Will be visiting three new cities during one leg of its tour in August - Tel Aviv in Israel, Athens in Greece and Ankara in Turkey. Amaluna The premiere of our new big top show will take place on April 26 on the Quays of the Old Port of Montréal. Corteo Corteo will spend all of 2012 touring Europe, visiting six cities in five different countries. CRISS ANGEL Believe During the shows in 2012, artists will mystically disappear more than 4,300 times . . . and amazingly reappear somewhere else on stage! Don’t forget that Criss Angel is a professional, so don’t try this at home! Dralion This year, approximately 240 hours will be spent setting up the stage for Dralion in each of the 43 cities that the show is set to visit. It takes around 5 1/2 hours each time. IRIS For a couple of weeks in February and March, IRIS will vacate the Kodak Theatre to make way for the Academy Awards. KÀ In "The Climb" act, there are 80 "arrows" thrown by the Archers and Spearmen that appear to strike the surface of the Sand Cliff. When you do the math, it means that there will be 38,000 arrows in this act in 2012-a fact that would probably make Robin Hood a huge Cirque fan. KOOZA KOOZA will celebrate its fifth birthday in April. The show will end its tour of Japan under the Fujidome in Fukuoka to return to North America under the Big Top in June. La Nouba Considering that you see 394 flips in the La Nouba Power Track/Trampoline act every night, it’s more than 188,000 of these flips that spectators will see in 2012. A great way to be dazzled . . . and dizzy! LOVE In September, LOVE will be performed for a 3,000th time since its opening. Up to now, this show has played about 4,500 hours of Beatles’ songs. Michael Jackson THE IMMORTAL World Tour THE IMMORTAL World Tour will celebrate the first year of its tour on October 2. The troupe artists will have changed costumes 20,000 times over the course of the year. Mystère In November, Mystère will be celebrating its 9,000th performance-a figure that currently makes this production one of the longest-running shows in Las Vegas. “O” Some 20 people working on “O” will celebrate their 15th Cirque anniversary in 2012. A great milestone shared with 24 other RSD employees, including two 20th anniversaries. OVO OVO will leave America for the first time to begin a tour of Australia in July, making an 11,000-kilometre journey in the process. Quidam Quidam will be the third show to visit Hawaii (after Saltimbanco in 2008 and Alegría in 2010). Saltimbanco April 23, 2012, will mark the twentieth anniversary of Saltimbanco. As it stands, Saltimbanco has visited over 150 cities throughout the world and has given over 5,700 performances, more than 1,300 of which have taken place in arenas. TOTEM The show has performed at the prestigious Royal Albert Hall in London for the second year running. Since our first performance in this historic theatre in 1996, the Cirque du Soleil visit has become an annual calendar event for Londoners. Varekai Varekai will continue its adventure in Brazil for the first half of the year. Did you know that Brazil was where the Cirque du Monde program first started out in 1995, 11 years before a show was presented in that country for the first time. Viva ELVIS More than 75,000 Elvis scarves will be gently falling from the ceiling at the end of the show this year. Pretty sure the King would have been proud! Zarkana After its current run at the Kremlin, Zarkana will be back at the Radio City Music Hall in June, a 7,500-kilometer trip! Zumanity Zumanity “caressed” and performed its 4,000th show on January 15. The ultimate proof that pleasure... can last! Special Invitation - Online Live Performance on March 29 {Mar.21.2012} --------------------------------------------------------- Don’t miss a one-of-a-kind performance created by Cirque du Soleil and inspired by the Infiniti JX live on the web on Thursday, March 29 at noon (EST). Inspired by the all-new Infiniti JX, Cirque du Soleil’s Special Events team has created an original eleven minute show that includes the seven-passenger luxury crossover alongside 6 performers. This one- time-only performance will be followed by a live chat with Senior Marketing Vice-President at Cirque du Soleil, Mario D’Amico and Wendy Durward, Director of Infiniti Canada. RSVP to the Facebook Event to be reminded and submit your questions to Infiniti and Cirque du Soleil below! (http://www.facebook.com/events/301219686611287/) Did you know? Did you know that Cirque du Soleil produces dozens of exclusive, 100% tailor-made events every year for the world’s Fortune500 companies? Even recently taking part in the halftime show at Super Bowl and the Oscars Ceremony. Since its beginnings in 1984, more than 100 million spectators in over 300 cities on six continents have been thrilled by Cirque du Soleil. With a shared commitment to creativity and performance, Infiniti is an Official Sponsor and exclusive Automotive Partner of Cirque du Soleil. OVO takes Santa Monica by Storm {Mar.27.2012} --------------------------------------------------------- On February 29, the OVO troupe used leap day to create a little extra buzz in Santa Monica. Five OVO artists and two Bug Squads took to the city’s streets aboard OVO coloured buses. The teams visited some of the busiest parts of Santa Monica, handing out over a thousand masks, clown noses and temporary tattoos along the way. Festivities culminated at the Santa Monica Pier, where a boisterous crowd had gathered to do the "OVO Bug Dance". Even the mayor of Santa Monica was on hand and enjoyed having his picture taken with the artists. Hundreds of people came down to take part in the event! P.S.: OVO is playing under the Big Top in Santa Monica now through March 25, before heading out to Portland for an opening night April 5, 2012. Visit CirqueClub today to see the exclusive gallery and catch a glimpse of this colorful event! < http://www.cirquedusoleil.com/en/cirque-club/news/ 2012/2012-03-10-ovo-bug-dance.aspx > --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- ---[ ALEGRIA ]--- {Mar.02} Toulon! Jusqu'a dimanche. And then we head to Nice (March 7-11) Palais Nikaia LINK /// < http://www.varmatin.com/diaporama/le-cirque-du- soleil-a-toulon.795437.html?idx=0#top-diapo > {Mar.15} Make-up session with Elodie Dufau (Petit Tamir) LINK /// < http://www.facebook.com/AlegriaCirque#!/photo.php? fbid=10150731342355746&set=a.132917855745.130630. 38543815745&type=1&theater > {Mar.25} Alegria by Cirque du Soleil added 4 new photos to the album Sunday Load-Out. - at Zénith de Strasbourg. LINK /// < http://www.facebook.com/AlegriaCirque#!/photo.php? fbid=10150752795430746&set=a.10150752787255746.468567. 38543815745&type=1&theater > ---[ AMALUNA ]--- {Mar.01} Nous vous proposons une vidéo de la levée du Chapiteau bleu et jaune hier dans le vieux port de Montréal incluant une entrevue avec la directrice de tournée Amaluna - via cyberpresse LINK /// < http://www.cyberpresse.ca/videos/arts/201202/29/46-1- amaluna-le-nouveau-spectacle-du-cirque-du- soleil.php/9546cd81719b4d0e8fa41886b38a073a > ---[ CIRQUE DU SOLEIL ]--- {Mar.08} A video look from Cirque du Soleil President Daniel Lamarre at the moving of Zarkana to ARIA Resort & Casino in Las Vegas: LINK /// < http://www.facebook.com/CirqueduSoleil? sk=wall#!/photo.php?v=10101366758207479 > {Mar.22} Today is World Water Day! Did you know that every year, around the world, $100 billion is spent on bottled water? Just a quarter of that amount would provide access to safe drinking water to the whole planet! You can make a difference. Learn how! LINK /// < http://cirk.me/GF1Vz2 > {Mar.23} On March 29, we’ll defy gravity and bring the Infinity JX to life! Watch a sneak peak below and stay tuned! LINK /// < http://www.youtube.com/watch?v=DJ8hJXhSxjI > {Mar.27} Here's a look at the wonderful partnership between Infiniti and Cirque du Soleil - which is making this Thursday's LIVE event possible. Will you be watching? LINK /// < http://cirk.me/InfinitiJX > {Mar.29} We’re now LIVE at Cirque du Soleil IHQ and we’re about to defy gravity with the new Infiniti JX! Immediately following, participate in an interactive, 45-minute video Q&A. Watch the live webcast below! LINK /// < http://www.youtube.com/watch?v=enZR1jtb-oU > ---[ CORTEO ]--- {Mar.05} Corteo's cast & crew at the Barça trainings this morning LINK /// < http://www.fcbarcelona.com/football/first- team/detail/article/cirque-du-soleil-visit-barca-training > {Mar.07} Check the new WINQ magazine...amazing article about Corteo LINK /// < http://www.winq.nl/click-and-win/5-x-2-kaarten- cirque-du-soleil/ > {Mar.12} Corteo in Time Out Amsterdam Magazine! LINK /// < http://www.facebook.com/pages/Corteo-by-Cirque-du- Soleil/34657386178#!/photo.php?fbid=10150576980966179 &set=a.438715896178.237170.34657386178&type=1&theater > {Mar.16} Yesterday's Big Top Raising in Amsterdam on AT5 TV LINK /// < http://www.at5.nl/artikelen/77752/ tentje-bouwen-voor-cirque-du-soleil > {Mar.20} Corteo in Iamsterdam.com LINK /// < http://www.iamsterdam.com/en/placestogo/cirque-du- soleil---corteo/fd5d4874-1255-4eec-9809-40cb4d033cfe? query=Cirque du soleil > {Mar.23} Corteo in Miss Lipgloss blog LINK /// < http://www.misslipgloss.nl/ cirque-de-soleil-corteo-win/ > {Mar.25} Ruben van der Meer backstage with the Corteo cast in Amsterdam! LINK /// < http://www.facebook.com/pages/Corteo-by-Cirque-du- Soleil/34657386178#!/photo.php?fbid=10150600630271179 &set=a.438715896178.237170.34657386178&type=1&theater > {Mar.27} Corteo pon Bron Magazine LINK /// < http://www.bronmagazine.nl/Item.aspx?II=3886 > {Mar.27} Corteo's premiere in De Telegraaf LINK /// < http://www.telegraaf.nl/prive/11798532/ __Sterren_betoverd_door_Cirque_du_Soleil__.html > {Mar.28} Corteo's premiere in Amsterdam on SBS LINK /// < http://www.shownieuws.tv/video/ nieuwste-show-cirque-du-soleil-in-premiere/ > {Mar.29} Corteo creator Daniele Finzi Pasca in Lost & Found Magazine! LINK /// < http://lostandfoundmag.nl/page/culture/Celebrating- the-Wondrous-Life-of-a-Clown-with-Corteos-Daniele-Finzi-Pasca > ---[ DRALION ]--- {Mar.05} Cristian en vivo en Laredo Texas: LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151378847900195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.06} Rehearsals are currently happening at the Laredo Energy Arena! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151381722205195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.09} Live from the American Bank Center, Kristin Diaz from KIII-TV will be interviewing our head coach and trying trampoline. LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151390766785195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.13} Going live on KTEX 100.3. Tune in! