======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) T h e U n o f f i c i a l C i r q u e d u S o l e i l N e w s l e t t e r ------------------------------------------------------------ http://www.CirqueFascination.com ------------------------------------------------------------ ======================================================================= VOLUME 14, NUMBER 1 January 2014 ISSUE #120 ======================================================================= Bonne Année, Happy New Year, and welcome to the 120th edition of Fascination, the Unofficial Cirque du Soleil Newsletter! 2013 was quite the bumpy year for Cirque du Soleil, wasn't it? Accidents, layoffs, and show-shortening were just the tips of the proverbial iceberg. Let's hope that 2014 is a more prosperous, exciting, and safe year for Cirque du Soleil and all its acrobats. (Not to forget support staff and crew!) And 2014 promises to be an exciting year: On June 16, 2014, Cirque du Soleil will celebrate its 30th Anniversary - can you believe that? Although we're not sure what celebratory projects Cirque has up its canvassed sleeve, we sit in anticipation they'll mark their 30th anniversary with care - and fun! To help those celebrations along we have a touring show set to debut in Montreal on April 24th, written and directed by Michel Laprise (though what the concept and show name is has been kept tightly wrapped up thus far). This month Zarkana is undergoing some changes, to bring a little more whimsy into the show (but we can't tell you what just yet!). Shows resume on January 31st so you'll have to wait to see what all the new changes are then! Varekai begins its tour of North American arenas in earnest, of course, with Michael Jackson THE IMMORTAL World Tour also hitting up cities across the United States again. And who knows what else! Unfortunately, we had to say goodbye to a number of good performers throughout 2013, including the closing of Alegría. To mark the passing we're "looking back" at the show from its initial spark through to its latest incarnation. You'll find "A Beautiful Roaring Scream - Viva L'Alegría" within. You'll also find the second half of Keith's conversation with Andrew Levey, Cirque's Social Media Director. Want to know what's next in Cirque's Social Media strategy? Of course you do! Check out the conclusion to Keith's chat also within. And if you're interested in hearing about Cirque while on the go, we've got a new pod-cast for you. It's called "Solar Flare" and they've already released their first 30-minute podcast - an interview with Natasha Hallet! (You might remember her from Mystère or as the Green Bird in La Nouba.) New pod-casts will be released each month - another is due very soon now - so check it out! Website: http://www.sfcirque.com/ Episode 1: http://www.sfcirque.com/#!listen/c1h6a Transcript of Episode 1: http://goo.gl/p6Ns0X Last, but not least, we received our copy of the Amaluna DVD just before press time (yes, you can get it through Cirque's online boutique!). Although I've had time to skip through it - and 99% of the show is there on film - we'll leave our opinions of the package until next time, okay? 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 * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Outreach -- Updates from Cirque's Social Widgets * Networking -- Posts on Facebook, G+, & YouTube o) Fascination! Features * "GETTING SOCIAL: An Exclusive conversation with Cirque's Social Media Director - Andrew Levey" (Part 2 of 2) By: Keith Johnson - Seattle, Washington (USA) * "A Beautiful Roaring Scream - Viva L'Alegría!" By: Ricky Russo - Atlanta, Georgia (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Aggreko Announces Global Partnership with Cirque {Dec.03.2013} ------------------------------------------------- GLASGOW, Scotland, December 3, 2013 /PRNewswire/ - Aggreko, the global leader in the provision of temporary power and temperature control services has today announced a global partnership with Cirque du Soleil that will see Aggreko supply temporary power and temperature control systems to Cirque du Soleil’s big top touring productions for the next four years. With extensive touring of its five big top shows, Cirque du Soleil requires a professional temporary power supply and temperature control system delivered with a consistent quality across all tour locations. Having vast experience in supporting the global events industry, as well as a local presence in more than 100 countries, Aggreko was an obvious choice for the Montreal based global entertainment company. Aggreko will provide an uninterruptable power supply to each event across the USA, Canada, Latin America, Europe and Asia- Pacific. This will ensure each location has a stable and reliable power supply which is completely independent of the local electricity grid. To ensure the safety of the performers and to maximize audience comfort, a constant temperature must be maintained within the big top. With performances taking place in a variety of summer and winter locations, having a solution that works just as effectively in the Brazilian summer as it does in the Russian winter is essential. Aggreko will employ a highly sophisticated, integrated heating and cooling system to ensure targeted temperatures are maintained. "Cirque du Soleil is very pleased to be partnering with the industry leader, Aggreko, as a global sponsor of our shows over the next four years," said Louis Malafarina, Cirque du Soleil Corporate Alliances Director. "This is a fantastic alliance for us. Aggreko will provide a complete solution for uninterruptable power along with an innovative and energy efficient temperature control solution that meets the unique needs of our Big Top Touring shows. Aggreko will provide an integral part of our infrastructure, ensuring that our shows are performed to audiences all over the world." "We are delighted to be partnering with such an iconic global entertainment brand as Cirque du Soleil," commented Rupert Soames, Chief Executive of Aggreko. "Our extensive experience in supporting major international events along with our global footprint, make Aggreko an excellent match for Cirque du Soleil’s power and temperature control requirements. I look forward to a long and successful partnership between our two organisations." Aggreko plc is the world leader in the supply of temporary power and temperature control solutions. Aggreko employs over 5,700 people operating from 194 locations. In 2012 we served customers in about 100 countries, and had revenues of approximately GBP 1.6bn (USD 2.5bn or Euros 2.0bn). Aggreko plc is listed on the London Stock Exchange (AGK.L), is a member of the FTSE-100 index, and is headquartered in Scotland. {SOURCE: PRNewswire | http://goo.gl/Mfn4Dm} MJ Immortal Returns to North America March 2014 {Dec.05.2013} ------------------------------------------------ The Estate of Michael Jackson and Cirque du Soleil announced today that Michael Jackson THE IMMORTAL World Tour, one of the top 10 grossing music tours of all time, will return to North America in 2014. Since its world premiere in Montreal in October 2011, this electrifying production has thrilled audiences across North America, Europe, Asia, Australia, and New Zealand, performing over 400 shows in 26 countries. Over 3 million people have experienced the show, setting records at a number of venues where it has played. According to Billboard, THE IMMORTAL World Tour currently ranks as the 9th grossing tour of all time. It was also awarded Billboard’s prestigious Creative Content Award and named a finalist for Billboard’s Top Tour Award. The 2014 North American tour will kick off in February and, along with some repeat markets, will include entirely new markets as Cirque du Soleil and the Estate of Michael Jackson join to make the show available to even more of Michael’s fans around the world. Starting December 9, Cirque Club members and will have exclusive access to purchase presale tickets at www.cirqueclub.com. Starting December 13 at 10am, tickets will go on sale to the public for the cities and dates listed below. Additional cities and dates will be announced. Created by Cirque du Soleil and directed by Jamie King, THE IMMORTAL World Tour is a departure from the company’s previous touring shows. Featuring 49 international dancers, musicians, and acrobats, it is presented in a rock concert format that combines the excitement and innovation of Michael Jackson’s music and choreography with Cirque du Soleil’s unparalleled creativity. The underpinnings of THE IMMORTAL World Tour are Michael Jackson’s powerful, inspirational music and lyrics-the driving force behind the show-brought to life with extraordinary power and breathless intensity. Through unforgettable performances, the show underscores Michael’s global messages of love, peace and unity, and the band includes some of the same artists who previously worked side by side with Michael. Aimed at lifelong fans as well as those experiencing Michael’s creative genius for the first time, the show captures the essence, soul and inspiration of the King of Pop, celebrating a legacy that continues to transcend generations. {SOURCE: Cirque du Soleil} Criss Angel’s MAGICjam Coming Soon! {Dec.11.2013} ------------------------------------------------ Criss Angel, headliner of the best-selling magic show in Vegas - CRISS ANGEL BeLIEve, live at Luxor will debut a new, limited- engagement show, CRISS ANGEL MAGICjam, to occupy the CRISS ANGEL BeLIEve theater for the months of February and March 2014. Coming off intensive shoulder surgery in January, Angel will invite the World’s Greatest Magic!ans and specialty acts to be a part of his newest production, MAGICjam, a compilation magic variety production that will take place during his rehabilitation period. MAGICjam, created and hosted by Angel, will present an anthology of the greatest acts and will spotlight select cast members from Angel’s current hit SPIKE TV show, also titled "Criss Angel BeLIEve," including top female magician Krystyn Lambert, comedian-illusionist Nathan Burton and Banachek, the world’s premier mentalist. The lineup will also include grand master manipulators Jason Byrne and Tony Clarke, the hilarious Russ Merlin, and the world’s best close-up artist Armando Vera. Angel will play host to his friends in addition to closing the show with some of his revolutionary illusions. Guests’ minds will be blown as they witness the impossible in the most exciting variety showcase, featuring the best-of-the- best for this once-in-a-lifetime limited engagement. "MAGICjam is something I have wanted to do for years, and I’m so excited to bring the most talented artists in their respective disciplines, all of whom I’m so fortunate to call my friends, to Luxor. It’s gonna be a blast!" said Criss. CRISS ANGEL MAGICjam will run through the months of February and March in the 1,533-seat CRISS ANGEL BeLIEve theater at Luxor. CRISS ANGEL BeLIEve will return to Luxor in April. CRISS ANGEL MAGICjam & CRISS ANGEL BeLIEve are written and directed by Criss Angel. SHOW SCHEDULE: CRISS ANGEL MAGICjam performs Tuesday through Saturday at 7:00 pm and 9:30 pm (Wednesday and Fridays have one performance at 7pm). There are no performances on Sundays or Mondays. TO RESERVE TICKETS STARTING FRIDAY: o) Call 800-557-7428 o) VISIT TICKETMASTER.COM o) Visit the CRISS ANGEL Believe ticket office at Luxor TICKET PRICES: $59, $89, $109, $130 plus tax and service fees. {SOURCE: Cirque du Soleil, Criss Angel} BBC News: "How Cirque Became a Billion Dollar Business" {Dec.12.2013} -------------------------------------------------------- At Cirque du Soleil’s cavernous headquarters, located on the outskirts of Montreal near a landfill, unassuming office buildings do a good job of masking the, well, circus within. But walk through the front door and the first piece of advice visitors are given is: "Don’t try this at home." It’s hard to isolate just what one shouldn’t attempt to do - jump from on the trampoline disguised as a bed, dive from a trapeze into a pit of foam cubes, transform a ballet slipper into a stiletto, or weave more than 150km (93 miles) of fabric into costumes capable of surviving water and fire. At almost every turn, more than 2,000 of the firm’s 5,000 global employees are engaged in the choreography, costume design, and acrobatics that have helped Cirque du Soleil become a global circus phenomenon. With 19 touring and resident performances around the globe, in places like Las Vegas and Tokyo, the company takes in more than $1bn (£600m) annually. But make no mistake: while the clowns might be driving the car, it’s canny businessmen who are running the show. "If you have a very good artistic product it’s very well, but you have to have