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151404178720195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.13} Facundo with the hosts of Que Pasa 99.5 fm LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151404380975195&set=a.225774950194.283184. 39340140194&type=1&theater {Mar.20} Dralion has arrived in Aggieland! We are currently putting the stage together at The Reed Arena. How many miles of cable you think we need to hang the whole show equipment from the ceiling? LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151429958390195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.21} Will be live at 4 PM on KTBX News 3! Stay tuned! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151433701895195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.24} We have 4 more shows to go only on the grounds of Texas A&M University. Dralion is performing at the Reed Arena until Sunday! LINK /// < http://www.thebatt.com/classifieds/ amanda-orozco-opens-up-1.2824882 > {Mar.28} We are live this morning with Frank Marzullo and our aerial hoop performer on Fox 19 -News Morning Xtra! Dralion opens tonight at the Bank of Kentucky Center! Yay! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151456372530195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.28} Rehearsal time at the Bank of Kentucky Center! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151457010580195&set=a.225774950194.283184. 39340140194&type=1&theater > {Mar.29} Here is a nice interview with one of our aerialists - Shine! LINK /// < http://www.youtube.com/watch?v=0IzsrEyobSY > {Mar.29} Great review from the news.cincinnati.com! Dralion is performing at The Bank of Kentucky Center until Sunday. LINK /// < http://news.cincinnati.com/article/20120329/ ENT07/303290009/Review-Stunts-athleticism-drive-Cirque-show? odyssey=mod|newswell|text|FRONTPAGE|s > {Mar.29} Dralion opens Wednesday, April 4th at the Cleveland State Wolstein Center for 7 shows only! Who's got tickets? LINK /// < http://www.cleveland.com/entertainment/index.ssf/ 2012/03/cirque_du_soleil_brings_high-f.html > ---[ IRIS ]--- {Mar.05} Cirque du Soleil, the world famous circus extravaganza, has given MP3.com an exclusive free MP3 from their brand new show IRIS. IRIS tells the story of the film industry with entertainment spectacles that portray famous moments or eras in the industry's rich history. LINK /// < http://mp3.com/free-mp3/cirque-du-soleil- busters-big-opening/ > {Mar.13} Monday was officially "move back in day" here at the KODAK Theatre in Hollywood! Everyone at IRIS by Cirque du Soleil has a job to do as we prepare for our next performance on March 24th. Here's Jason Han, our Physical Therapist in Performance Medicine bringing equipment back into the training room. We're happy to be home! LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=350936731611340&set=a.173536262684722.34125. 161171830587832&type=1&theater > {Mar.15} In contrast to the 9 other Cirque du Soleil resident productions which have custom permanent sound, lighting, stage and acrobatic fixtures, IRIS by Cirque du Soleil is designed like a touring show, allowing it to fold up and vacate the KODAK Theatre to make way for the Academy Awards every year. Our crew has been busy moving back in daily! LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=352132698158410&set=a.173536262684722.34125. 161171830587832&type=1&theater > {Mar.24} "Season 2" has begun. Congrats to all our fantastic artists, crew and staff. Hope to see you at the Kodak soon. {Mar.29} We were proud to receive the "Entertainment Arts Award" from the Hollywood Arts Council today! Pictured, artists from IRIS by Cirque du Soleil, our Artistic Director, Denise Biggi, and Jazz Vocalist, Tierney Sutton. LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=360541640650849&set=a.173536262684722.34125. 161171830587832&type=1&theater > {Mar.30} Are you or your friends/family in the Los Angeles area? Visit the IRIS by Cirque du Soleil Boutique at Hollywood & Highland for our Spring Sale! For a limited time only, get 50% off of select merchandise! LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=360988043939542&set=a.173536262684722.34125. 161171830587832&type=1&theater > ---[ KOOZA ]--- {Mar.17} Our wonderful colleague Kelly was on Arizona Midday recently to talk about KOOZA coming to Phoenix this Spring! LINK /// < http://www.azcentral.com/video/1508116184001 > ---[ LA NOUBA ]--- {Mar.21} Did you know that 25% of Cirque du Soleil artists with a sport background are specialists of acrobatic gymnastics? Come watch these high level gymnasts perform at the next Acrobatic Gymnastics World Championships presented in Lake Buena Vista in Florida, April 16-22, 2012. To get more details and ticket information: LINK /// < http://cirk.me/GF3jQn > ---[ MJ THE IMMORTAL ]--- {Mar.02} Starting tonight in Miami! LINK /// < http://miami.cbslocal.com/2012/03/02/michael-jackson- the-immortal-world-tour-comes-to-miami/ > {Mar.07} In New York soon ! LINK /// < http://www.ny1.com/content/ny1_living/on_stage/ 157223/on-stage--cirque-s--immortal--a-living- tribute-to-late-pop-king > {Mar.09} A week in North Carolina / Raleigh March 10-11 and Charlotte March 13-14. LINK /// < http://www.newsobserver.com/2012/03/09/1913067/ immortal-aims-to-mimic-michael.html > {Mar.10} Congratulations to the entire family of Michael Jackson THE IMMORTAL World Tour! 100th show tonight in Raleigh, North Carolina !! LINK /// < http://www.facebook.com/mjimmortaltour? sk=wall#!/photo.php?fbid=376232602401608&set= a.277498785608324.71073.163439450347592&type=1&theater > {Mar.16} 2 nights only in Milwaukee, WI! Milwaukee native singer Fred White was on THE MORNING BLEND talking about the show. LINK /// < https://www.facebook.com/ TheMorningBlend?sk=wall&filter=2 > {Mar.29} Listen to KISS FM tonight at 9pm EST / THE IMMORTAL MUSICAL DESIGNER Kevin Antunes will be talking about the show LINK /// < http://www.987kissfm.com/stream/ > {Mar.30} Watch this morning unique performance of Black or White on Good Morning America! LINK /// < http://abcnews.go.com/GMA/video/ cirque-du-soleil-flips-michael-jackson-gma-16039621 > ---[ OVO ]--- {Mar.08} Don't miss the Ants performing the foot-juggling act from "OVO" on The Ellen DeGeneres Show. The show will be aired this Monday March 12. LINK /// < http://ellen.warnerbros.com/2012/03/jason_segel_- _monday_march_12_2012.php#.T1mOspGjf2Q.facebook > {Mar.16} Did you miss the special performance by the cast of OVO - Cirque du Soleil on 'The Ellen DeGeneres Show'? Don't worry! You can watch it right here. LINK /// < http://www.youtube.com/watch?v=pBx-zBQq7UE > {Mar.30} OVO Big Top Raising in Portland LINK /// < http://www.facebook.com/OVOCirque#!/media/set/? set=a.10150696648939614.418219.62744104613&type=1 > ---[ QUIDAM ]--- {Mar.06} Hey DFW & North Texas don't miss Quidam Ringmaster and solo skipper on Good Day Fox 4 just before 9am AND on Good Morning Texas on WFAA around 9:15am LINK /// < http://www.facebook.com/QuidamCirque#!/photo.php? fbid=10150580591807046&set=a.172887642045.134560. 35752277045&type=1&theater > {Mar.09} Amazing backstage photos from rehearsals this week in Frisco LINK /// < http://www.centraltrack.com/ articleCulture.php?id=622 > {Mar.16} Hey San Antonio don't miss Quidam German Wheel performer interviewed LIVE on Great Day SA at the top of the 9am hour. LINK /// < http://www.facebook.com/QuidamCirque#!/photo.php? fbid=10150598361587046&set=a.172887642045.134560. 35752277045&type=1&theater > {Mar.22} Don't miss #quidam Spanish web performer teaching @wciajillian some moves for #wcia3news morning show LINK /// < http://www.facebook.com/QuidamCirque#!/photo.php? fbid=10150609471422046&set=a.172887642045.134560. 35752277045&type=1&theater > {Mar.23} Quidam in the Champaign media LINK /// < http://illinoishomepage.net/fulltext/?nxd_id=352192 > {Mar.30} Quidam in the Roanoke media! Behind the scenes: LINK /// < http://www2.wsls.com/news/2012/mar/28/ behind-scenes-cirque-du-soleil-quidam-roanoke-ar-1801738/ > Interview with Production coordinator: LINK /// < http://nrv.macaronikid.com/article/265871/ behind-the-scenes-with-cirque-du-soleil > German Wheel performer on SUNNY FM: LINK /// < http://www.mysunnyfm.com/player/?station=WSNV- FM&program_name=podcast&program_id= SunnyMorningShow.xml&mid=21946844 > Chris Brislin interview: LINK /// < http://www2.wsls.com/entertainment/2012/mar/28/ behind-scenes-cirque-ar-1801109/ > Natalie and Mei makeup transformation: LINK /// < http://www2.wsls.com/entertainment/2012/mar/28/ behind-scenes-cirque-ar-1801109/ > Kata & Nori: LINK /// < http://www2.wsls.com/entertainment/2012/ mar/28/natalie-gets-quidamed-ar-1801102/ > Show host skipping: LINK /// < http://www2.wsls.com/entertainment/2012/ mar/28/mikes-near-epic-fail-jumping-rope-ar-1801044/ > ---[ SALTIMBANCO ]--- {Mar.10} Le Cirque du Soleil s’est installé pour encore deux jours et quatre représentations, au Zénith de Dijon. Partons à la découverte d’une énorme machinerie. LINK /// < http://www.lejsl.com/loisirs/2012/03/10/ les-coulisses-de-saltimbanco > {Mar.15} Roma - (Ign) - Arriva stasera nella capitale lo spettacolo più longevo della compagnia teatrale internazionale. Oltre 50 artisti provenienti da 20 Paesi esplorano l’esperienza di una città ideale tra prove di equilibrio, salti e velocità (FOTO) LINK /// < http://www.adnkronos.com/IGN/News/Spettacolo/Cirque- du-Soleil-a-Roma-con-Saltimbanco_313086423508.html > ---[ TOTEM ]--- {Mar.07} While our artists are getting ready for tonight's performance by putting on their costumes and applying their make-up, enjoy the interview of our Head of Wardrobe with The Stunning Post in San Jose! LINK /// < http://www.thestunningpost.com/2012/03/cirque-du- soleil-totem-behind-the-scenes-and-review/ > {Mar.15} Our High Bars artist Mark Freeman live in KGO Radio Studios in San Francisco! LINK /// < http://www.facebook.com/TotemCirque#!/photo.php? fbid=374349989252364&set=a.111837202170312.12495. 111798252174207&type=1&theater > {Mar.23} Learn more about the transition gymnastic athletes go through when they join Cirque du Soleil. Comcast Sports Net Bay Area visited TOTEM backstage a few weeks ago and met with our four Green Frogs! LINK /// < http://www.csnbayarea.com/pages/video?PID=hXWM2- nTFX2p8i0aLT_TRXXu5aM2pGV9bYiZiM > {Mar.26} Did you know that the 52 performers of TOTEM come from 18 different countries and speak 11 different languages? Bay Area News For Chinese came backstage to record a Mandarin Interview with our performer Caoliang Wang. Enjoy! LINK /// < http://bit.ly/H6DH1D > {Mar.31} Take an artistic peak at the backstage atmosphere of TOTEM! LINK /// < http://www.facebook.com/TotemCirque#!