a good business management," says Gilles Ste- Croix, one of the company’s co-founders and its current artistic director. ‘Cherished kids of Canada’ It all started in 1984, in the tiny Quebec City suburb of Baie- Saint-Paul, when a group of stilt-walkers and street performers formed a performance troupe called the Le Club des Talons Hauts (the High Heels Club). After some local success, the group’s founder, Guy Laliberte lobbied to have the group choreograph and perform at a celebration, called "Cirque du Soleil" (circus of the sun) marking the 450th anniversary of the founding of Quebec City. To raise money, Mr Laliberte convinced his partner, Mr Ste- Croix, to walk 56 miles in stilts. "Every time I go up big hills I remember that night and I think, ‘How crazy were you?’" says Mr Ste-Croix, who adds that perhaps his craziest thought was not thinking that this small troupe could end up this far. After the success of that anniversary show, they decided to rechristen themselves Cirque du Soleil. The troupe quickly found fans eager to pay money to see its blend of acrobatics and art. One crucial factor that helped it succeed was that Cirque du Soleil did away with the animals normally associated with circuses like Barnum and Bailey’s or the Ringling Brothers. Instead, it focused on acrobatics in one big tent. "Now the merging of acrobatics with the different form of arts is very common, but when we started, we were almost alone out there in our style," says Mr Ste-Croix. Another crucial decision was to add permanent shows to the company’s roster of touring productions. In 1993, Mr Laliberte partnered with Las Vegas casino magnate Steve Wynn to create a permanent show called Mystere at Mr Wynn’s Mirage Resort, and in 1998, the show La Nouba was inaugurated at Disneyworld in Orlando, Florida. Finally, Canada’s lack of a circus culture gave the company room to experiment and explore. To help build the brand in Europe, the company first went on tour with Switzerland’s Circus Knie and staged shows throughout the region. In 1995, it sought to further open the market with a five city tour of its show Saltimbanco under a big white tent. The company also found success early on in Japan in 1992, which gave it a crucial entry into Asian markets. Today, "we are the cherished kids of Canada," says Mr Ste-Croix, while noting that a majority of the company’s revenues are generated outside the country. Polishing the jewel But with success has also come some hard lessons. This year, the company suffered its first tragedy, when an acrobat in one of its Las Vegas shows fell to her death. It was later fined by US regulators for unsafe working conditions. And, the company’s two decade streak of never having a flop ended when chief executive officer Daniel Lamarre announced a plan to triple the company’s output from one show a year to three in 2008. This led to what many felt was a decline in quality. "The idea is to polish each show like a the jewel until it becomes a diamond and lasts forever - we lost some of that in that growth," admits Mr Ste-Croix. For the first time ever, the company had to cancel shows and earlier this year, Cirque du Soleil announced it would lay off 400 workers. "We like to think there has to be a 75% satisfaction and below that we don’t think it’s worth it," says Mr Ste-Croix. "Of course we can hold on and make the return and the money and everything, but at the end of everything you know we only have our brand." Now, the company says it has renewed focus on its core offering - its performances. It has found a hit in its Michael Jackson Immortal World Tour, which has helped soften some of the financial pressures. And it has begun focusing on China, an increasingly important market. "I’ve seen shows in different places in China and met the artistic director, who has seen all of our shows in Vegas and they are very proud to copy us. They say it’s an homage that we pay to you," says Mr Ste-Croix. "We have to penetrate that market in order to be the original product." But above all else, he insists the company is still only as good as its last show, whether it’s in Montreal or Beijing. "We must not be too pretentious - we have to be humble," he says. { OURCE: BBC News | http://www.bbc.co.uk/news/business-25311503} Cirque du Soleil now on Hulu+ {Dec.15.2013} -------------------------------------------------------- Gravitas Ventures announced today that Cirque du Soleil will launch long-form and episodic content on the free, ad-supported Hulu and Hulu Plus subscription service. The content, which Gravitas exclusively distributes through their VOD (video-on- demand) partnership with Cirque du Soleil, will launch on Hulu and Hulu Plus today, December 14th as part of "A Season of Cirque du Soleil." KOOZA, HATCHING, DELIRIUM, DRALION, THE MYSTERY OF MYSTÈRE and FLOW: A TRIBUTE TO THE ARTISTS OF "O" are among the feature length programs that will be available on Hulu, with more to follow as part of an ongoing rollout campaign. All Cirque du Soleil content can be found at The Following dedicated landing page on Hulu.com: www.hulu.com/cirquedusoleil. To kick off this initiative, a trailer highlighting the world of Cirque du Soleil is premiering exclusively right now for the next 72 Hours on this Hulu landing page. "We are thrilled to bring Cirque du Soleil to Hulu and Hulu Plus," said Melanie Miller, Gravitas Ventures VP of Acquisitions & Marketing. "It’s an exciting opportunity to extend the Cirque du Soleil experience to families beyond a live performance and in their living rooms through such an innovative online video service." "We are delighted to extend our VOD offering to a wider audience and Hulu has provided us with an exciting platform to showcase Cirque du Soleil content with a dedicated landing page and shared marketing opportunities," said Tracey Errico, Cirque du Soleil Director of Programming and Distribution. "We look forward to a fruitful collaboration with Hulu that will see a variety of Cirque du Soleil content brought to viewers." In addition to the long-form programs of show specials and documentaries two episodic series will be made available to Hulu exclusively starting with FIRE WITHIN, an Emmy Award-winning series around the touring show Varekai, which is now in arenas throughout the country, and TOTEM Voices which will next open in Santa Monica, CA in January following TOTEM’s successful premiere at the Port of Los Angeles in October, with additional performances planned for early next year. These two series will be the centerpiece of the Cirque du Soleil programs arriving on Hulu and Hulu Plus. Along with the feature length and episodic content, behind-the-scenes footage and featurettes will also be available. Starting on Saturday, December 14th, nine performances can be found at these direct links: o) FIRE WITHIN http://www.hulu.com/cirque-du-soleil-fire-within o) FLOW: A TRIBUTE TO THE ARTISTS OF "O" www.hulu.com/cirque-du-soleil-flow-a-tribute-to-artists-of-o o) THE MYSTERY OF MYSTÈRE www.hulu.com/cirque-du-soleil-the-mystery-of-mystere o) KOOZA www.hulu.com/cirque-du-soleil-kooza o) A Thrilling Ride Through KOOZA www.hulu.com/cirque-du-soleil-a-thrilling-ride-through-kooza o) DRALION http://www.hulu.com/cirque-du-soleil-dralion o) HATCHING http://www.hulu.com/cirque-du-soleil-hatching o) ZED in Tokyo http://www.hulu.com/cirque-du-soleil-zed-in-tokyo o) ZAIA: Crossroads in Macao http://www.hulu.com/cirque-du-soleil-zaia-crossroads-in-macao {SOURCE: Broadway World | http://goo.gl/u5bh6I} Review: Varekai Returns to Montreal {Dec.15.2013} -------------------------------------------------------- The Cirque du Soleil’s Varekai, which has been touring the world since 2002 under the company’s trademark yellow and blue big top, has returned to Montreal for its relaunch as an arena show. There’s one new act (baton) and a fresh cast of 50 performers. But the drummer (Paul Bannerman) remains the same and so do the essentials of the show. As arena Cirques go, this one, with its multiple aerial act and clever use of trap doors as exits, has transitioned well. Varekai, which takes its title from a Roma word which means "wherever", is built around the Greek myth of Icarus who flew too close to the sun. This melted the wax on his wings, causing him to fall into the sea. For Varekai, director Dominic Champagne (who also directed the Cirque’s Beatles show, Love, in Las Vegas), let his imagination run wild, creating a forest peopled with fantastic creatures to welcome the fallen Icarus. This allowed composer Violane Corradi to come up with a highly variegated worldbeat soundtrack. And it gave Academy Award-winning costume designer Eiko Ishioka (who passed away last year) free rein to conjure up elegant, vibrantly colourful costumes adorned with petals and appendages. They range from the floral to the avian and the reptilian. The look of Varekai is ravishing and several of the acts are simply sublime. That includes the ascent of Icarus (Mark Halasi), after he has lost his wings, within a net which supports him as he makes sinuous moves high above the stage. There’s a sensuous aerial hoop act, as haunting as the moon, performed by a woman (Katja Kortstrom) with limbs of shining gold. A seductive hand-balancing act, performed by a woman in a silver striped white body suit (Alona Zhuravel), leads into a romantic connection with Icarus and the suggestion of a wedding. Others moments are strikingly original. A man on crutches (Raphael Botelho) hits a poignant note as he dances for the wingless Icarus and men (Oleksii Kozakov and Oleksandr Romashyn), scantily dressed in black, fly high on aerial straps, like ravens. But there’s plenty of the ridiculous, too. The clowning begins with faux ushers in red coats interacting with the crowds. A mad inventor (Gordon White) with plants sprouting out of his trousers uses a metal contraption to create birdsong. Another odd fellow wears a lightbulb on his head (Rodrigue Proteau). Then there’s the smarmy magician (Steven Bishop) and his daffy blonde assistant (Gabriella Argento). Bishop’s hilarious lip- sync rendition of Jacques Brel’s Ne me quitte pas, delivered while vainly chasing the spotlight, is a classic. Other acts are full of bravado, demanding admiration for exceptional prowess, like the hyperactive juggler (Roberto Carbajal) who uses his mouth to keep four balls in the air. Or the amazing baton twirler (Arisa Tanaka). Or the golden Icarian tumblers who toss and twirl each other with their feet. Or the Georgian dancers dressed in flaming red. But the most daring and riveting of all is the Russian Swing act which provides the show with an explosive finale. The swings catapult bodies into the air, aimed to land in one of two giant canvas panel suspended at the back of the stage, or on another swing. Impossible not to cheer them on. Varekai does take too long to get going. The momentum is uneven and there are lulls (usually clown-related), during its 90 minute (plus intermission) duration. But dazzle it does. {SOURCE: Montreal Gazette | http://goo.gl/F8hB9K} Parade: The Collective - Coming Soon {Dec.26.2013} -------------------------------------------------------- The Global Citizenship Service at Cirque du Soleil will reveal their 9th annual art exhibition, PARADE: The Collective, on Friday, Jan. 3. Artists will be available during the collection’s preview on Thursday, Jan. 2 from 6 to 8 p.m. The exhibition will run Jan. 2 - 30 at the Trifecta Gallery inside the Arts Factory in downtown Las Vegas and is free and open to the public. Cirque du Soleil and the Trifecta Gallery will also host ‘Late til 8,’ a new cultural community series featuring local artists engaging in conversation about their work, art and community. The series is a new addition to The Collective, and will run every Thursday evening from 5 to 8 p.m. throughout the month of January. o) Thursday, Jan. 2 - Preview Party for Cirque du Soleil Employee Exhibition o) Thursday, Jan. 9 - Cirque du Soleil Community Outreach Programs: social and cultural ways Cirque reaffirms its commitment to the community o) Thursday, Jan. 16 - Cirque du Soleil Artists with Jobs Outside the Studio: balance, challenges, and keeping it all together o) Thursday, Jan. 23 - An Evening of Original Music Performed by Musicians from Cirque du Soleil o) Thursday, Jan. 30 - Artists Whose Occupations Inform Their Studio Practice - Cirque du Soleil employees and public conversation Q&A Presented as part of PARADE, a Cirque du Soleil program created to encourage and support the artistic projects of its employees, The Collective brings together the many visual art practices of employees. This exhibition features artwork created by Cirque du Soleil employees (including performers, technicians and support staff) in Las Vegas. All