/media/set/? set=a.385206574833372.95641.111798252174207&type=1 > ---[ VIVA ELVIS ]--- {Mar.02} Check out the costumes from Viva ELVIS that will be on display at Graceland for the "ICON: The Influence of Elvis Presley" Exhibit, which will be open March 1, 2012 through February 2013. LINK /// < http://www.facebook.com/vivaelvis? sk=wall#!/photo.php?fbid=10150573617624109&set= a.167799494108.119733.167136344108&type=1&theater > {Mar.08} Check out our new billboard at Graceland! LINK /// < http://www.facebook.com/vivaelvis? sk=wall#!/photo.php?fbid=10150584264434109&set= a.167799494108.119733.167136344108&type=1&theater > {Mar.09} Have you revealed our new visual yet? You can do so by selecting your favorite track here: LINK /// < http://cirk.me/ylzJUN > ---[ ZARKANA ]--- {Mar.08} A video look from Cirque du Soleil President Daniel Lamarre at the moving of Zarkana to ARIA Resort & Casino in Las Vegas: LINK /// < http://www.facebook.com/ZarkanaCirque? sk=wall#!/photo.php?v=10101366758207479&set= vb.139797212738843&type=2&theater > {Mar.20} Zarkana by Cirque du Soleil added 3 new photos to the album Zarkana at a Russian Orphanage. LINK /// < http://www.facebook.com/ZarkanaCirque? sk=wall#!/photo.php?fbid=344720622246500&set= a.344719718913257.89018.139797212738843&type=1&theater > {Mar.23} Zarkana by Cirque du Soleil added 7 new photos to the album Russian Vogue. LINK /// < http://www.facebook.com/media/set/? set=a.346595812058981.89476.139797212738843&type=1 > {Mar.28} On March 7 in Moscow, Zarkana welcomed its 1 Millionth spectator! Elena Plaksina, was the lucky guest who became an owner of the LIFETIME ticket opening doors to each and every touring show that Cirque du Soleil will bring to Russia. ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= o) DIDYAKNOW - Facts at a Glance about Cirque o) HISTORIA - Cirque du Soleil History --------------------------------- DIDYAKNOW? - Facts About Cirque --------------------------------- In celebration of Saltimbanco's 20th Anniversary this month, all the facts in DidYaKnow pertain to... SALTIMBANCO! o) The word "saltimbanque" (travelling performer) first appeared in the 17th century. o) Didyaknow Saltimbanco marked the first time voices supplemented the music? It was called "saltimbanco Language" then and was created using phonetic sounds drawn from English, French, Swedish, Italian and many other linguistic sources. Today we know it as "Cirqueish". o) Did you know that Seattle and Portland were not originally on the Saltimbanco Asia Pacific tour? Cirque originally planned to have the show go from Hong Kong directly to Tokyo; however, negotiations for a site had not been finalized. And, since Cirque would ship the tour through the Northwestern United States, a decision was made to stop there! o) Did you know that the March 5, 2004 showing of Saltimbanco in Lyon, France would mark Cirque du Soleil's first return to French soil in 14 years? Cirque du Soleil last visited France in 1990 with Le Cirque Reinvente, which was performed in Paris from October 2nd through December 30th. o) For Saltimbanco, Lemieux began drawing the costumes in March of 1991, with only the agreed upon principal theme, Urbanity, to go on. Only three of the designer's original 100 sketches actually became costumes because individual performers are not selected until later in the design process. o) Most of the Saltimbanco costumes are made of spandex but some of them incorporate silk and cotton fabrics. o) Lemieux designed masks that were created from Pododiflex, a plastic used in the medical field. The material becomes very flexible in hot water and shapes easily; when placed in cold water, it then becomes very hard. Once shaped, the masks are dipped in latex to make them smooth and then are painted o) Most artists have three to five costumes each which can include up to 12 individual pieces. There are more than 80 different kinds of buttons that are used to maintain the costumes on-tour. o) Didyaknow there are over 3,000 costume items travel from city to city in more than 50 road cases? Despite that the entire costume department can be packed and ready to go in less than one hour. Four wardrobe employees travel full time with the tour and two or three people are hired locally in each city. o) There are more than 250 pairs of custom-made shoes. Shoes for the Chinese pole act are repainted before each performance. o) All artists apply their own show make-up. They are given a book that contains a detailed step-by-step procedure along with pictures to help them complete their make-up. It takes approximately 90 minutes for each artist to apply their make-up. o) Didyaknow that 60 liters of paint were used to cover the show’s colorful stage? The stage is 34 metres long (110 feet) by 20 metres wide (65 feet). o) Didyaknow there is more than 183 metres (600 feet) of trussing to hold the acrobatic grid, the rigging and all the lighting elements above the stage? The aerial acrobatic grid is 9 metres long (30 feet) and is suspended 14 metres (45 feet) above the stage. Its main purpose is to hold the trapeze and bungee rigs. o) The poles that are used in the Chinese pole act are 7.3 metres long (24 feet). o) Didyaknow the technical team is made up to 20 specialty technicians and 12 truck drivers? The equipment on tour totals 180 tons (360,000 pounds) and approximately 140 people are hired locally in each city to set up and load out the show from the arena. o) Didyaknow that 60 liters of paint were used to cover the show’s colorful stage? The stage is 34 metres long (110 feet) by 20 metres wide (65 feet). o) Didyaknow the bell that opens the Saltimbanco show weighs 100 kilos? ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ Apr.01.2003 -- "Varekai: Cirque du Soleil" Book Published Apr.01.2011 -- Dralion celebrated 4000th Performance [Des Moines] Apr.02.2002 -- Name of "Cirque 2002" Announced - Varekai Apr.02.2003 -- BRAVO announced Cirque Variety Series ("Solstrom") Apr.04.2006 -- M.A.C. became Official Cosmetic Supplier Apr.04.2006 -- Cirque inked 3-year TV deal in UK Apr.05.2005 -- Name of "Cirque 2005" Announced - "Corteo" Apr.06.2006 -- «O» selected "Favorite Production Show" by "What’s On, The Las Vegas Guide" Apr.06.2006 -- Cirque outsourced IT Department to CGI Group Apr.07.2009 -- Name of "Cirque2009" Announced - "OVO" Apr.08.2010 -- Name of "Cirque2010" Announced - "TOTEM" Apr.10.2007 -- Cirque announced Saltimbanco Arena Tour Apr.11.2007 -- Name of "Cirque 2007" Announced - "Koozå" Apr.12.2011 -- New Visual for Dralion unveiled Apr.13.2010 -- OVO CD hits iTunes Apr.13.2011 -- New Visual for ZED unveiled Apr.14.2011 -- New Visual for IRIS unveiled. Apr.15.2008 -- APM Music Launches New Film Trailer Library with CDS Apr.16.2003 -- SOLSTROM began filming in Montréal Apr.17.2008 -- Name of "Cirque Luxor" Announced - "Criss Angel: BELIEVE" Apr.18.2006 -- Ground is broken on Tokyo Permanent Production Apr.18.2009 -- «O» celebrated 5,000th Performance [7:30pm] Apr.19.2006 -- Cirque announced "LOVE" at The Mirage Apr.19.2007 -- Koozå Premired in Montréal Apr.19.2012 -- Amaluna Premiered in Montréal Apr.20.2008 -- DELIRIUM’s final curtain call [London, UK] Apr.20.2010 -- Cirque announces "Michael Jackson" Partnership Apr.20.2011 -- Cirque announced Residency at Mandalay Bay, Las Vegas (for MJ Resident Show) Apr.21.1994 -- Alegría premiered in Montréal Apr.21.2005 -- Corteo premiered in Montréal Apr.22.1999 -- Dralion premiered in Montréal Apr.22.2003 -- Cirque announced "Zumanity" at NY-NY Apr.23.1992 -- Saltimbanco Premiered in Montréal Apr.23.1996 -- Quidam premiered in Montréal Apr.23.2005 -- La Nouba celebrated 3000th performance [9:00pm] Apr.23.2009 -- OVO premiered in Montréal Apr.24.2002 -- Varekai premiered in Montréal Apr.24.2007 -- Name of "WinterTale" Released - Wintuk Apr.24.2009 -- After 15 years, Alegría’s Big Top Tour Ends Apr.26.2008 -- "Artisans de I'maginarie" is staged in Tokyo Apr.27.2000 -- Mystère celebrated 3000th Performance [10:30pm] Apr.27.2010 -- OVO CD hits Stores Apr.28.2010 -- Criss Angel Named "Magician of the Century" by International Magicians Society Apr.29.2009 -- Cirque announces new shows in NYC Apr.29.2010 -- Banana Shpeel Began Previews at Beacon Theater Apr.30.1999 -- Alegría: Le Film premiered in Québec Apr.30.2003 -- Alegría celebrated 3000th Performance [8:00pm/Austin] ======================================================================= FASCINATION! FEATURES ======================================================================= o) "Saltimbanco Review, 1992" Special Reprint from Variety o) "Saltimbanco: On 20 Years" By: Ricky Russo - Atlanta, Georgia (USA) o) "Cirque's Dreams of the Past: A What If? Part 2: Cirque du Media" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- "Saltimbanco Review, 1992" Special Reprint from Variety ---------------------------------------------------------- Spooky masked, long-snouted clowns who look as if they might have arrived from outtakes of "Brazil" weave through the audience creating hilarity as a blue Alice-in-Wonderland cat-like mime prances on a shrouded white stage. The shroud is sucked through a hole in the sky as a rock band, beneath a stained-glass-like green canopy, launches into a pulsating song, and a caped, snake-haired master of ceremonies enters. So begins Cirque du Soleil's fifth anniversary show, "Saltimbanco," which means "skilled street performers and travelling acrobats." The evening proves that success has not spoiled the artful, enchanting and lyrical troupe. Once again the Canadian-based company demonstrates they operate with different rules of gravity and musculature while melding circus with dance, music and theater. If one has never been to Cirque du Soleil, be prepared to redefine the meaning of "circus." Without animal acts or three rings, and based solely on human exuberance and physicality, the performers enthrall with one act after another, seamlessly joined by stage hands whose costumes, choreography and clown antics are events in themselves. Each act is a madeleine to be cherished and remembered as a beautiful sight that passes all too soon. The show has a different flavor than last year's "Nouvelle Experience," whose fog, lighting and acoustic music had more of a timeless feel. "Saltimbanco" gives