formats of artwork were accepted. This freedom resulted in an exhibition that displays a wide range of artistic approaches. The cast and crew members whose artwork will be featured are: PAINTING: o) Sergio Kiss, Assistant Head of Rigging, Mystère o) Brien McCrea, Performer, KÀ o) Kim Johnson, Craft Technician, Zarkana o) Christina Russo, Electrics, Mystère o) Julia Amorim Parrot Bastos, Illusions, Believe o) Gail Gilbert, Performer, KÀ o) Jordyn Campbell, Wig Technician, LOVE o) Brianna Schaller, Wig Technician, LOVE MIXED -MEDIA: o) ChrisTina Scott, Wardrobe Technician, KÀ o) Chi Ho Chan, Craft Technician, LOVE o) RuBen Permel, Head of Wardrobe, Zarkana o) Brent Sommerhauser, Production Coordinator, MJ ONE o) Elena Solodovnikova, Performer, "O" o) Jim Moran, Head of Riggin, KÀ o) Kent Caldwell, Performer, Mystère o) Laura Briseno, Wardrobe Attendant, MJ ONE PHOTOGRAPHY: o) MeghAnn Mason, Wig Technician, KÀ o) John Rohling , Props Technician, Mystère o) Armand Thomas, General Stage Manager, Mystère o) Jose J. Villar, Performer, Michael Jackson ONE o) Rezvan Lazdi, Aquatics, "O" o) Ryan Hartnett, Aquatics, "O" SCULPTURE-POTTERY: o) Linda LeBourveau, Wardrobe Attendant, Zumanity PARADE, is the support program established to provide encouragement and support for employees’ artistic pursuits and participation in cultural life outside their work at Cirque du Soleil. Employees who create art or are involved in the activities of an artist or arts organization are eligible for various services and resources offered by this program including sharing of expertise in project development (technical and/or artistic), support in the drafting and presentation of grant applications to public or private organizations, direct financial support (i.e. for projects requiring investment in order to come to fruition) and through mentoring. {SOURCE: Broadway World | http://goo.gl/DSLhbc} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem & Tour 2014} o) ARENA - In Stadium-like venues {Quidam, Dralion, MJ Immortal & Varekai} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, Zarkana & Michael Jackson ONE} 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: San Francisco, CA -- Nov 13, 2013 to Jan 12, 2014 San Jose, CA -- Jan 22, 2014 to Mar 2, 2014 New York, NY -- Mar 20, 2014 to May 18, 2014 Boston, MA -- Jun 4, 2014 to Jul 13, 2014 Washington, DC -- Jul 31, 2014 to Sep 21, 2014 Atlanta, GA -- Oct 3, 2014 to Nov 30, 2014 Cirque 2014: Montreal, QC -- Apr 24, 2014 to Jun 6, 2014 Quebec City, QC -- Jul 24, 2014 to Aug 10, 2014 Toronto, ON -- Aug 28, 2014 to Sep 28, 2014 Corteo: Rio de Janeiro, BR -- Dec 26, 2013 to Feb 23, 2014 Porto Alegre, BR -- Mar 6, 2014 to Apr 13, 2014 Cordoba, AR -- May 3, 2014 to May 25, 2014 Buenos Aires< BR - Jun 6, 2014 to Aug 3, 2014 Koozå: Paris, FR -- Nov 23, 2013 to Jan 19, 2014 Munich, DE -- Jan 31, 2014 to Feb 28, 2014 Amsterdam, NL -- Mar 13, 2014 to Apr 13, 2014 Vienna, AT -- May 9, 2014 to Jun 1, 2014 Dusseldorf, DE -- Nov 6, 2014 to Nov 23, 2014 Ovo: Taipei, TW -- Nov.19, 2013 to Jan 5, 2014 Tokyo, JP -- Feb 12, 2014 to Apr 13, 2014 Sendai, JP -- Apr 23, 2014 to Jun 7, 2014 Osaka, JP -- Jul, 17, 2014 to Nov 2, 2014 Nagoya, JP -- Nov.20, 2014 to Feb 1, 2015 Fukuoka, JP -- Feb 21, 2015 to TBA Totem: Santa Monica, CA -- Jan 17, 2014 to Feb 23, 2014 Portland, OR -- Mar 27, 2014 to May 4, 2014 Vancouver, BC -- May 15, 2014 to Jun 15, 2014 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Quidam: London, UK -- Jan 4, 2014 to Feb 16, 2014 Brussels, BE -- Feb 27, 2014 to Mar 2, 2014 Toulouse, FR -- Mar 5, 2014 to Mar 9, 2014 Strasbourg, FR -- Mar 12, 2014 to Mar 16, 2014 Toulon, FR -- Mar 19, 2014 to Mar 23, 2014 Montpellier, FR -- Mar 26, 2014 to Mar 30, 2014 Lyon, FR -- Apr 2, 2014 to Apr 6, 2014 Rouen, FR -- Apr 30, 2014 to May 4, 2014 Berlin, DE -- May 7, 2014 to May 11, 2014 Nuremberg, DE -- May 14, 2014 to May 18, 2014 Hanover, DE -- May 21, 2014 to May 25, 2014 Bremen, DE -- May 29, 2014 to Jun 1, 2014 Hamburg, DE -- Jun 4, 2014 to Jun 8, 2014 Luxembourg, LU -- Jun 11, 2014 to Jun 15, 2014 Tel Aviv, IL -- Aug 7, 2014 to Aug 16, 2014 Dralion: Lisbon, PT -- Jan 1, 2014 to Jan 12, 2014 St. Petersburg, RU -- Jan 22, 2014 to Feb 2, 2014 Chelyabinsk, RU -- Feb 7, 2014 to Feb 16, 2014 Kazan, RU -- Feb 21, 2014 to Mar 2, 2014 Moscow, RU -- Mar 6, 2014 to Mar 16, 2014 Minsk, BY -- Mar 20, 2014 to Mar 23, 2014 Hernig, DK -- Mar 27, 2014 to Mar 30, 2014 Malmö, SE -- May 1, 2014 to May 4, 2014 Glasgow, UK -- May 8, 2014 to May 11, 2014 Sheffield, UK -- May 14, 2014 to May 18, 2014 Birmingham, UK -- May 22, 2014 to May 25, 2014 Dublin, IE -- May 28, 2014 to Jun 1, 2014 London, UK -- Jun 4, 2014 to Jun 8, 2014 Manchester, UK -- Jun 11, 2014 to Jun 15, 2014 Santiago de Compostela, ES -- Jul 10, 2014 to Jul 20, 2014 Granada, ES -- Jul 23, 2014 to Jul 27, 2014 Bilbao, ES -- Aug 16, 2014 to Aug 24, 2014 Palma de Mallorca, ES -- Aug 28, 2014 to Sep 6, 2014 Michael Jackson THE IMMORTAL World Tour: Dubai, UAE -- Dec 20, 2013 to Jan 14, 2014 Worcester, MA -- Feb 28, 2014 to Mar 1, 2014 Amherst, MA -- Mar 5, 2014 to Mar 6, 2014 Rochester, NY -- Mar 10, 2014 to Mar 11, 2014 Baltimore, MD -- Mar 18, 2014 to Mar 19, 2014 Fairfax, VA -- Mar 21, 2014 to Mar 22, 2014 Philadelphia, PA -- Mar 25, 2014 to Mar 26, 2014 Trenton, NJ -- Mar 28, 2014 to Mar 29, 2014 Raleigh, NC -- Apr 1, 2014 to Apr 2, 2014 Charlotte, NC -- Apr 8, 2014 to Apr 9, 2014 Greensboro, NC -- Apr 11, 2014 to Apr 12, 2014 Varekai: Kingston, ON -- Jan 17, 2014 to Jan 20, 2014 Windsor, ON -- Jan 23, 2014 to Jan 26, 2014 Hamilton, ON -- Jan 29, 2014 to Feb 2, 2014 Detroit, MI -- Feb 5, 2014 to Feb 9, 2014 Youngstown, OH -- Feb 12, 2014 to Feb 16, 2014 Frisco, TX -- Feb 19, 2014 to Feb 23, 2014 Cedar Park, TX -- Feb 26, 2014 to Mar 2, 2014 Beaumont, TX -- Mar 5, 2014 to Mar 9, 2014 Baton Rouge, LA -- Mar 12, 2014 to Mar 16, 2014 Pensacola, FL -- Mar 19, 2014 to Mar 23, 2014 Pittsburgh, PA -- Mar 27, 2014 to Mar 30, 2014 East Lansing, MI -- Apr 2, 2014 to Apr 6, 2014 Knoxville, TN -- Apr 9, 2014 to Apr 13, 2014 Oshawa, ON -- May 21, 2014 to May 25, 2014 Lonson, ON -- May 28, 2014 to Jun 1, 2014 Providence, RI -- Jul 1, 2014 to Jul 6, 2014 --------------------------------- 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 2014 Dark Dates: o January 2 - January 17 o February 2 o March 12 o May 8 - 16 o July 9 - 11 o September 4 - 12 o November 5 - 7 Added performances in 2014: o April 18 o December 26 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2014 Dark Dates: o January 5 o February 2 o March 21 o April 7 - April 15 o June 8 o August 4 - 12 o October 5 o December 1 - 16 Added performances in 2014: o March 25 o June 3 o December 29 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2014 Dark Dates: o TBA Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:30pm and 10:00pm 2014 Dark Dates: o February 2 o March 21 o April 9-17 o June 13 o August 20-September 4 o October 21 o December 10-18 Added performances in 2014: o January 1 o March 12 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2014 Dark Dates: o TBA January 12-27 o TBA March 15 o TBA March 21 o TBA May 18-26 o TBA July 19 o TBA September 21-29 o TBA December 2 Added performances in 2014: o TBA February 16 o TBA August 31 o TBA December 28 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2014 Dark Dates: o January 26-28 o February 2-4 o March 21 o April 1-9 o June 5 o July 29 - August 6 o October 2 o December 2 - 17 Added performances in 2014: o January 22 o January 29 o February 5 o March 25 o August 12 o December 31 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. 2014 Dark Dates: o January 5 - Feb 3, 2014 o March 21, 2014 o April 6 - 14, 2014 o June 15 - 30, 2014 o September 1 - 8, 2014 o November 9 - 17, 2014 ZARKANA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2014 Dark Dates: o TBA MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two Shows Nightly: 7:00pm and 10:00pm 2014 Dark Dates: o January 29 o March 13 - 21 o May 21 - 23 o July 24 - 31 o September 24 - 26 o November 13 - 28 Added performances in 2014: o August 29 o December 26 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ ALEGRIA ]--- {Dec.04} Less than 4 weeks left to the final performance of #Alegria! Did you know that in the 19 years of Alegria 14,560 pairs of shoes have been repainted? LINK // < http://goo.gl/BFFDkn > {Dec.18} Check out some of our artists who are huge Real Madrid C.F. fans and did some back-tucks on their field! LINK // < http://goo.gl/0NlcB0 > {Dec.21} Emotions are stirring up as Alegria is just one week away from its final performance! Today we had a special fan who flew in from Japan and watched all of our performances in Madrid and surprised us with lovely gifts! It's thanks to our fans that we have been able to run for 19 years! Thank YOU Midori Matsuno! You have touched all our hearts xoxox. LINK // < http://goo.gl/cUYjj9 > {Dec.23} Have a look at this holiday Q&A with the cast of Alegria to celebrate this season with them for one last time. LINK // < http://cirk.me/1bSKRGq > {Dec.26} Alegria is kicking off its last premiere ever in Antwerp and it's a full house! We are overwhelmed with all the fan love. 7 more performances left! LINK // < http://goo.gl/Gm3g55 > {Dec.29} In its final moments, Alegria wants to say thank you to all the fans that have supported us throughout its 19 years of touring the world. It is thanks to your love, inspiration and imagination that has allowed us to remain in your hearts and minds for years and years to come. You have all played a significant part in the journey that was #Alegria and we will remember YOU forever. Thank you! Merci! xoxo. LINK // < http://goo.gl/EBQ9OX > ---[ AMALUNA ]--- {Dec.12} Happy Thursday, San Francisco Bay Area! Have you purchased all of your holiday gifts yet? Don't forget Amaluna is playing here until January 12, then from January 22 in San Jose. Check out this AMAZING aerial photo of our village! LINK // < http://goo.gl/El5jEU > {Dec.13} Today our beautiful Amazons donated their time to raise money for the The Salvation Army USA Holiday Drive in San Francisco. Fellow volunteers included the The Oakland Raiders cheerleaders and Santa!! Thank you girls, and Happy Holidays! LINK // < http://goo.gl/C2XL1v > {Dec.18} You won't believe where we are performing today: At Facebook!! LINK // < http://goo.gl/36x01E > {Dec.18} Our Teeterboard boys rocked it today at the Facebook HQ in Menlo Park. Make sure YOU catch us in San Francisco until January 12 and from January 22 in San Jose. LINK // < http://goo.gl/LdgLRH > {Dec.24} Is that...?! Could it be?!! SANTA CLAUS on our Big Top?! We wonder what he's bringing YOU for Christmas... HAPPY HOLIDAYS! LINK // < http://goo.gl/iHkUo9 > ---[ CIRQUE DU SOLEIL ]--- {Dec.13} We all have our ways to hang on until the Holidays. LINK // < http://goo.gl/yMmeib > {Dec.16} Thanks for helping us reach 2 million likes! Merci beaucoup! Danke! Gracias! Grazie! Obrigado! LINK // < http://goo.gl/1JB1v9 > {Dec.18} Celebrate the holidays on the high bar with Caoliang from Totem LINK // < http://cirk.me/1elHPi7 > {Dec.30} We made a playlist of your favorite videos of 2013 on our YouTube Channel! Can you guess what you'll find? LINK // < http://www.youtube.com/watch?v=MXeAhj-xcg4 > ---[ CORTEO ]--- {Dec.05} Bilheteria no Rio de Janeiro aberta hoje no Shopping Leblon. E pode aproveitar para ver alguns figurinos do Corteo. LINK // < http://goo.gl/JEMbt9 > {Dec.25} Feliz Natal do Corteo! LINK // < http://goo.gl/PgzHvX > ---[ DRALION ]--- {Dec.03} We love the posters on the side of the tram in Geneva! Have you seen them? LINK // < http://goo.gl/ChpO9c > {Dec.09} We love this live shot from the Skipping rope act! LINK // < http://goo.gl/fgmLca > {Dec.11} Opening day in Basel, Switzerland. Dralion opens tonight for 7 shows only! LINK // < http://goo.gl/hgqwLA > {Dec.19} Yesterday, our trampolinist - Alex - performed for the first time in his hometown - Barcelona! See how he got involved with Dralion and how he feels about performing at home. LINK // < http://goo.gl/6pja5W > {Dec.27} Our artists have started their preparations for tonight's 1st show of the week end. With only 5 shows to go, we hope to see you. Photo credits: F. Gimenez. LINK // < http://goo.gl/dflO5I > {Dec.30} Last night in Barcelona we said farewell to two members of our Dralion family, Mandi and Alex have been with Dralion for many years and we wish them all the luck in their future adventures! Love from your Dralion family! LINK // < http://goo.gl/SjJjDJ > LINK // < http://goo.gl/SDywaV > ---[ KOOZA ]--- {Dec.03} ONE DROP hold an event in Paris on November 28, 2013. Here you've some pictures of the evening. LINK // < http://goo.gl/MZp6ZN > {Dec.06} We love our Kooza buses campaign in Amsterdam! Our show opens there