a harder edge with its electronic music and performers who appear anonymous and unisexed behind masks, white-face and leotards that swallow them from head to foot. The show is different, but the lyricism and sense of wonder remain. In this year of questions of what is family, three acts in particular answer in a kind of visual poetry. In the opening act, Nikolai Tchelnokov, his wife Galina Karableva and their six-year-old son, Anton, perform contortion acrobatic marvels that join them like rose petals to a stem. One senses their constant physical connection speaks of love and interdependence. Later on, the heavily muscled brothers Marco and Paulo Lorador execute a series of hand-to-hand balancing and gymnastic movements that combine grace with strenuous tests of endurance. The trust one has for the other permeates the performance. Before them, 17-year-old twin sisters Karyne and Sarah Steben perform 50 feet up on a single trapeze like synchronized swimmers of the air. As in past shows, most of the routines offer such a simple setting that less is more. Fifteen gymnasts take to four 20-foot poles- "Chinese poles" based on the traditional Chinese circus--and appear as if they're made up of steel wire and feathers. A juggler, Miguel Herrera, performs on an acrylic set of stairs. Jingmin Wang walks up a guy wire to a set of uneven tightropes where she dances, jumps, even flips from a unicycle onto her feet. Two lithe young women, Ann Bernard and Helene Lemay, in flame-colored suits, perform a Spanish flamenco using Argentine "boleadoras"--hard balls on a string that hit the floor--to dance to the accompaniment of percussionist Francois Beausoleil. The funniest act on opening night was when clown Rene Bazinet, performing mime with self-produced sound effects, ensnared a denim- dressed man from the audience to join him. The man warmed to the clown's wordless mime lessons, and they enacted eating bananas, slipping on the peels, and, in inspired shenanigans , a shootout at high noon. The evening ends in a bungee ballet, with four aerial acrobats who, connected to bungee cords and working off of trapezes 50 feet up, fly over and under each other and eventually connect like parachutists in a display. With them flies the voice of singer Francine Poitras, in operatic splendor. Poitras lends her vocal talents at several points throughout the show. The highly creative set by Michel Crete unifies all the other elements and allows the performers and stage hands to slip into a backlit horizon. The light design and special effects by Luc Lafortune and the sound design by Jonathan Deans maintain the high standard of previous Cirque du Soleil shows--to the point it can spoil other circuses. Costume designer Dominique Lemieux seems to have an unstoppable and vibrant imagination that combines commedia dell'arte clowns with sprites of various sorts to create swirling spirits of color. Rene Dupere's score carries the show and one's emotions to the heights. ---------------------------------------------------------- "Saltimbanco: On 20 Years" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- "Do not be fooled. I am neither spirit nor magic spell, neither man nor woman. Without hearth or home, I am neither a god nor a demon, nor a song, nor a tale. I am no one, but many faces are legion. Unmask me... if you dare!" Imagine. It’s the evening of April 23, 1992, and you’re seated on a bleacher under an expanded Grand Chapiteau, staked on the quays of the Vieux Port de Montreal, and preparing to witness Cirque du Soleil’s Saltimbanco perform for the public for the very first time. You have your popcorn. You have your soda. And you have your programme book, a thick booklet filled with information on the show you are about to witness. You’ve just read the above passage and wonder... what are we about to see? Who or what was Saltimbanco? Although Cirque wouldn’t know it at the time - couldn’t know it, really - Saltimbanco would change the course of the company’s history forever. Though Cirque found success with Le Cirque Réinventé (1987- 1990) and compounded that success with Nouvelle Expérience (1990- 1993), it would be Saltimbanco’s colorful explosion of artistry, depth and emotion that would catapult Cirque du Soleil into the realm of avant-garde masters, where it would remain for decades to come. It doesn’t seem that long ago that we were celebrating Cirque du Soleil’s 20th anniversary, and yet this month marks an auspicious milestone for one of the company’s most treasured shows: the 20th anniversary of Saltimbanco. Can you believe it? Developed under the direction and vision of Franco Dragone, and polished with the assistance of a coven of creative thinkers, Saltimbanco is considered one of the first Cirque du Soleil productions to focus entirely on a specific set of themes and ideas, presented to the audience without bias or without explanation; a method that would become the signature of Cirque du Soleil for years to come: "the vague intuition". In celebration of Saltimbanco reaching this amazing milestone, Fascination couldn’t resist the opportunity to reflect on the show’s epic twenty-year journey. /// THE ORIGINAL VISION "In the city there are men, women and children. In the city there are those who have much and those who have nothing; those who get by, unnoticed, and those who disturb. In the city there are those who have eyes but can't see; ears but can't hear. In the city there are those who are not accounted for and the heroes of the daily struggle. In the city there is wildlife, from the beggar to the painter and the street entertainer that brings enchantment to our world on the road to disenchantment. And, in the city, there is Saltimbanco." When Saltimbanco was created in 1991 it was estimated that 60% of the world population would live in cities by 2020. This idea - "urbanism" -is the premise on which the show is based. Cities are public places, networks of inter-relationships, but they are also networks of paradoxes. And these paradoxes are precisely what the shows characters, acts and costumes evoke in order to restore the human dimension to the city. Given the multi-cultural and rootless cosmopolitan nature of Cirque du Soleil, it's not surprising that the creative team chose to examine the potential of increasing urbanization. "The visions of urbanity that were around at the time were all variations on future dystopias, with echoes of the cold war, visions of the - planet in danger," said Michel Crête, Saltimbanco’s set designer. "There weren't many reasons given for hope in a better tomorrow." But Cirque du Soleil wanted Saltimbanco to be a show about the future of the city in a more positive light. "We said: You’ve got to believe that you’re going to live in a better future and that you can be part of that future," said Gilles Ste. Croix. "You’ve got to have hope." From these ideas Saltimbanco began to take shape, and Franco Dragone, the show’s Director, looked upon his own very positive experiences of what modern cosmopolitan life could be like. "Cirque was becoming more and more international," he remembered. "And we all had to learn to speak one another's languages: French, English, Russian, and Italian... all coming together to create something unique and beautiful. The show reflects that experience. The costumes, sets and lighting are all in primary colors. Taken alone, they would be flat. But they work together to reveal many shadings." Even the music took on this form. "The idea that I had was this," composer René Dupéré recalls. "What would it sound like if I rode from one end of the city to another with the car window rolled down? I would hear everything from Jamaican to Classical music." Therefore, urban life meant the democratization of music, that everything is available. Dominique Lemieux, who designed the costumes for the show, thought Saltimbanco was all about humanity and individuals coming together. "Naked Man, Social Man, the seven deadly sins... it’s a baroque experience." From Franco Dragone's point of view, Saltimbanco was "baroque" in the sense described by a twentieth-century Italian poet named Giuseppe Ungaretti. "To Ungaretti," says Dragone, "'baroque' meant a desire to confront the Void, and to fill it so much that you feel life will never end. I wanted to fill the stage because I was afraid of the Void, of the Nothingness." /// I AM ONE, I AM MANY... Saltimbanco, from the Italian "saltare in banco", which according to the French historian Etienne Pasquier (1529-1615) is an Italian word that, when studied from a French perspective, literally means "to jump on a bench" - the bench being a slightly elevated platform or, in other words, the stage - explores the urban experience in all its myriad forms: the people who live there, their idiosyncrasies and likenesses, families and groups, the hustle and bustle of the street and the towering heights of skyscrapers. Between whirlwind and lull, prowess and poetry, Saltimbanco takes spectators on an allegorical and acrobatic journey into the heart of the city. Decidedly baroque in its visual vocabulary, the show's eclectic cast of characters draws spectators into a fanciful, dreamlike world, an imaginary city where diversity is a cause for hope. The cosmopolitan and allegorical characters of Saltimbanco - the very framework of the show - epitomize the diversity of groups that make up the city. At first glance they seem identical, but a closer look reveals their uniqueness and their individual identity. With them you travel to an imaginary city overflowing with hope and optimism. These are the Worms, at the very base of society. All similar in appearance yet different one from the other, they must with time adapt themselves to their environment. Thus, as the show evolves, they embody various types of social characters, hoping to one day accede to the rank of Baroque, a cast of visionaries. There are two classes of Worms within the framework of Saltimbanco, those referred to as the Urban Worms (the Vers Masqués), the faceless masses, those who follow the status quo, never to risk, to express, to gain; and the Multicolored Worms (Vers Multicolores), the simplest of all, who follow their most primal urges and concern themselves only with survival. The Baroques constitute the most important family in the world of Saltimbanco. The Baroques sleep under bridges and emerge to celebrate life. Defiant, rebellious, explosive, they are enlightened beings whose free spirits run wild. Armed with a deeply perceptive vision of the world, the