on March 13, 2014 LINK // < http://goo.gl/rTteUB > {Dec.11} We are extremely excited to present KOOZA in #Portaventura next Summer...more details will be announced soon! LINK // < http://www.portaventura.co.uk/cirque_du_soleil > {Dec.12} KOOZA featured on MAC Cosmetics Tumblr feed! LINK // < http://goo.gl/thM37C > {Dec.13} Today's deliciousness prepared by KOOZA kitchen team! LINK // < http://goo.gl/zJWFWb > {Dec.13} What an amazing portrait of one of our performers! This picture is part of a series done by Russian photographer Alexei Moskalenko. LINK // < http://goo.gl/7DWTWS > {Dec.27} Are you ready for 2014??? Kooza's team would like to wish you an amazing New Year full of love and happiness!!! LINK // ---[ LA NOUBA ]--- {Dec.09} We're coming up on fifteen years of La Nouba and the Disney Parks blog takes a look inside the show with Sergey and Balto! LINK // < http://goo.gl/Ow1ArY > {Dec.12} Tickets from $69 for the 15th anniversary performance of La Nouba on 12/18, featuring special friends from WDW! LINK // < http://goo.gl/56k4Zn > {Dec.16} Gearing up for our 15th anniversary with well wishes from Neil Patrick Harris! LINK // < http://goo.gl/hpft55 > {Dec.19} La Nouba celebrated its 15th anniversary performance last night! LINK // < http://goo.gl/HbAH0b > {Dec.21} Tune into Good Morning America on Monday as we celebrate our 15th anniversary with a performance on the show! LINK // < http://goo.gl/UQMolo > {Dec.23} Did you catch us on Good Morning America this morning? LINK // < http://goo.gl/BUVJlZ > ---[ MJ IMMORTAL ]--- {Dec.03} We call it a quick change for a reason! Check out how Khalid Freeman goes from dancing in Billie Jean back to his Fanatic character in just over a minute! LINK // < http://www.youtube.com/watch?v=6FAAEt1ADuM > {Dec.06} Did you know drummer Jonathan "Sugarfoot" Moffett played behind Michael for over 30 years? Here he is with Michael on tour. LINK // < http://goo.gl/2yYyzP > {Dec.18} Thanks to all our fans, Michael Jackson THE IMMORTAL World Tour by Cirque du Soleil is very proud to be part of The Billboard Top 25 Tours of 2013! {Dec.24} Did you know that Greg Phillinganes discovered Guitarist Desiree Bassett from online material and her YouTube videos? LINK // < http://goo.gl/J3Cv7g > {Dec.26} Aerial Strap artists Igor Zaripov and Giulia Piolanti are busy training in Dubai before the premiere on December 30th! LINK // < http://goo.gl/O0Mybp > {Dec.30} We're just hours away from our #Dubai premiere at the Dubai World Trade Centre! LINK // < http://goo.gl/GKKrDJ > ---[ MJ ONE ]--- {Dec.02} Did you miss our performance on the Soul Train Awards on BET? You can still check it out at the link below! LINK // < http://goo.gl/S9OJq4 > {Dec.12} Meet Michael Jackson ONE by Cirque du Soleil's dancer Pedro Aviles as he shares with us his #holiday favourites from his native #PuertoRico! LINK // < http://cirk.me/18ohIo0 > ---[ "O" ]--- {Dec.18} Inside the "O" offices, there are bronze molds for some of the performers, and every year around this time, they get a little more festive! LINK // < http://goo.gl/IycPxI > ---[ OVO ]--- {Dec.03} The White Spider at Taipei 101 (7 photos) - Hello Taiwan! The people at Taipei 101 liked us so much that they asked the White Spider to do a performance in the Lobby! Here are some pictures of the event! LINK // < http://goo.gl/gLF3ul > {Dec.12} Today, Billy Chang, former main character on Dralion, came to visit OVO for a special dance workshop. LINK // < http://goo.gl/JRKgu5 > LINK // < http://goo.gl/ur5eed > {Dec.14} One of our crickets, Michel, wanted to share with you how he applies the cricket makeup, so he created this great time-lapse. How long do you think it takes to apply his makeup? LINK // < http://goo.gl/NZwqio > {Dec.18} Li Wei, our Slackwire artist, is getting ready for tonight's show. Did you buy your tickets for the show? Only 2 more weeks left in Taipei! LINK // < http://goo.gl/3ZTj8g > {Dec.20} LINK // < http://goo.gl/mJ3Jih > LINK // < http://goo.gl/Mttj5O > {Dec.25} Merry Christmas from the cast and crew of OVO!!! LINK // < http://goo.gl/trG1VO > {Dec.27} Meet Master Flipo: Master Flipo is the chief of the insect community, maybe because he’s the oldest. He’s smart and wise - but eccentric too, and he’s very silly sometimes. The whole community respects and likes him even though they know he can be a bit dim-witted. LINK // < http://goo.gl/NUOrIu > {Dec.30} The Cast and Crew of OVO would like to wish you a Happy New Year!!!! We hope 2014 will be your best! LINK // < http://goo.gl/MB7p7i > ---[ QUIDAM ]--- {Dec.05} After a 2 week vacation Quidam is back and ready to take over Spain for a month! Buenas Tardes Malaga!!! LINK // < http://goo.gl/91kGna > {Dec.12} It's beginning to look a lot like #mycirqueholiday on Quidam - which hat does not belong? (Answer: Santa’s Hat!) LINK // < http://goo.gl/lCQyvs > {Dec.18} Opening tonight in beautiful Sevilla! LINK // < http://goo.gl/DFvv1q > {Dec.19} little #mycirqueholiday flare here and there LINK // < http://goo.gl/St2PIw > {Dec.25} Last night #Quidam celebrated the Holidays in style! Tonight, we are opening the very first Cirque du Soleil show to visit A Coruna to a nearly sold out Coliseum. LINK // < http://goo.gl/gcUCP3 > ---[ TOTEM ]--- {Dec.02} We are getting ready for the taping of The Ellen Degeneres Show this afternoon with our Crystal Ladies Marina & Svetlana! Watch us tomorrow afternoon! LINK // < http://goo.gl/t4e4Yd > {Dec.03} The Tsodikova twins with Neela, our Artistic Director, on set at The Ellen Degeneres Show! Watch them perform on air this afternoon, check your local listings for more info! LINK // < http://goo.gl/iOCOkU > {Dec.03} Did you miss our performance on The Ellen DeGeneres Show? Watch it online now!! LINK // < http://www.youtube.com/watch?v=1Q6LWWkxTko > {Dec.04} The Crystal Ladies on The Ellen Degeneres Show (3 photos) - On December 3, 2013, TOTEM Jugglers Marina & Svetlana Tsodikova performed on The Ellen Degeneres Show!! LINK // < http://goo.gl/MX1tlA > {Dec.07} Chilly day in Orange County, TOTEM is getting into the Holiday Spirit!!! LINK // < http://goo.gl/RjO0W1 > {Dec.09} Meet with TOTEM - Cirque du Soleil publicist Francis as he chronicles his experiences on spending the #holidays on tour! LINK // < http://cirk.me/1d1gZqj > {Dec.15} Happy Holidays from TOTEM!! LINK // < http://goo.gl/FW6nZ0 > {Dec.26} Have you missed Hoop Dancer Eric Hernandez's appearance on KTTV Good Day L.A. earlier this week? You can now watch it online! Only 4 TOTEM performances left in Irvine through tomorrow night at the Orange County Great Park! TOTEM opens at the Santa Monica Pier on January 17! LINK // < http://goo.gl/HzCrpz > LINK // < http://goo.gl/MM0nSx > {Dec.27} Ever wondered where the beautiful images featured in our video projections come from? Did you know the images react to the movement of the artists? Watch this interview with Pedro Pires, Video Content Creator of TOTEM to learn more! LINK // < http://www.youtube.com/watch?v=b52qSNfJkQU > {Dec.29} It is already our last day of performances in Irvine, CA before moving to the Santa Monica Pier! Our technicians are getting ready for the tear-down of our equipment...and gave a Holiday twist to the Fork Lift! Happy Holiday Season to all our fans! LINK // < http://goo.gl/X1RZYF > {Dec.30} Happy New Year 2014 from the #TOTEM characters! May all your wishes come true! #2014 LINK // < http://goo.gl/i38vki > ---[ VAREKAI ]--- {Dec.10} To celebrate the Holiday season, we made tickets rain from the sky over Montreal. Were you there? LINK // < http://www.youtube.com/watch?v=nYXXVwuirvY > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "GETTING SOCIAL: An Exclusive conversation with Cirque's Social Media Director - Andrew Levey" (Part 2 of 2) By: Keith Johnson - Seattle, Washington (USA) o) "A Beautiful Roaring Scream - Viva L'Alegría!" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- "GETTING SOCIAL: An Exclusive conversation with Cirque's Social Media Director - Andrew Levey" (Part 2 of 2) By: Keith Johnson - Seattle, Washigton (USA) ---------------------------------------------------------- How companies find and market to their audience has changed drastically in the almost 30 years since Le Cirque du Soleils’ first performances. It used to be that marketing was limited to print, radio and television. Now it has completely changed, with the Internet becoming a vital tool in reaching out and touching the fan and customer base. When we were researching iTunes podcasts concerning Cirque for our review article the two most interesting had to do with how Cirque uses Social Marketing. After listening to the podcasts, we were curious as to how a brand with such a unique emotional visual product as Cirque du Soleil works with social media, and how they interface with their more dedicated fans. So we contacted one of the podcast interviewees, Mr. Andrew Levey (LEE-vee), 33, who took time out to speak with us last month. Now we continue our conversation with Andrew Levey, Director of Customer Relationship Marketing for Cirque du Soleil. Social Disaster --------------- Social media is also an important tool when disaster strikes, as it did last summer with the death of an artist at KÀ. How much or how little to post can become a very serious question. The tendency can be to present too much information, allowing speculation and criticism to run free, as social medias focus can make small events larger than they are. In KÀ’s case the Facebook page has been silent except for an announcement about the resumption of performances posted in mid-July. Since then, nothing. With the investigations now over and the final report issued, we hope the page will again see some life (though Cirque does plan an appeal). But Cirque’s overall concern is to be respectful, both to the artists’ family and with the KÀ family as a whole. When asked about it, the response focuses on "common sense." "What happened was awful and it affected all of us," Mr. Levey explained. "And we want to respect that and have other people understand. You see a lot of brands who just don't use common sense. You look at the 9/11 anniversary and all these brands made very insensitive posts. Such as, "Always remember 9/11 - here's a special!" We live in a day and age where the minute you do that you're opening yourself to ridicule, and we’re very cognizant of that and want to make sure that we protect our family as well." Social Media, but its nature is, "sensationalized and moves very fast. For us the main thing that we wanted to do was work very closely with Chantal (Côté - Cirque Corporate PR Manager) and RC's (Renée-Claude Ménard, Senior PR Director) team, and the important thing was that we got our message out there. For us and for the people at KÀ it's still very fresh. We’re in a position right now where we have to continue to respect them. We work very closely with the technical and artistic teams. And at some point in time we want to be able to go to them and say we would like to do something behind-the-scenes for Facebook or YouTube or whatever. We want to make sure that we keep that relationship with them. And we don't want to do something that would damage the relationship." Where Have All The Fans Gone? ----------------------------- Having so much data on a particular person’s interest level and habits allows companies to slice up their fans into smaller and smaller groups. And Cirque has developed its own internal nomenclature for their fans. "We have something internally that looks at different personas, but that's not something we share with the public. There are different strata of fans, which we're addressing right now. We definitely need to change the way we [reach out to different fan groups] and I think there's a lot of opportunity to work with you guys and the fans to help define the experience. Figure out how we can best work with you guys and reach out to you guys." One way to do that is through using "brand ambassadors." "An ambassador is someone who is really projecting our values and telling more and more people about why Cirque is relevant to them and why Cirque du Soleil matters to them. They can be famous people, they can be celebrities, they can be influential on certain topics. They can be someone like you who's a huge fan. Someone who has an affinity or loves the brand and spreads the brand's message for us." The largest discussion forum for Cirque ambassadors (and fans), Cirque Tribune, imploded by choice early this year, leaving fans scrambling with no other viable place to gather. Cirque Spotlight has since come on the scene, but its activity is nowhere near what Cirque Tribune was during its time. This is something Cirque is sensitive to as well. They could give us no other clues as to where the fans have gone. "Between Fascination! and Cirque Spotlight (www.cirquespotlight.com) that's pretty much it. We see people talk to each other within Facebook, but it's tough for us to go in and pinpoint who they are. When you reach out individually you don't know who you're getting specifically, so it's really tough to validate. But those are the only two places, and that's something we’re trying to figure out. Is there a community, and is there a place where we can work and speak with the fans and kind of cohabitate together?" This is part of Mr. Levey’s mandate in his new position, to re-imagine Cirque’s social outreach through its in-house Cirque Club. This will involve a number of new initiatives that he couldn’t talk about, but assured were thought out with the fan in mind. For now just know Cirque Club is in flux. "As far as the future we have some plans that I can't really get into further details on. But we think it's really exciting and it's something that everyone who is a fan of Cirque will want to be part of and will bring them even closer to us than before." The largest fan outreach initiative Mr. Levey was involved with in Resident Shows Division was the annual Cirque Week. A major experiment for him last year in his former position as Senior Manager of New Media and Analytics was a half-hour podcast which showed highlights from the various Cirque Week activities. Did the broadcast meet the goals for which it was produced? "Cirque Week is very specific and we know it's a specific audience, And we know [it occurs at] a specific time of year and that not everyone is going to be able to spend a whole week in Las Vegas seeing all of these shows. So we really wanted to give people a sneak preview of what it would be like. To say, ‘Hey, you could be a part of this, and if you don't know what Cirque Week is here's [something] to show you what it was like’. And we think it was successful, it created a lot of awareness. I think for fans like you we don't really need to explain the benefits of Cirque Week, I think you guys know that. But I think there are fans that might say, ‘That looks like something I should totally do, I never knew that existed.’" Becoming a Social Business -------------------------- For the future Cirque du Soleil plans to be on all the social channels, more or less all the time. But each different channel requires a different approach. "For us every channel is a different strategy. Because every channel has different types of people on them." "We have what we call social stratification. The content that we post on Google Plus may be similar to Facebook, but Facebook is going to be more editorialized. Twitter is going to be more news. Instagram is going to be photos, but photos that either tell a story or that are quick and throwaway. Now that [Instagram can] do 15-second videos, we could have an artist taking off their shoes, things like that." "For us YouTube is emerging. We have a lot of videos on YouTube, but those videos weren’t made for YouTube they were made for something else and retrofitted to YouTube. What we’re looking to do in the future is really make YouTube-specific videos or videos from Cirque shows or behind-the-scenes [videos] that are specifically built for YouTube." In a recent Tweet from Mr. Levey’s feed he posted a reference to an article written by social media analyst Brian Solis. "This guy’s my mentor, my idol. Everything this guy publishes is brilliant; everything he tweets is really fascinating." In the article, which can be found here < http://www.briansolis.com/2013/08/5-important- questions-answered-about-the-importance-of-social-business-strategy/ > Mr. Solis writes about the qualities of a "Social Business," where a business or brand is truly involved in social media. "When you begin with business objectives," Mr. Solis writes, "Social technology and the communities they reach are evaluated against bona fide priorities that already have the buy-in of executives, such as sales, employee and customer satisfaction, and brand resonance." Is Cirque on its way to becoming a Social Business, or is it already there? "We’re getting there, we really are," replied Mr. Levey. "And that's part of what my new role is and what our department does. We work very closely with Chantal and RC's team in terms of PR; we also try and champion our cause to Marketing. We do a lot of cool things and we want our consumers to know about it." "[Social marketing] is the most efficient, effective way to reach people. But I could be biased because I work in it. For me the coolest thing about Twitter is I can go and talk to Brian Solis and he may tweet me back. I can talk to Conan O'Brien if I wanted to, and he might tweet me back. It's a weird position because it brings you closer to people you might never have had the opportunity to talk to. But it's also an anti-social tool because you're on your phone or on your computer and you're not talking face-to-face." Getting Motivated ----------------- Starting out in finance but ending up in Social Marketing, as Mr. Levey did, is quite a marked change of direction. But it was part of a process he values, which includes making mistakes. "For me it was a combination of honing what I really wanted to do with my career. I think failure is something else as well. Obviously failure is the greatest motivator. We make mistakes all the time, and learning from those and figuring out how not to make those mistakes again and how to really improve upon them is what drives me." And his advice for those hoping to go into the field? "Read! Read a lot! And do research. By that I mean go to Facebook and [analyze] the brands and people you want to follow. Why do you want to follow them, what makes you engage with them? And the same with Twitter. I would also say dabble in the field. If you want to get into it get in and dabble. Don't just tell people that because you have a Facebook page or blog or Twitter account that you're good at social media. You have to practice it, it's a craft." Job satisfaction, for him, comes from communicating to Cirque’s vast network of followers some of the exciting things Cirque is doing. But it also comes from the atmosphere of Cirque itself. "It's really cool when you go to a theater during the day and film something, or you have a meeting, and you think - tonight there are going to be 2,000 people here, and it will be their first Cirque show, or their last Cirque show, or their first with their grandma, or the first with their girlfriend or daughter or son, whomever. And they're always going to remember that. That's something that is really cool that you don't get with a lot of jobs." Though don’t ask him how many hours he spends on the computer. "Too many. My wife will tell you too many." Of course Mr. Levey can be followed on his own social media accounts. Facebook: https://www.facebook.com/andrewmlevey Twitter: https://twitter.com/andylevey My sincere thanks go to: Mr. Levey for so graciously spending time with us, Chantal Côte, Corporate PR Manager, And my wife LouAnna for putting up with my sometimes obsessive hobby. ---------------------------------------------------------- "A Beautiful Roaring Scream - Viva L'Alegría!" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- If you have no voice, Scream. If you have no legs, Run. If you have no hope, Invent. And if everything were permissible? And if it was the king's fool who made sense? And if the Big Top became a magical world where the elderly became young and where the kings were clowns! And if you were king for a night! And if that's what Alegría was, what would you make of it all? Like a bolt out of life, Alegría thunders forth with an insatiable need to tell its story - the desire for a better world. In developing Alegría, Cirque du Soleil saw around them a society in flux and in constant upheaval. They saw a world of contrasts - power and powerlessness, cruelty and kindness. They saw the paradox of globalization, where a constantly shrinking world left individuals more isolated than ever before. They saw the irony of progress as though the sum of evil and hardship in the world remained forever constant. But through this uncertainty Cirque believed was the glow of the human spirit - unconquerable; resolute in its strength. Thus Alegría sets a stage where old age and youth collide, where a rallying cry-out for change takes shape to shake the foundations of society and force those who control unjustly to see the error in their ways so that together we may build a better tomorrow. Spanish for "joy", "elation", "happiness", and "jubilation", Alegría is an impassioned celebration of life in its most primitive form, an evocation of a time when fantasy and magic were integral parts of everyday life - a time when a person's world was his family, his village, and beyond was the great unknown. Many characters exist in the world of Alegría: court jesters, minstrels, beggars, old aristocrats and children. They are joined by clowns who alone have been able to resist the political upheavals and social transformations of the day. They are witnesses to the passing of centuries and serve as the social commentators for what we are about to witness. Together, they weave a tapestry of life that has been described time and again as Cirque du Soleil's signature show. Yes, Alegría gives us the power to transform society. This is the underlying theme to the classic production by Franco Dragone and Gilles Ste-Croix, one that has received international acclaim and wowed over 14 million people worldwide since it premiered in Montréal in the Spring of 1994. Since its birth, Alegría (a $3 Million production) has toured North America (1994-1995), Japan/Hong Kong (1996), Europe (1997-1998), set up residence at the Beau Rivage (1999- 2000), been restaged under the big top across Asia/Pacific (2001- 2002), North America (2002-2004), Japan (2004-2005), Europe (2006- 2007), South America (2007-2008), and the Middle East (2008-2009), before once again embarking on a tour of North America (2009-2011) and Europe (2011-2013) in stadium-like arenas. And now, after almost 20 years of performing to audiences world-wide, Alegría has bid us adieu. But what a history this show has traced out in those years. We give thanks to Alegria's cast and crew by taking a look back at all its glorious history. THE TRUTH OF ILLUSION --------------------- "Why not settle in under the big top, sheltered from the whims of the weather? Come in, you're invited to the celebration of the palace court. You'll see how thumbing your nose at things morose can become quite exhilarating indeed." (Programme Book) The appeal of the circus is universal. A circus show has the power to touch us, to enchant and amaze us. Ever since Cirque du Soleil’s beginnings, they’ve had this single goal: to astonish us, and leave us breathless. And ever since they re-invented the circus in 1987, Cirque du Soleil was doing just that: showing us that magic is pure and fantasy real, that dreams and reality do collide in the most bizarre and inspiring ways. Alegría builds on this by showing us that all dreams are permitted, we are the King, the poet and the Clown. The stage they've set for us is a royal court where imagination reigns, where all the emotions of the soul are expressed, but where joy wins out at the end of our tale... Alegría is the vision of such an amazing and highly-celebrated creative team: Guided by Founding President Guy Laliberté and led by director Franco Dragone, Alegría was created by the coven of Gilles Ste-Croix (Creative Director), Dominique Lemieux (costumes), Michel Crête (set design), Debra Brown (choreography), the late Guy Desrochers (sound design), Luc Lafortune (lighting), René Dupéré (composer) and Pierre Parisien (Artistic Director). "Alegría harks back to the travelling family circuses that criss- crossed Europe not so long ago," said Alegría's Director, Franco Dragone in an interview for "Truth of Illusion", a documentary on the creation of the show. "It’s characters, costumes, and performances evoke a time when fantasy was more real and magic was a part of everyday life; a time when each Fool had a King; a time when a person’s world was a family, his village, and beyond was the great unknown. Today the universe has shrunk, but the individual’s isolation has grown. We do not choose to turn back the clock, we cannot change the world. But we can rediscover a magical belief in human tenderness. Perhaps we need to rediscover that true ambition is not to reach for the stars but to stretch a hand to wipe the tear from our neighbor's cheek." "Alegría was a very personal show for me," Dragone continues. "I was going through some painful experiences at the time, and wanted to express that pain." Some of that pain came during the creation of Mystère