Baroques, throughout the fable, reveal the countless contradictions of our civilization where imagination has not yet taken power and reflect upon the extreme personalities of urban dwelling - both in their beauty and wretchedness. As the show begins we are introduced to the other inhabitants of this urban world: The Baron - Our ageless, timeless guide who recounts fascinating tales of the past (Juzoom, joozoom!). An imposing figure in his black and white striped cape, long red gloves and top hat perched on a pile of serpentine hair he beckons us with his gravelly voice. What secrets lie beyond the Baron’s sardonic grin? Before we can find out he has us locked in his hypnotic gaze! The Baron thinks he has power but really has no authority. And when he tears off his cape to reveal another side of his character - an erotic satyr on the prowl - he becomes the king of fools. The Sleeper/Dreamer - A playful, enigmatic character who falls asleep the moment he appears. Has he conjured Saltimbanco from the depths of his imagination, or is he dreaming within the show? The Dreamer lives between reality and illusion. He is like a clown, satirizing and poking fun at the world around him. Dressed in a striped blue costume and with his long curly tail, the Dreamer is always ready for a nap. But since he is responsible for looking after The Child, he rarely gets the chance to doze off completely. The Ringmaster - A showman in his yellow jumpsuit with his fanciful green vest and cape, he likes to proudly strut around the world. The Ringmaster likes to be the centre of attention and often steals the show. With his winning smile and natural charm, he usually gets away with it. The Ringmaster likes to believe he has great powers and he carries a scepter to prove it. La Belle - The singer, she reflects all human emotion. She is the ever-present town crier who expresses the soul of Saltimbanco. Her language is universal and her song reflects the atmosphere around her. Her vocals are emotions - serenity and excitement, hope and joy, disappointment and melancholy. The Cavaliers - The gentile protectors; they are calm and serene but could strike with great force if they needed to defend themselves or someone more vulnerable. The Cavaliers are elegantly dressed with the tips of their tall black and white hats pointing towards the future. With their lanterns they light our path through the world of Saltimbanco. The Child - Within the embrace of his parents the child is safe. But the child must discover his own identity and explore the world beyond his parents' influence. (He is introduced during the Adagio Trio number at the beginning of the show). Throughout the show, the child transforms into a series of different characters exploring its identity and the world beyond parental influence, such as: Eddie (in his distinctive red cap, black bow tie, striped shorts and suspenders, Eddie finds adventure in his own imagination. Whatever he needs, he invents.); and Death (an ominous reminder of our own mortality, he challenges us to celebrate life, to experience the present as though we were taking our last breath.) Therefore, Saltimbanco is not linear; rather, it is a kaleidoscope, an adventure in which anything can happen, expressed through its own language, a soul of voice, body and music in nine acrobatic acts and interludes: Adagio Trio, Chinese Poles, Double Wire, Juggling, Boledoras, Russian Swing, Vertical Rope, Duo/Solo Trapeze, Hand-to- Hand, and Bungees. /// SOARING, TEETERING, SLITHERING... As with any Cirque du Soleil show, changes abound from the very moment it premieres and last until the final curtain has been called. Saltimbanco was and is no different. By the end of the first tour’s run, a two-year fourteen city tour across North America (1992-1993), the show retained much of its original acrobatic line-up, but a few of the artist’s costumes had evolved. The most dramatic of these were reflected in the Bungee and Hand-to- Hand costumes: during the first year, the Bungee artists sported multi-colored outfits - one red, one green, one yellow, and one blue - rather than the sweeping white angelic creations seen by the time the show was filmed (in Atlanta, at the end of the North American Tour). And the Lorador Brothers (known professionally as the Alexis Brothers) wore distinctly white outfits rather than the leathery ensembles we came to know (and love) by tours end. But perhaps the most dramatic changes to Saltimbanco came after the show left North America for Europe (1995-1997) by way of Japan (1994): two of Saltimbanco’s original acrobatic acts were replaced. The first, the Boledoras Flamenco dancers, didn’t make the jump across the pond; they were replaced with an energetic Contortion act featuring four of the Cirque’s signature contortionists, the very same team from Nouvelle Expérience: Jinny Jacinto, Isabelle Chasé, Laurence Racine and Nadine Birnette. With new costumes, new choreography and rockin’ new music, the Contortionists closed out the first half of Saltimbanco with a bang. The second number missing from the European Tour was the Vertical Rope, which is as it sounds: an act performed on a single vertical rope. Similar to Spanish Webs that would later appear in 1996’s Quidam, this act featured a performance by Nicolai Tchelnokov, Galina Karableva, and Nicolai’s son Anton (who most know moved on to perform "Aerial Net" in 2002’s Varekai) in which contortion-like moves, spins and other feats were performed. It is unclear why the Vertical Rope act was removed from the show; however, it might have been simply for time or because of the addition of a Solo Trapeze performance, added because the creators wanted to ensure at least one trapeze act per performance due to the strenuous physical demands of the discipline. Saltimbanco would go on to stop at eleven different European cities (two of them twice) for a total of thirteen stops - Amsterdam, Munich, Berlin, Dusseldorf, Vienna, London, Hamburg, Amsterdam, Stuttgart, Angers, Zurich, and Frankfort before giving what was advertised as its final bow, on February 1, 1997. The night came, the show went on, and Saltimbanco walked quietly into the shadows. Or so the world thought... With the success Cirque du Soleil found opening up the European market with Saltimbanco, and later with Alegría, by late 1998 the company decided to re-stage Saltimbanco under the Grand Chapiteau and experiment with opening up other brand-new territories: the Asia- Pacific region, namely Australia, Singapore and Hong Kong. With the re-staging came some changes. The Lorador brothers had already been integrated into Mystère (which had also gone through some changes to help stage 1996’s Quidam - Fascination will re-explore this topic at a later date), therefore, the duo of Daniel and Jacek Gutszmit from Poland were thrust in the spotlight (though others went on to continue the tradition of this fine, strength-filled act as the tour continued); however, the contortion act did not survive the show’s restaging. In its place, for a time (1998-2001) was a Manipulation number performed by three women "swathed in richly colored velvet come to provoke our senses. At times, the three women move the wind, while the movement of the spheres and their perfect shapes bring subtle visions of the planets and infinity. And breathe as one, only to disperse, each flaunting her individuality. With the utmost dexterity, the women manipulate silk ribbons and perfect spheres in alternation. The complex and supple patterns created by the silk emphasize the women’s sensuality and evoke in us sensations of the wind, while the movement of the spheres and their perfect shapes bring subtle visions of the planets and infinity." There was also a solo Diabolo number (from 2002-2005). With costumes updated, new acrobatic acts in place, and the music refreshed, Cirque du Soleil opened the new Saltimbanco for previews in Ottawa, Ontario on October 19, 1998 - and the crowds went wild. Over the next eight years, Saltimbanco would travel to an amazing forty-four (44) cities, fourteen (14) on an Asia-Pacific Tour (1999- 2001; visiting Australia, Japan, Hong Kong, Singapore, and the Pacific Coastal Region of North America), twenty-two (22) on its Second European Tour (2002-2005; visiting cities in the Netherlands, Spain, Austria, Belgium, the United Kingdom, Switzerland, France, Italy, and Germany) and eight (8) on Cirque’s first-ever Latin America Tour (2005-2006; visiting Mexico, Chile, and Brazil) to rousing successes. But then, on November 22, 2005, Michael Bolingbroke, Senior Vice- President Shows, made the following announcement, shocking the Cirque du Soleil community: Hello everyone, Announcing Saltimbanco’s retirement is not an easy thing to do. This Sunday we told the tour that the final performance of Cirque’s oldest show sill running, one that began life in Montreal in the spring of 1992, will take place in Brazil in December 2006. Please allow me to share with you the reasons why we concluded that it was time for Saltimbanco to say goodbye after 15 years. Our decision to retire Saltimbanco has nothing to do with its artistic merit. Long considered to be Cirque’s ideal ambassador to new markets, it once again proved worthy of that reputation last spring when it wowed over 200,000 spectators in Paris. Instead, our choice was first and foremost a business decision related to market development. Our research and field experience have shown that up to six touring shows can currently be presented at the same time before our markets are saturated. By retiring in December 2006, Saltimbanco leaves the way free for Cirque 2007. The reason why we are announcing Saltimbanco’s retirement over a year in advance is to ensure that we can properly plan for the redeployment of the maximum number of people possible working on or for the tour. A redeployment procedure has been developed to coordinate activities throughout Cirque, and a committee is already working on reassigning the talent and expertise currently serving Saltimbanco to our other projects and shows. Curiously, this is not the first time that Saltimbanco’s retirement has been announced. In February 1997, we marked the occasion of its last ever performance in London, at Royal Albert Hall... at least until it headed off again the next year for Australia, with a stopover in Ottawa along the way. That fact, however, should not lead anyone to believe that Saltimbanco is likely to start touring again after 2006. But it is certain to shine in the hearts of millions of delighted spectators forever. Saltimbanco is a celebration of life. Conceived as an antidote to violence and despair, its message is just as relevant now as it ever was. We will miss it, and we will be sure to bid the show a proper goodbye when it leaves us for good at the end of 2006. For the time being, it will continue to work its magic in South America and do what it has always done best for nearly 15 years: introducing new fans to the world of Cirque du Soleil. Bravo, Saltimbanco! On Sunday, December 3, 2006, an end to a fantastic era came; Saltimbanco had its final curtain call in Rio de Janeiro, Brazil. During its 14-year run under the big top, Saltimbanco played to an audience of 9.5 million, for a total of more than 4,000 performances in some 75 cities on five continents. /// I AM AS WE ARE - ETERNAL, OUT OF TIME? That should have been the end of Saltimbanco’s amazing story. Cirque du Soleil made it abundantly clear in their announcement that closing the show would help pave the way for 2007’s Koozå tour (it would place Saltimbanco’s Grand Chapiteau in play), not to mention help fuel Cirque’s other entertainment interests (by this time The Beatles LOVE had premiered, and ZED, ZAIA, and Criss Angel BELIEVE were in active development), but amidst the plethora of new and interesting endeavors for Cirque there was a change of heart. Thanks in large part to DELIRIUM (Cirque du Soleil’s "In Concert" experiment, which began touring arenas throughout North America in January 2006), it seemed a great opportunity to extend Saltimbanco’s run was on the horizon. And on August 11, 2006, Michael Bolingbroke, then SVP of Shows, brought news of Saltimbanco’s future that would once again shock the community: Today, Cirque has a unique opportunity to pursue Saltimbanco’s amazing adventure. As some of you will remember, we have already announced the retirement of the oldest of Cirque’s shows twice, notably in 1997 and most recently in last November. Well, history seems bound to repeat itself. With a third life opening up for the show, it appears that Saltimbanco is not yet ready to bid audiences a final adieu! In order to let Saltimbanco continue to open up new markets, we are preparing an arena tour. Presenting shows in arenas will give Cirque a presence in places where our usual big top performances are impracticable, in North America to begin with and then in Europe. The tour is slated to visit arenas in over 50 North American cities, introducing thousands of new spectators to the world of Cirque du Soleil. On August 8, we presented the conditions specific to this type of tour to troupe members in São Paulo. We hope to be able to confirm the entire team’s participation in the new tour by September 10. We will then be in a position to decide on a premiere date. Arena shows offer significant potential for Cirque. We can now set our sights on extending the life expectancy of our productions and offering artists brand new venues where they can showcase their skills. Mr. Bolingbroke ended his announcement with, "we will keep you informed of any developments" and although it would be a few more weeks before any news regarding Saltimbanco’s future would be heard, he was true to his word. On December 22, 2006 the word was finally given: Our classic show Saltimbanco now has a unique opportunity to continue its marvelous adventure, reaching into markets hitherto unexplored by Cirque. The go-ahead has been given! Saltimbanco will have a third life, beginning an arena tour in the summer of 2007. The show’s new version - lasting 90 minutes excluding the interval - will open in London, Ontario, on July 31st, and will go on to visit arenas in over 40 cities in North America. These are cities that are unable to host our traditional big top shows. On its way, Saltimbanco will exceptionally be visiting Ottawa, Montreal, Quebec City and Toronto, where it will be staged in arenas by way of a farewell tour. This format of show also gives us possibilities to perform in countries where we have not been able to go thus far, in particular, countries in South America and Asia. "I am very happy to confirm that new spectators will get a chance to discover this magical, colorful and adventure-filled universe," said Aldo Giampaolo, Saltimbanco’s new Executive Producer. "We have here a fabulous opportunity to keep alive a show that has been a huge success since it started. Saltimbanco really is a hymn to life," Michael Bolingbroke added. For 24 months, visiting each city for [the] duration of one week, the 45 artists and 35 employees will bring the world of Saltimbanco, [our] urban universe brimming over with joy and optimism, to arenas seating between 4,000 and 5,000 spectators. And the adventure of Saltimbanco would live on! The remount gathered speed day by day from the moment the green light was given - the adventure of Saltimbanco would live on! But there was plenty of work to be done for the heads of Sound, Carpentry, Rigging and Lighting before the tour ever saw its first city. The greatest challenge for the production crew had to do with setting up and tearing down the set. For a show under the big top, these operations usually take nine days (for setup) and two and a half days (for tear-down). But for the Saltimbanco arena show, setup has to be done in nine hours and tear-down in only two hours! But they weren’t the only issues to solve: o) Sound: They needed to replicate the surround sound effects heard in the big top in an arena setting. This required a completely new sound system and the sounds to be redesigned. o) Lighting: In the big top, there were 241 individual light fixtures. Cirque needed to simplify this for the arena setup. A first draft dictated a need for around 80 moving lights in order to replicate the same lighting effects seen under the Grand Chapiteau. And without tent masts those lights had to be hung in the arena off grids in the ceiling. o) Carpentry & Rigging: The entire stage, the rostrum and the acrobatic grid had to be completely rebuilt, not to mention coming up with new rigging techniques to span over 44 different venues - all in three months! Besides making the stage and other set pieces easier to setup and tear down, they also needed to be lighter (to solve that Cirque re-made the stage out of aluminum instead of steel, which is much lighter), height also had to be taken into consideration and it all came down to seven inches. How much difference does seven inches make? Cirque explains: It’s not even a foot, but seven inches can make a big difference when you are talking about stage height in an arena! At Cirque, our stages in the big top are traditionally set at around 31 inches high, with adjustments made to accommodate for uneven sites. But in the big tops, our bleachers are angled so that everyone can clearly see the performance. When we are performing in arenas we seat a lot of people on the floor (what is normally the ice surface). These seats will be flat so we need to raise the stage so that everyone can see. When deciding how high to raise our stage, we are able to get a better idea of the spectators perspective by using 3D imaging to simulate the spectator’s view according to different stage heights. This can save us a lot of time before we begin construction. Saltimbanco began its third life on July 31, 2007, which so far has taken it all across North America, Europe, Australia, Russia, the Baltics and even China and Africa. As a pioneer of the Arena model (as of this writing Alegría, Quidam and Dralion have followed Saltimbanco into this touring format), the show continues to break records wherever it goes: o) September 14, 2007, the show celebrated its 10 millionth spectator (Syracuse, New York) - a first for Cirque du Soleil. o) November 29, 2007, the show celebrated both its 100th arena performance and its 4,500th overall performance in Colorado Springs, Colorado. o) June 28, 2009, the show celebrated its 5,000th performance in Tampa, Florida. But the conversion isn’t without its detractors. Arenas tend to be massive spaces filled with cavernous voids that a small stage and set could hardly begin to fill; therefore, much of the intimacy found under the Grand Chapiteau is lost. Seating and its arrangement continue to be a problem. Because the stage is elevated for the benefit of those seated on the floor (in folding chairs no less), unless you’re in the front row or on the of the isle ends, sightlines are virtually non-existent. (Would a small set of bleachers on the "floor" be such a bad suggestion?) And with the placement of seats far away from the stage (for those seated throughout the arena’s built-in seating), spectators as a result become removed from the action, making the performance seem distant and small. But these limitations can be overcome and the show enjoyed just as much now as it was then. /// I AM LEGION If Alegría is Cirque's signature show - the one that pulled together all of the various elements into one seamless, fantastic production - then Saltimbanco is the progenitor of what would become the essence of the modern Cirque du Soleil. By taking a giant leap from the literal- mindedness of Le Cirque Réinventé, and to some extent Nouvelle Expérience, it laid the groundwork for the true exploration of what these shows had already begun. It is much less literal than any of the shows that came before it, relying more on thematic structure and image than on a strict set of rules. To look at Saltimbanco, coming where it does in the evolution of Cirque's history, is to see the basis of what came after it. In our opinion, with Saltimbanco, the productions became less about pretty pictures that tied the acts together, and more about a total experience, in which the circus acts became an integral part. In other words, it became one complete theatrical experience. The acts come out of an impulse in the story-line; they blend together in one seamless totality of fantasy. The characters, then - the Worms, the Baroques, the Baron - become not just plot devices or wonderful costume pieces that add to the visual excitement, but archetypes of personality and emotions. The Baroques are vividly different from the Worms, and the nature of their performance (most pointedly in the Russian Swing) is vastly different (compared to the Worms on the Chinese Poles). The music of the show is expertly integrated to underlie the thematic structure. Indeed, the signature song of the show - Kumbalawé - is one of the lightest, most lyrical pieces in Cirque's repertoire. Think of it in comparison to the