at Treasure Island, Las Vegas. He found adapting technical demands to the artistic potential of the theater created many problems. "We were [just] getting to understand the big top [and] pow!, [we're] doing a show in a theater!" And while all of that was happening, the wheels of creation were already churning on the next touring show, informing its basic theme. "It would be sad, heavy, really hard. There would be less color this time," said Dragone. "But [where I come from] Alegría means that, even when you're in pain, life goes on. It's impossible to have only joy. It's impossible to have only tears. Joy's always with tears and tears are always with joy. But this show has touched me very much." "Alegría, for me, was inspired by history," admits Gilles Ste-Croix, the show's Director of Creation. "The Berlin Wall was falling, the old order was changing. We were asking ourselves: what new power structures will replace the old ones? So Franco created two poles of order: the young vs. the old, the rich vs. the poor..." "I hate power, any kind of power," Dragone re-affirms. "It's why I try never, never to abuse with my power. Sometime people think and been casting people out is thing that I scream a little bit too much. Alegría was an exorcism, and there was joy at the end of it." The set was built to express the idea of a changing world. "Alegría came out of a process of questioning the whole notion of power and its abuses," Michel Crête muses. "How can anyone presume to have power over another human being? It's terrible! So, for me, the dome on the set is a sign of imposing power. We replaced the circles from previous shows with squares, which are more solid, unforgiving. The centre of the tent itself became more important. The characters live within a much more oppressive structure." Thus, the Big Top was transformed into the King's court. An enormous dome overhung the stage, which was surrounded by diamond-shaped paving stones to protect the occupants of the palace as if they were in a fortified castle. Four huge masts supported the dome, bringing to mind the heavy chains of a drawbridge. Two spiral staircases encircled the ring leading downwards, symbolizing the unknown (and enabling the personae to sneak in and out.) A raised platform decorated with stylistic columns and balustrades served as the minstrels' balcony. There they set up their musical instruments and looked haughtily down on the activities of the world below. Yes, Alegría's set was an imposing monument, an undefined monolithic structure suggesting an institution of great power and influence. A huge structure, heavy in its connotations yet light in its execution. The lighting is designed to reflect a nostalgic atmosphere, like that of a 17th-century ballroom. The autumnal tones create the luminous obscurity of the show. "If you look at the Nostalgic Old Birds you really get a feeling of death and decay, which made me think of Autumn," remembered Luc Lafortune, Lighting Designer. "So I went in that direction with the lighting: the texture of heavy leaves, dark greens, reds, browns. And it works! When the Angels, who are the opposite of all that, come on, the whole place just bursts because of the contrasts." The beams of light shine through and onto a mesh cyclorama, creating dazzling lighting effects. On the floor, one can discern the head of a salamander, which lives in all four elements. The lavish costumes for the characters representing the Old Order - Fleur, the Old Birds and the Singers - are made from richly-colored fabrics which are painstakingly hand-detailed with lace, feathers and sequins. They evoke the flamboyant costumes worn by the aristocracy at Versailles and other European palaces of the period. "Alegría is the scream of destiny. The Jester and the Old Birds represent a bygone, pompous era. Their only remaining wealth is their faded nobility. The rich fabrics and colors of the court of Versailles are the expression of this tarnished splendor. Their opposite is the White Angel, representing youth, innocence, and eternity," said Dominique Lemieux, Costume Designer. The costumes for the New Order - the gold-clad Bronx, Nymphs and Angels - reflect the same rich tones, with less decoration, but more luminous for these young creatures. The materials are lighter and emphasize the agile bodies of these characters who will take control of the future. "We're looking for alternative ways of expression that have normally been expressed through athleticism and tumbling, height and flight and dynamics," Debra Brown reminds us. "And what else is there that can come out of that apparatus in collaboration with the artists and the dance and the movements and the music." The lively and emotional musical score by René Dupéré moves between jazz, pop, tango and klezmer. "I started from a single idea that came from Gilles Ste-Croix and Franco: the idea that the fools have lost their King," Dupéré recalls in "20 Years Under the Sun'. "For me, the fool and the king can be two parts of the same individual, mirroring one another. It gave a sort of half-ethnic, half-middle-ages feel to parts of the music." "Alegría has a kind of European flavor," Dupéré continues. "So I wanted to go back to our Felliniesque origins. I was a street performer. I played in the streets and there was something very lively, something very emotional. I wanted to go back to the emotion in the music with accordion, a kind of raunchy street voice, and violin and those basic instruments. I also wanted to go back to the music I'm particularly fond of: Rota, Morricone, Vivaldi, Mancini… the Italians!" The music of Alegría evokes the passion and intensity of travelling minstrels by using acoustic and percussion instruments including accordion, saxophone, keyboard and guitar. The vocals render the gravelly and genuine voice of the street. But in counterpoint the synthesizer arrangements also reflect the change that is imminent. The music to Alegría is the most successful in Cirque du Soleil’s history. The soundtrack has reached platinum level twice in Canada and was on Billboard Magazine’s hit parade for 55 weeks in the "World Music" category. The title song, Alegría, was nominated for a Grammy Award in 1996 in the "Best Instrumental Arrangement with Accompanying Vocal(s)" category. According to Guy Desrochers, sound designer for Alegría, bringing singers and live musicians to the big top before the age of in-ear monitors posed a special challenge. "A tent is made of vinyl, and vinyl reflects sound. Because, for all intents and purposes, you're outside, and weather has a huge effect on sound, for instance when the humidity changes. With Alegría, we had to preserve the integrity of acoustic instruments like violins and accordions in that environment. And we had to ensure the singers heard themselves, so monitors had to be pointed to the middle of the tent. The audience gets mixed up in that, and it makes it even harder to point and place the speakers properly." # # # They're all obsessed. They're all possessed. The spell which has been cast is irreversible. At last, they've all gone mad. Mad! They've all gone mad, at last... And so it goes. Faster and faster yet, higher and higher still, beyond their wildest dreams and so we go, beyond the point of no return for the sky is no longer the limit. Time is running out in the space of their dreams, however. It seems like a light year ago when they first came to life. But the old order is trying to keep the curtains drawn, to keep out tomorrow; you'd wish time could come to a halt. You wonder if the vision might be an illusion after all. A blinding darkness for a cast of shooting stars, scanned and telescoped to find their perfect orbit... No. No to this hell on Earth. No to the fears and tears. No to the sadness of many years. A new day is dawning. The future is rushing in. Alegría! Alegría! Their time is now. And now, the time is right. It is the vigil of the longest night, when the builders of dreams, magicians, engineers, fools and kings are humbled seers, welding their flying machines for the coming of the new dawn... Your time has come. And should we ask who you are, would you remember who you were? Now that you know the mysteries of many lives ago, you may go joyfully to rest for there is music now and a dream to share... there's music now and Alegría in the air! THE FOOL AND HIS KING --------------------- The King and the Nobles gathered round to listen. The Fool cleared his throat and began to explain. "It's really perfectly clear: if I were a King," said the Fool, "I would need a Fool. And if the Fool were King, then the Fool King's Fool would truly be a paragon of folly. Folly so foolish as to be wise. Since if the Fool were King, then the King would be Fool and the one would be the other and the two would be one, like the tail and the head, together, to lead the world, because who is boss depends on whether you walk North pointing South or vice versa all relative to which way you look. You see?" And the Nobles and the King could not see so the Fool took a deep breath with just a hint of a smirk and started all over again... "You see, it's really perfectly clear..." Step up to the front. Tap your toe to the beat. Let the music move your limbs. That's right... a step to the right, a step to the left, two steps to the back. It's not progress, but who cares. Now look around. There she is. Your partner. Let the music move you towards her. She's playing the game. Play along. Mirror her moves, mirror her moods. Find her eyes with your eyes. Sink into the music, let it carry you. Away. Away and within. Far and deep. Hmmm! It's so good. You link arms without a thought about who you should be. You let it go. And the music plucks your heart. # # # A crash of cymbals and the pounding of drums announce a procession... the musicians march into view, creating mayhem wherever they go. They are dressed in white and are followed by a overly rounded man dressed in red: Fleur. In the absence of a king, the Old Birds have only a fool to turn to: Fleur. Fleur is our guide through the world of Alegría, but he is unpredictable, and a dangerous madman who believes he is king. Carrying a magical stick (lit at its tip) ready to show the cruelness and loneliness of the world to us. Fleur struts about like an ill-mannered man before appearing on stage. And then, as he looks out at the spectators who have come to see his play, he takes a deep breath and yells out with all his might: "ALEGRIA!" "Mirko" fills the air as characters of all shapes, sizes and colors fill the stage. A trio of clowns waddle out and sit upon a suitcase, only to be frightened away by a big bolt of white light. Enigmatic characters in white fill and then leave the stage. The two singers, White and Black, come to us and fill the world with melodies. The Nymphs join the chorus, strutting about in birdlike fashion. We're introduced to Tamir and little Tamir; followed by the Fire Man. And then the most aristocratic characters of them all: the Old Birds. The nostalgic Old Birds observe the goings-on as though they were still young and beautiful and the future was still theirs. They admire their reflections in mirror less frames, but are only empty shells, shadows of their former selves. They are the old aristocracy, still convinced of their power and beauty. But they are twisted, deformed and ugly. And thus Alegría begins! SYNCHRO TRAPEZE The Old Birds are the mainstays of Alegría; they've lived in the palace for as long as it has existed. Courtiers without a court, they are a reminder of the unchanging guard and as such they infect the show, as they do the world, like a plague. These bird-like characters have grown old and forgotten, and yet they think of themseleves as fresh, new and beautiful. We find one sitting in front of a mirror, admiring itself, as they always seem to do, when something spectacular happens: a young woman appears in the reflection. And then a man. And the two walk through the mirror and into the realm where voice - above all - is repressed. But their voice will not be silenced. For the moment they step into this world a great and thunderous voice fills the air, singing out against sorrow and the madness of man in "Vai Vedrai". Vai vai banbinno vai vedrai vai... "Go child, go and you will see," the White singer hails, as the two young performers ascend into the heavens. As they do so, the sorrowful voice of the singer touches us. Oh mio fanciullo vedrai, vai vedrai che un sorriso. Nasconde spesso un gran dolore. Vai vedrai follia del uomo... "Oh my child you will see, you will see sorrow. It often hides a great pain. And Madness, you will see the madness of man..." The Syncro Trapeze and the animation that accompanies it is a wonderful start to the show. Youthful