bright colors, the high energy of the set and the design, and it is a simple, almost child-like tune, reminiscent of innocence and joy. Though the show has lost a little something in its conversion from Grand Chapiteau to Arena (the inclusion of "Artistic Bicycle" and "Hand-balancing on Canes" in place of "Double Wire") there is no denying its rightful place in the pantheon of amazing Cirque du Soleil spectacles. Which begs the question: how much longer will Saltimbanco cheat Death and remain with us? Only Cirque du Soleil knows for sure. Rumors have recently surfaced, though they are largely unsubstantiated, that Saltimbanco will have its absolute final performance next year (2013) in Montréal. And if that’s so we can only hope that Cirque will see fit to re-stage the show in the Grand Chapiteau one last time. It’s only fitting. * * * Spirit and body, shadow and light, between earth and sky I tumble, spinning arabesques, kaleidoscope fantasy. I am noble and rogue, mortal and sorcerer, fire and water, power and grace. Sublime and grotesque, somber and afire, I entrance, mesmerize, fusing madness and wisdom, primordial chaos. ~~ I am celestial, and eerie, playful and mischievous, subtle and striking, magnificent, androgynous. Soaring, teetering, slithering, I am fluid, poetic, hypnotic. Dancing, whirling, flying, I am rebellious, defiant, and explosive. ~~ I am one, I am many, I am as we are - eternal, out of time. I am science and magic, chimeric, ethereal. I come from nowhere. I come from everywhere. ~~ But... I am creature of neither fantasy nor reality, neither incantation nor dream. I am neither man nor woman, god nor demon, song nor story. I am no one, I am legion. I AM SALTIMBANCO. ---------------------------------------------------------- "Cirque's Dreams of the Past: A What If: Part 2: Cirque du Media" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- Rumors are always plentiful. Back in mid-2002, a stir was created amongst fans when the future of Mystère in Las Vegas was put into question, largely caused by a quote attributed to Guy Laliberté - Cirque du Soleil’s founder - according to the French-Canadian press (La Presse). He was credited with suggesting that Mystère would indeed fold at the end of 2003 and be transplanted to one of several world cities under consideration. Both Tokyo and London had been mentioned (as had Hong Kong), but the decision had not been made. The basis for Mystère ending lay within its original contract with the Treasure Island Hotel/Casino. In 1993, Cirque du Soleil and Mirage Resorts (now MGM International) signed a 10-year agreement to stage Mystère and the contract was coming due. Without an extension the show could indeed fold at the end of the year; however, there was never anything to worry about even after MGM International sold Treasure Island to a private party. The new owners loved the show and Mystère received a six-year extension (which has since been extended further), keeping the show in Las Vegas for the foreseeable future. At the time other possible reason for Mystère closing in Las Vegas were the announced opening of Zumanity at New York, New York Hotel/Casino in 2003, and KÀ at the MGM Grand in 2004. The rumor proved interesting though, as eventually Cirque du Soleil did set up a resident show in Tokyo - ZED. Furthermore, at the time of the renewal it was suggested that artistic changes were one of the conditions of extension. Rumors abounded that the energetic High Bar act, first seen in Alegría, would soon be replaced with a Flying Trapeze act and that the Aerial Cube, performed by Paul Bowler, would be replaced by the Flying Man, performed by Alexandyr Dobrynin from Alegría. (Fans may remember that in 1993 Mystère opened with a Flying Trapeze act and that Michel Matorin previously performed Aerial Cube in both Mystère and Alegría.) Although nothing more than idle gossip at the time, it is fascinating to note that Mystère has indeed gone through an artistic change lately, replacing High Bar with Flying Trapeze, re-doing the choreography of its Chinese Poles act and adding in (not replacing) a flying silks act. As we approach our 100th issue of Fascination, I’ve been thinking about that milestone and all the quotes, blurbs and past announcements of new products, venues or avenues the Cirque would be exploring that we’ve published. I began to wonder which of these came to fruition since then and which have quietly remained hidden behind the curtain at Cirque du Soleil HQ in Montreal. I uncovered several in my search through the news archives. Some I had readily known but others I had completely forgotten about and couldn’t wait to explore further. In Part One, we explored a number of rumors and announcements regarding "permanent" or "resident" shows made through the years that didn’t pan out. This installment, which continues the "what ifs" of Cirque du Soleil’s development, explores what could have been had certain details been worked out regarding its media offerings. PART TWO: CIRQUE DU MEDIA --------------------------- Over the years there have been a number of announced and/or rumored media potentials from Cirque du Soleil - from filmed shows and books to new music CDs - many of which never saw the light of day. And if they did, they were so far removed from the initial concept as to wonder if it followed the same path from initial spark to released product. Because of this, exploring media rumors is often difficult. In this installment we take a look at Cirque’s media rumors in sound and in picture. /// NEW SHOW MUSIC? Fans of Cirque du Soleil’s music are adamant about one thing: they want more of it. So when there are rumors that more music might be recorded and released, it gets the tongues of fans wagging. Especially when it’s new music from a classic show or show tunes recorded live. Thus tongues wagged greatly over an early 2002 rumor suggesting a new album was in the works featuring the music from Quidam. Unlike the studio album released in 1997, this one would be entirely "live" (like "Mystere Live", "Alegria Live" and "Saltimbanco Live", although the latter two were employee only releases and thus not publically available) and include such tracks as the Banquine and Diabolo acts, which were mysteriously absent from the original studio recording. And should Cirque decide not to present the audio as preformed "live", it was also reported that the entire soundtrack could be re-arranged for this new release instead, as some of the music had evolved since the show premiered in 1996. What eventually was released, however - the Quidam Extended CD from BMG/Cirque du Soleil Musique (Catalog #74321-91493-2 or 4-00005-04453-3) - was just the original studio CD re-released with two extra tracks tacked on: the previously-mentioned Banquine ("Misère") and Diabolos ("Enfants d’acier"), recorded live under the big top in Amsterdam, 1999 for the DVD. It was a step in the right direction, but disappointing never-the- less. A similar CD was released for Saltimbanco with two tracks from the employee album tacked on the end ("Adagio" and "Arlequin", the Adagio Trio and Juggling acts, recorded live under the big top in Amsterdam, 1996) and one for Alegria with two tracks tacked on the end ("Cerceaux" and "Malioumba", recorded live under the big top in Sydney, 2001 for the DVD release). Although it is now Cirque du Soleil Musique’s credo not to release live music (why, oh why?), it is perhaps interesting to note that a re-arrangement release did eventually happen with one of Cirque du Soleil’s classic shows - Saltimbanco. The new arrangement, dubbed Saltimbanco 2005 (CDSMC- 10005-2; 8-74751-000140-1) was released on May 17, 2005. (Fascination featured an interview with Composer René Dupéré in which this re- recording was discussed, you can find it here: < http://www.cirquefascination.com/?p=32 >.) And with the inclusion of Flying Trapeze from ZED performed to song "Fiesta" from ZED, could perhaps a new Mystère CD be in the works? (We won’t hold our breaths, but please Cirque?) In November 2002, Cirque du Soleil released the soundtrack to Varekai, an "inspired by" experiment that turned most of the show’s music into a lounge "chill down" record, drawing the ire of fans who were expecting a more traditional studio recording reflecting a truer representation of the music as performed in the show. Although Cirque du Soleil expressed interest in keeping its music offerings separate from actual show music, fans let their displeasure be known. Would Cirque relent and give us what we wanted? Through a Cirque du Soleil Musique FAQ available on their Website at the time, Cirque answered some of the most Frequently Asked Questions in relation to their music catalogue. One of them in early 2003 caught our attention: "Will a live-show version of the Varekai CD be released?" The answer to it was very straightforward and rather uplifting to those who were discouraged by the Varekai CD release. "At the moment, Cirque du Soleil Musique is discussing the release of a special-edition CD containing five live tracks from the show." If produced, the CD would be available exclusively though the Cirque du Soleil online store sometime in the first few months of 2003. Though we watched the online boutique like a hawk, the product did not turn up as advertised and by September we had yet another rumored album on our hands. "Is a Varekai ‘Special Edition’ CD and a Zumanity Live CD coming soon to a music store near you?" we’d heard. According to a mention on the Cirque du Soleil website, the answer was... probably. These two titles had quietly been announced as upcoming projects on the Musique side of the Cirque du Soleil Images web page. Details about both projects were scarce, but as we believed, certain live tracks that did not appear on the Varekai studio CD would make their way onto this "Special Edition" album (which had been previously alluded to). As for the Zumanity Live CD, only good things could come from it, as many wondered if Cirque would continue the "inspired by" motif started with Varekai or return to more traditional offerings. The Varekai Special Edition CD did become available on October 1, 2003, and did include six live tracks ("Célébration", the show’s opening; "Trasparenza", the Pas-de-Deux act; "Euphoria", Icarian Games; "Sun Drum Fun" (Body Skating); "Mutationis" (Hand Balancing), and "Movimento" (Georgian Dance). The release also included two remix tracks - "El Pendulo" and "Emballa" - and a DVD. The live tracks were recorded under the big top in Toronto for the 2003 DVD release. The remix tracks would be part of an experiment - "Solarium/Delirium" - which would spawn a two-CD set, various vinyl remix albums (a topic for another time) the "Tapis Rouge" VIP concept, "Midnight Sun" (a live musical event featuring the music of Cirque du Soleil, in celebration of CDS’s 20th Anniversary) and the "DELIRIUM" arena concert tour. A Zumanity Live album has yet to be produced. Instead, fans of the naughty cabaret were treated to an "inspired by" album, featuring arrangements that are hinted at in the live production but aren’t played. A disappointment for sure and yet the rumor mill keeps churning. /// SHOWS GOING UNDER THE LENS? In the good old days, Cirque du Soleil filmed its shows for television consumption, usually for HBO and/or Showtime specials, eventually releasing the production to the home-video market via VHS (and later DVD). Through Telemajik, Cirque du Soleil’s visual media subsidiary, fans of Cirque were able to enjoy "La Magie Continue" (1986), "Le Cirque Reinvente" (1987-1990), and "Nouvelle Experience" (1990-1993), not to mention a number of unique and interesting documentaries about those shows ("Quel Cirque", "Saltimbanco’s Diary", "The Truth of Illusion" and "Full Circle") and the company itself ("Baroque Odyssey") from the comfort of their livings rooms. Saltimbanco, filmed during its 1994 stopover in Atlanta, would become the last show produced for television and Telemajik would fall into obscurity. The hiatus was self-imposed, however, as Cirque du Soleil decreed that as long as a show was still performing live they would never film it and/or release it on VHS/DVD. But by 1999, a new division was created just for that purpose - Cirque du Soleil Images (or CDSi for short) - and Quidam, the company’s then current touring show, was filmed live - in Amsterdam - for home consumption. First broadcast via pay-per-view outlets through TVN, a leading digital programming and distribution network, the special was later re-broadcast on basic cable TV on BRAVO, an arts and film channel available in the United States, which was the official network of Cirque du Soleil at the time (BRAVO had been broadcasting Cirque’s previously filmed shows: Le Cirque Réinventé, Nouvelle Expérience and Saltimbanco). "Cirque du Soleil Presents Quidam" became an instant hit. Shortly thereafter, Cirque du Soleil put Dralion under the lens whilst staked in San Francisco (engaged 2/3/2000 - 3/26/2000), prompting even greater success. "Cirque du Soleil Presents Dralion", which publicized the Cirque’s then newest big top production, was nominated for and won three Daytime Emmy awards: Outstanding Variety, Music or Comedy Special; Outstanding Directing for a Variety Series or Musical; and Outstanding Costumes for a Variety or Music Program. This achievement prompted the filming of Alegría in Sydney (engaged 5/29/2001 - 8/5/2001); "Fire Within", the company’s first "reality TV" series about the creation of Varekai; and Varekai in Toronto (engaged 8/1/2002 - 9/8/2002). And with the successes of "Alegria", "Fire Within" and "Varekai", Cirque du Soleil, in association with BRAVO, announced that, as the official network of Cirque du Soleil and the owner of the broadcast rights to the Cirque’s repertoire of shows, it would film for future airing the troupe’s oldest currently touring show: Saltimbanco. The filming was rumored to take place at the formidable Royal Albert Hall in London, where Saltimbanco was scheduled to be engaged from January 10th through February 9th, 2003. And, it was suggested, the filming might cover Saltimbanco’s final moments, as London was rumored to be the final stop of Saltimbanco’s second big top tour (the "final" curtain previously fell there in 1997 before the show was resurrected for an Asia-Pacific tour that began in 1999). Although the filming of Alegria, Quidam, Dralion and Varekai were not perfect, those that were filmed during the Telemajik era had often been criticized as being of poor quality, badly cut and missing plenty of the action. However, none was criticized more so than Saltimbanco (except for "La Magie Continue", which was originally released as a 90 minute VHS verses a 50 minute DVD). Therefore, for Saltimbanco to get a more modern treatment certainly appealed to every fan of Cirque du Soleil. The euphoria was short lived, however. "In our July 2002 issue we reported that in conjunction with Bravo, the arts and film network in the United States and CDSi, Cirque would re-film Saltimbanco during its January 2003 run at the Royal Albert Hall in London", I wrote at the time. "Fascination has heard that contrary to previous rumors, Saltimbanco is not slated to be re-filmed after all. This is certainly disappointing news for fans of Saltimbanco who dislike the current filmed version. However, with Saltimbanco currently scheduled to continue its European tour with a possible return to U.S. soil, the show may yet find itself under the camera." And with a statement like that you’d think the story would end there. However, in the month that followed, BRAVO changed its announcement from filming Saltimbanco for later re-airing to actually broadcasting it live! "In past issues we've discussed rumors that Saltimbanco was going to be re-filmed, either in London or elsewhere, on its second European Tour. Last issue we shot down those rumors, suggesting that Saltimbanco was not to be re-filmed. But as the nature of rumors go, word now comes from Bravo that Saltimbanco WILL indeed be re-filmed. WHAT? Sometime in 2003, Bravo will present a special version of Saltimbanco to US audiences through its first-ever live broadcast. Bravo will present Cirque's ‘other-worldly feats of aero-athleticism’ on tape delay. A location, time and date have not yet been released." For a brief moment euphoria was restored, but little more was heard after that announcement and the project quietly disappeared. Saltimbanco went on to tour Europe throughout the next two years before transferring to Mexico (in 2005) and later South America (in 2006), where the big top version of the show did have its final curtain call. Although meant to be the end of Saltimbanco’s life as a touring show, Cirque du Soleil saw fit to breathe new life into the production, sending it out as an arena-only tour. Rumors suggest Saltimbanco is due to end its Worldwide Arena Tour sometime in mid- 2013, with a final performance in Montreal, the home of Cirque du Soleil. Could there be hope that Cirque du Soleil would film the show again there? Cirque du Soleil Images would go on to film La Nouba in Orlando (the first and only of its resident shows to come under the lens), Corteo in Toronto (engaged from 8/4/2005 - 9/11/2005) and Koozå in Toronto (engaged 8/9/2007 - 10/21/2007) before the division ceased filming full shows. Today CDSi makes documentaries based on Cirque’s shows and has released a plethora of them over the years, but that’s a topic for another time. Consequently, the saga of Saltimbanco’s re-filming isn’t the only one floating around. Ever since Cirque broke their credo that as long as their shows were still performing live we would never see them on VHS/DVD, rumors abound. This promise, of course, was broken when Quidam was filmed in Amsterdam in 1999 and a modified version of the stance to not include resident productions was broken when La Nouba was filmed and released in 2004 Thus a rumor surfaced that Mystère would be filmed by June 2005 for a December DVD/TV release, but as we now know that never happened and no other resident show has ever gone under the lens. Though that’s not quite true, is it? Fans might remember that DELIRIUM, the "music into motion" arena concert tour experiment, was filmed in London for broadcast across US and Canadian movie theaters via Sony Picture’s then new special programming division The Hot Ticket, and readied for eventual DVD release by Cirque du Soleil Images, only to have the product canceled at the last moment. Fans might also remember "Cirque du Soleil Presents KÀ", a very special recording of the company’s MGM Grand production exclusively for German television audiences. It’s been re- broadcast in French-Canadian territories but not released in any form. Could these be released? Unfortunately that is also unlikely. In an interview with Daniel Lamarre, President and COO of Cirque du Soleil (which you can read here: < http://www.cirquefascination.com/?p=1923 >), he dismissed the possibility of issuing DELIRIUM, even though it had already been filmed, edited and played, because the show was no longer in production, so why put out a DVD? I think the question should be: Why not? Wasn’t the La Nouba DVD a success? Also taken from the interview: "The success of La Nouba on DVD has been, in Mr. Lamarre’s words, ‘Very very positive’ and has improved ticket sales. With that and the filming and broadcast of KÀ on German television fans curiosity was piqued about the possibility of resident shows being issued on DVD. It was our understanding Cirque’s contract with MGM/Mirage forbids issuing videos of shows, but not according to Mr. Lamarre. ‘It’s not by contract; it’s more the philosophical approach of the casino. They’re afraid we will lose clientele, which as a matter of fact, is totally contrary [to what we’ve found]. Because when we put our shows on video it entices people to come to the show.’ Cirque du Soleil sees DVDs, books, programs, and CDs only as a way to promote or compliment current living shows, so though it is not outside the realm of possibility, we won’t hold our breaths on that one either. # # # As before, the projects here are just the ones we know about, those that were leaked and thus only rumored to be happening, or had semi- official announcements made regarding the company’s intention toward pursuing them. There very well may be dozens of other media concepts and projects that we don’t even know about... and will probably never have the privilege of knowing about. And yet there’s still more to look at. Next time we’ll take a look at projects beyond Cirque du Soleil’s traditional space - entertainment and media - and dive into the realm of "Complexes Cirque", and more. ======================================================================= 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 12, Number 4 (Issue #99) - April 2012 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2012 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. { Apr.04.2012 } =======================================================================