and carefree, this duo swings from the heavens above. Their symmetrical dance in the air captures the energy in each breath of life. Perched on their individual trapezes, two graceful aerialists perform an awe-inspiring display of harmony and beauty. In this breathtaking routine, the daring duo defies the law of gravity with incredible mid-air twists and maneuvers, building to a crescendo of aerial feats. Their performance is a slow realization of the struggles and indignities present in today's society. They react to this raw emotion, tossing themselves from the safety of their bars - only to catch themselves with their feet. Then get up to do it over and over again, signaling to us we can break free... FAST TRACK The Syncro Trapeze artists give way to a group of energetic, swift moving acrobats spun in silver and gold ("The Bronx"). The Bronx are young and tough. They are the next generation, ready to topple the old order and take power from the weak Old Birds. Individually and as a gang, their acrobatic prowess on the Fast Track is a measure of their power. They are strong, but also sensual and graceful. They are both an imposing force and a celebration of youth. This ethereal group of performers soar in the air executing lively gymnastic and tumbling displays in unison and in counterpoint, reaching astounding heights and speeds on an elongated overlapping trampoline that magically appears from within the stage. Like medieval warriors penetrating the depths of a mythical forest, the tumblers not only demonstrate their undeniable acrobatic prowess and strength, but also their grace in a dance whose manner is unique to Cirque du Soleil. Joining The White Singer for the first time is her alter ego, The Black Singer. The Singer in White is a symbol of all that was good in the old order. She is the storyteller who echoes in song everything she sees around her. The Singer in Black is the Singer in White's alter ego. There is a wickedness about her. In her elegant black dress, she hides many secrets in her dark heart. Their harmony on this beautiful theme is spine tingling. But, just as the listener is lulled into a trance, "Irna" returns with more power to complete the Fast Track act's climax. SHOUDER-POLE WIRE Alegria's clowns perform "Bird on a Wire" before fluttering away for the Shoulder-Pole Wire act. Enlightened with "Kalendero", the number is performed by a team of two artists in two separate groups: Group 1 consisting of Shi Yanping and Liu Lu, while Group 2 consists of Kang Kui and Zheng Li Sha. Both performers take the stage with one holding the pole on her shoulder while the other flipped in the air on its thin wire line above. Tamir appears when he is needed, only to disappear once he has fulfilled his mission, stands by in case help is needed. His wide grin and sparkling eyes are windows into a generous soul. STRONG MAN Guarding the Nymphs, nubile young women with wings, is the Strong Man. He is ever present in the world of Alegría and is a man you never want to meet. Reminiscent of the Strong Man acts of traditional circus culture, Alegria's gentle giant bends bars of steel, juggles 34 kilo weights and even lifts 340 kilos with his bare teeth. In spite of his obvious strength, two less timorous birds fly onto his "perch" and playfully challenge his fortitude. At first, he plays a little tug of war with the Old Birds over a steel bar. But then, he summons all his strength and bends the bar around his shoulders and head. After that amazing show of strength, he is presented with a cage and inside, all the Old Birds stand. He must lift them all! But then, as he prepares to lift the Old Birds, Tamir and Little Tamir join in the fun and with his back to them all, he lifts them off the ground! An amazing show of strength! HOOPS Fleur calls to the Old Birds, who rush the stage. One by one they come out, each holding a metalic hoop. Seeing it as more of a toy than anything else, they try and manipulate it around their waists, but it falls to the ground. Too lazy to pick them up, the Old Birds leave the hoops. Fleur smiles again when a young girl appears. In her yellow form-fitting costume with delicate brocade accents, her head topped with tight yellow curls; she is a graceful performer as well as a stunning beauty. She is youth personified. Combining the grace and agility of a gymnast with the flexibility of a contortionist and the dexterity of a juggler, the enchanting elfin-like performer weaves her way through a myriad of ever-spinning hoops. She's all a-glow in the limelight! SNOWSTORM The Snowstorm is a unique clown act that has more sorrow in it than laughter. Performed to the song "Nocturne", the clown with the white tuft of hair shows us all his sorrows. He appears with a tattered suitcase, chugging along the train tracks left on the floor. When he arrives at his destination, he opens the suitcase, pulls out a dress coat and hat, and hangs them up. He then begins to brush off the coat when it mysteriously comes alive! The two cling to one another in comfort, but there's malice afoot as the mysterious friend slips a letter into the clowns pocket. A train whistle interrupts them and the Clown takes off. When he arrives at his intended destination (his hat smoking), the clown finds the letter in his pocket. As he reads it, his smiles turn to frowns. He is so saddened by the contents of the letter he tears it up and throws it into the sky. Snow begins to fall alongside the pieces of the letter. The clown is alone in the world. Sad, the clown begins to walk away but is confronted by a blast of wind. The wind blows harder yet; the snow blinding us all. FIRE DANCE Fire is an essential part in any society. Here, Cirque uses fire to show turmoil and upheaval in the world. Performed by a wonderful artist from the Pacific Islands, the entire stage bathes in the glow of his flame. He takes the fire sticks from the gold and silver dressed Fast Track artists and lights it with his hands. With a Polynesian flair, the fire blurs in rings of light stopping only long enough for him to wash the fire over his skin. After twirling one such stick, he is brought another and the adventure begins all over again. Tribal and magical - this authentic ritual dance is performed with the pulsing rhythm of congo drums by an artist weaving his baton-like fire knives around his entire body, from his feet to his palms to his mouth, in a seductively dangerous dance. In the end, a clown appears and uncovers a single candle, which he had hidden under his clothes. Mocking the previous performance, he moves the candle from side to side, up and down, and around his arms. And in a finale to rival all finales, the clown wets his fingers and snuffs out the candle light, burning himself. Intermission is upon us. AERIAL CUBE The second act of Alegría opens with a flurry of activity. The White Singer, in all her beauty, is drawn to the men in the audience. After teasing a couple, she selects one and takes him up on stage. The two dance until the Strong Man - the protector of Alegría - roars onstage and takes the man back to his seat. Then a clown on horseback rides by carrying a letter in his hands. He tries to deliver it to the Singer in White but everyone grabs for it. The letter passes from the Clown to Fleur to Tamir to the Strong Man back to the Clown before he rides off. A man bolts into the forefront, signaling the end of the clownish antics. The stage once again tints Orange as this new performance sets to take hold. A virtuoso who can turn a simple cube into an object of beauty. Mind over matter, light over darkness, the cube man in a seemingly effortless manner dominates his instrument. Shunning open shows of strength in favor of the more subtle artistry evoked by sensual masculine movement, the performer manipulates the cube while suspended in the air or, in a stunning flurry of light, on the ground. Strong yet tender, natural and surreal the cube man evokes a higher authority in search of life's force. RUSSIAN BARS The White Angels are the graceful guardians of Alegría. Agile, confident and daring, the angels are the youth of tomorrow who have alighted in the palace from the heavens. Their bearing is regal, their arms - like wings - are always poised elegantly at their sides. Dressed all in white, with breastplates of woven gold and their noses painted red, the Angels support one another as they take turns tumbling through the air on the Russian Bars. Amazing acrobatic flyers are thrust into the air from a single, double or triple bar that is perched on the sturdy shoulders of powerful catchers. The sure-footed flyers perform multiple synchronized somersaults and mid-air twists at an unbelievable pace. The Russian Bars requires a high level of concentration and mutual trust between the performers. Each flexible bar measures two to six inches in width. CONTORTION One of the most celebrated performances in Cirque du Soleil's Alegría are these small, delicate bird-like creatures - two contortionists who bring this refined Mongolian circus art to the stage. Perched on a seemingly weightless table which rotates slowly as they perform, the duo executes both impressive and imaginative feats of flexibility and balance. The fluid movements are masterful, as they manipulates into extraordinary sculpted forms. Sometimes they move in "mirror image" to each other, sometimes together, and sometimes supporting each other one on top of the other. FLYING LEV (HIGH BAR) Human dreams taking flight, borne by the hopes of a new millennium. This High Bar apparatus was especially designed by Andrei Lev and Choreographed by Pavel Brun just for Alegría. (A dual-version of this apparatus appeared in Mystère beginning in 1995). The pendulum movement of the cradle emphasizes that time continues and never stops passing. The benefits outweigh the risks, for the adventure is the reward. Three high bars set more than 40 feet above the stage form the aerial playground for daring acrobats to fly to and from the arms of mighty catchers, suspended by their knees on a cradle swing. The astounding act, performed by Russian acrobats culminates in a death- defying plunge into the net. "Querer" and Little Tamir fill the set-up time for the act, as Little Tamir and a bird fly through the air. But, a couple of minutes thereafter, "Icare" fills the big-top and eight men climb up one by one to their perch atop the big-top. One by one, they flip and turn around the apparatus before letting go and placing their future in the hands (literally) of the catchers. EPILOGUE Almost as soon as it started, Alegría - the cry for help; of contrasting worlds: those who have power suppressing those who do not - comes to a close. Change has begun; the Human Spirit lives on. The White Singer fills the stage with the show's signature song: Alegría, come un lampo di vita Alegría, come un pazzo gridar Alegría, del delituso grido. Bella ruggente pene, seren. Come un assalto di gioia, Alegría! I see a spark of life shining, Alegría I hear a young minstrel sing, Alegría A Beautiful roaring scream of joy and sorrow, so extreme. There is a love in me raging, Alegría! A joyous, magical feeling! The Old Birds are once again on stage with their glassless mirrors. The artists step back through and the Old Birds dance about. Performers fill the stage and bow. As the performers retreat, the Strong Man steps forward and roars a beautiful roaring scream and the lights dim. Alegría comes to a close. ON TO ASIA & EUROPE ------------------- We have no illusions. The children of the streets will not see Alegría. Laughter is still a luxury they cannot afford. Tonight, our cries of joy will become screams of rage because millions of young hearts will again freeze in the gutters of our goodwill. May Alegría become a rallying cry for those of us who still have a voice. (Europe Tour Programme Book) Cirque du Soleil celebrates its 10 year anniversary in staging Alegría, and true to tradition, the two-year North American tour is launched in Montreal. Meanwhile, Mystère continues to create a sensation in Las Vegas. And Saltimbanco? Saltimbanco embarks on a six- month run in Tokyo that attracts a great deal of attention (and spectators; 557,851). It's clear from these numbers that Cirque du Soleil has quite an audience in Asia. So by 1996, while Saltimbanco continues to conquer Europe, Mystère runs strong in Las Vegas (getting revamped in the process), and a fourth show is launched in Montreal (Quidam), Alegría finishes up its triumphant 13-city North American Tour and prepares for a three-city tour of the Pacific region, specifically Tokyo and Fukuoka, Japan and Hong Kong. Alegría would change in the process. Both Aerial Cube and Shoulder-Pole Wire acts went missing from the line-up. While Shoulder-Pole would never be seen again, Mikhail Matorin (the act's creator) would take his performance to Mystère (as part of that show's revamp). In its stead, Cirque presented "Flying Man in Silk" by Russian artist Yuri Maiorov (who also performed Russian Bars and FastTrack at the time). Described as "Strong yet tender, powerful yet light, natural yet surreal - the Flying Man shuns open shows of strength in favor of the more subtle artistry evoked by sensual masculine movement and the rich flow of silk..." - Yuri would go on to perform his act through both Japanese cities and Hong Kong in 1996, transfer to Mystère for a time in 1997, then become part of La Nouba's creation in 1998 (He most recently retired from La Nouba, passing on the act to a much younger man.) Additionally, in 2003-2004, Ebon Grayman who had been performing the character of Fleur at the time (and had also been a member of the Bronx FastTrack team before that), created and performed his own Flying Man in Silk act as an act-in-reserve. Although no longer performed (since Ebon has moved on from Cirque), his act was not only full of strength, but unending grace. (You can see him practice this act on the Alegria DVD Behind-the-Scenes Feature, but I'm getting ahead of myself here...) Tight Wire was another addition to the show. It made its first appearance during the Japanese Tour (1996) and continued through to Hong Kong that same year. "Reminiscent of a young girl thoughtfully playing out her game of hopscotch, the artist is a study in nimble, dexterity and relaxed grace. Balanced on a wire measuring less than two centimeters in diameter, no one breaks her concentration or disturbs the lively pace of her intricate footwork for she is in a world which only she commands." The act was performed by Molly Saudek, a young artist from the United States, and was not employed when Alegría went to Europe (1997-1998). When Alegría returned to Japan/Hong Kong in 2004-2005 (as Alegría 2), those extra elements were once again added. One of those was a "Slack Wire" act performed by Yang Huang, a young artist from China. When Alegría moved on to Europe for the second time (2006-2007), Slack Wire did not continue. The final new act to be introduced to Alegría during this period is Samuel Tétreault's Hand-Balancing number, which the programme book described thusly: "Like the stately spires of a medieval cathedral, this elegant equilibrist reaches to evermore lofty heights seeking not only the challenge of the rarefied air but some illusive deity. Whether on the ground or precariously perched, the performer is dexterous on one hand or two. His style is simple and pure, as unwavering as the tower which protects the throne." One Alegría reached the shores of Europe in early 1997, Saudek's Tight Wire and Maiorov's Flying Silks would be replaced, and Aerial Cube would make its triumphant return under native Australian Paul Bowler, who learned the art directly from the act's creator. (While Paul was busy on tour, Mikhail took up residence at Mystère.) Paul, of course, would continue on until the end of the European Tour. Tétreault's Hand-Balancing act would also. But even more drastic changes were coming to Alegría. On April 29, 1998, Cirque du Soleil and Mirage Resorts announced that Alegría would find a permanent home at the Beau Rivage. THE BEAU RIVAGE ENGAGEMENT -------------------------- "Come to a place where genuine Southern hospitality and charm go hand in hand with meticulous service..." Situated on the salty-shores of the Mississippi Gulf Coast, Steve Wynn's Beau Rivage sported 1,780 "elegantly appointed" guest rooms and 66 luxurious suites, which come with either a spectacular view of the Gulf of Mexico or of the Bay. And under the 32-story tower was a 78,000 square-foot casino, twelve restaurants, a full spa, a salon, a shopping promenade, a marina, a pool, and a sandy white beach - all for your pleasure. The final price for all this luxury? $800 million. And that isn't a lot considering the Bellagio cost double that amount. With the Beau Rivage's opening on March 16, 1999, came another collaborative effort between Wynn's Mirage Resorts and Cirque du Soleil - the fourth such venture. Nouvelle Experience began the partnership in 1992 when it was presented in the white and gold Big Top on the grounds of The Mirage. Mystère solidified that partnership in 1993 (at Treasure Island), which "O" extended in 1998 (at Bellagio). And after much discussion, Cirque du Soleil and Steve Wynn settled on Alegría to set up stakes at the Beau Rivage. But not just under the Big Top, oh no... within was a 1,552 seat theater reflecting the "warm welcome inspired by the climate of southern France." For those who bore its splendor, the design of the venue was simple and elegant, featuring a wonderful splash of color. And, unlike the "O" theater the Alegría Theater was ornamented with an elegant display of the show's name - right above the door. Inside, the ceiling was a vibrant shade of blue, representing the skies of the village Alegría played upon. Here, Sky Art also provided designs for a 15,000 square- foot mural "reminiscent of Claude Montet's water paintings." Below the skies were the theater seats, bright yellow, creating an allegory of the beaches where the Beau Rivage was founded. And then there were the walls, adorned in oranges and reds, bringing meaning to the rising and setting sun. Besides the wonderfully adorned space, the Beau Rivage Theater incorporated a no-proscenium arch design quite similar to its Mystère counterpart. Like the Treasure Island Theater, the Beau Rivage Theater also had no obstructive poles, providing a limitless viewpoint to all spectators. The set and stage retained its familiar squarish form, complete with the Fast Track built into the floor. Overhead an enormous dome that for designer Michel Crête signifies "a sign of imposing power," which reflects the theme of the show - an allegory about power; who has it and who does not. For the Beau Rivage engagement the show would go under the knife, cutting several segments previously seen on tour (such as the Aerial Cube and Strong Man), updating the Fast Track to something a little more reminiscent of the choreography seen in "Alegria: Le Film", and re-ordering the flow of the acts slightly to accommodate the missing acts. What audiences got was a highly truncated version of the show (at 90-minutes) that ran through seven still-amazing acts: Syncho Trapeze, Hoops (by Elena Lev), Fire/Knife Dance (by Isaac Samuela), Russian Bars, Fast Track, Contortion (by Chimed Ulziibayar and Tseveendorj Nomin), and Aerial High Bar, clinching the show. Audiences in Mississippi didn't "get" the show, or Cirque du Soleil for that matter, as patrons in Las Vegas had undoubtedly had - much to the chagrin of both Cirque and Mirage Resorts. And thanks to Saltimbanco's re-staging and tour of Australia and New Zealand in 1999, and a return to Japan (as Saltimbanco 2000), Alegría's time on the Gulf Coast was as short as its truncated running time; it was going back on tour under the Grand Chapiteau! BACK ON TOUR ------------ A low wall surrounding a field flowing with waves of wheat, shimmering with shocks of sunlight, stands silent sentinel to a man, old and infirm, dancing, crazed and crooked, with arms akimbo. Beating time with a tired twig, he serenades the serene sky: mother of my mother, father and friend feast on this wonderful wheat, generous gift of my God. The Old Man's cracked cackle careens over the wall and wails into the nearby vale where a goat grazes. The butt of the beast bolts up to listen to the lament of the drunken devout. With a moist mouth and a goat's gaze the beast bellows a bleat of enamored emotion. The Old Man and the Ram rhapsodize a crazy cantata. (Programme Book) Alegría packed up its troubles on October 2, 2000 and prepared to conquer new markets, beginning with Australia. The re-staging would forever change the show, though, making it darker, heavier, more powerful. Although some acts missing during the Beau Rivage engagement would be re-integrated into the line-up (such as the Strong Man), others would be retired forever: Elena Lev, who'd been with Alegría since the very beginning, would retire from Cirque (for a while - she'd later return for the show's filming, to replace Hand-Balancing in Quidam for a time, and even star in Wintuk and Zaia, before those shows closed.) Elena Lev's Hoops Act was replaced by a Manipulation number: "The enchanting performer combines rhythmic gymnastics, flexible contortion, deft juggling and graceful ballet into one act. Using silver hoops and beautiful silk ribbons, she dances and leaps across the stage as the music plays on." Aerial Cube, which was not presented at Beau Rivage, would be represented on tour now as "Flying Man": "Combining the elasticity of the bungee with the power of the gymnastic rings, the artist soars through the air while performing acrobatic feats. His awe-inspiring performance is a combination of incredible skill, agility and strength. His sculpted physique is imposing, yet he is tender and graceful." And Hand-Balancing would return as an act-in-reserve, performed by young Ukrainian Denys Tolstov: "Using his incredible strength and his great abilities in ballet and contortion movements, he executes slow figures on canes of different heights. The tallest cane is at 1m 90 from the stage." And later, when Alegría returned to Japan/Hong Kong in 2004-2005 (as "Alegría 2"), extra elements were once again added into the show: A "Slack Wire" act performed by Yang Huang, a young artist from China. And once again "Aerial Cube". When Alegría moved on to Europe for the second time (2006-2007), "Slack Wire" did not continue. (But occasionally an Aerial Cube act was seen in rotation.) Another act-in-rotation was kept in reserve too: a jugging number by Victor Moiseev, a young artist from the Russian Bars number, who just wanted to have a solo act of his own. Attaining a high level by creating original movements and tricks with the balls, he succeeded to manage his own place in the show. And the show played on... * * * Fifteen years after its birth, Alegría was given a fourth life. Once again thanks to Saltimbanco, the show would be reborn in 2009 as an arena construct, setting out across North America and Europe with one- week engagements at a time. And, yes, ushering in even more changes - new acts such as the Cyr Wheel and Hand-Balancing (which was integrated int the main course of the show rather than set in reserve), and some simplifications too - but the song still played. Until now. It's hard to believe that Alegría's journey is now over. That we'll never get to see this amazing, fantastic, and classic expression of Cirque du Soleil's prowess under the Grand Chapiteau ever again. Or will we? Only our friends at Cirque du Soleil know for certain. Who knows what may happen in five... or ten years down the road. If a set of young acrobats may want to resurrect Saltimbanco one day... we can only hope Alegría may follow. In the mean time we'll miss you, and thanks! # # # Thank you. Thank you to the Makers of Rules. To the Breakers of Backs. To the sincere Autocrats. To the false Democrats. To the Builders of Walls. To the Painters of Lines. Thank You. Thank you again. To those who Tattoo Numbers. To those who point fingers. To those who count their greed. To those who split by color. To those who smile their lies. Thank you. Thank you so very much. Please, step into the Spotlight. Let us take your picture. To immortalize you. To thank you. Let us engrave your faces into our album of infamy. So that we may never forget. So that we may never accept. Viva L'Alegría! ======================================================================= 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 Really 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 14, Number 1 (Issue #120) - January 2014 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2014 Ricky Russo, published by Vortex/RGR Productions, a subsidiary of Communicore Enterprises. No portion of this newsletter can be reproduced, published in any form or forum, quoted or translated without the consent of the "Fascination! Newsletter." By sending us correspondence, you give us permission (unless otherwise noted) to use the submission as we see fit, without remuneration. All submissions become the property of the "Fascination! Newsletter." "Fascination! Newsletter" is not affiliated in any way with Cirque du Soleil. Cirque du Soleil and all its creations are Copyright (c) and are registered trademarks (TM) of Cirque du Soleil, Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright infringement intended. { Jan.04.2014 } =======================================================================