======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 11 November 2014 ISSUE #130 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Well, it's certainly been an interesting month for announcements, hasn't it? There's "Allavita!" by the Cirque du Soleil Group, Events and Special Projects team, which was tasked to create an engaging and unique show concept to be presented during the Universal Expo in Milan, Italy from May 1st to October 31st 2015. Saban Brands and Cirque du Soleil finally unveiled their first collaborative effort since joining forces last year - a TV co-production called "Luna Petunia", a pre-school series inspired by the Cirque. And last, but not least, is "Creactive", a partnership with Club Med to dream up the ultimate circus-inspired playground in Punta Cana, featuring unique activities inspired by the wondrous and unexpected world of Cirque du Soleil. It's no wonder there won't be a Cirque Week in Las Vegas this year! (There's various details about these projects in our news section this month should you be interested in learning more about these new projects...) Speaking of Las Vegas... guess who turns 10 this month? KÀ! Though it would go on to hold a star-studded gala premiere on February 3, 2005, the spectacle began preview performances at the MGM Grand on November 26, 2004. So... happy birthday KÀ! At the time of its creation, KÀ was Cirque du Soleil's biggest and most ambitious project to date, in terms of physical size and budget. Directed by Canadian theater and film vanguard Robert Lepage, and ringing in with a purported price tag of $220 million USD, an alleged weekly running cost of $1 million USD, a cast of 75+ artists, and a crew of 158 stage technicians, KÀ aimed to reinvent and revolutionize the world of live theater, and in many ways the Cirque du Soleil itself. KÀ, of course, deals with the theme of duality and is the epic story of a set of twins, separated at childhood, who must voyage through a series of adventures, while relentlessly pursued by enemies, in order to fulfill their destinies in a classic battle between good and evil. The characters of KÀ inhabit a world of many tribes and factions. These tribes are largely segregated from each other and some tribes are in conflict with others. The story of KÀ brings together the different peoples of this world to meet their collective destiny. To celebrate KÀ's momentous achievement, we've dug into our vast archives for something unique to share at this occasion, finding: "The KÀ Creators' Notebook". This journal, compiled and shared internally, features some very interesting behing-the-scenes notes regarding the creation of the MGM Grand show. Picking up just following the official press conference on September 15, 2004, we hear from Anh-Dao Bui (the Assistant to the Production Manager), Céciles Vignes (Internal Communications Advisor), and Stéphane Mongeau (Production Manager), as milestones in the show’s creation are reached – including living through a “Lion’s Den” performance! Any performance in front of hardcore fans is a "Lion's Den" one in my opinion. There's hardly anyone more critical than a hardcore fan, is there? Early last month I joined a band of Cirquesters here in Atlanta to take in Cirque du Soleil's Amaluna, which I've not seen (except on DVD) since it premiered in Montréal in April 2012. What did I think? Although I can't say I am happy about the cuts (I really do miss the unicycle girls and the tightwire team), nor was our performance a perfect one (the storm duo were out of commission that night and hoops manipulation - the replacement - failed to ignite our passions), it was good to see the show again. Especially considering Lara Jacobs Rigolo, the original Balance Goddess was performing! (Alas, I also miss Marie-Michelle Faber as the Moon Goddess, and Pepa Plana as "Deeda", but I digress...). That being said, the teeterboard boys rocked it (even with one or two short), it was great to see Julie McInnes as Prospera too before she leaves, and, of course, the Amazons didn't disappoint. Lindsey Bruck- Ayotte is a gymnast and artist from Syracuse, New York who is currently touring with Cirque du Soleil’s Amaluna as one of the Amazon characters and captain of the Uneven Bars team. Lindsey granted The Chapiteau an interview (which they've graciously allowed us to share with you) in which she talked about how she started her career in gymnastics, how she ended up in Amaluna, information on the creation process and much more! And speaking of The Chapiteau... Fascination! The Unofficial Cirque du Soleil Newsletter has provided news, features and updates to Cirque fans of all ages for more than 13 years. And in that time we’ve contemplated taking our humble text- based publication into new mediums: as a blog, a digest, and even a graphical magazine. Well, now we’ve done it. In cooperation and in partnership with The Chapiteau, we proudly present The Chapiteau- Fascination Magazine, a graphical fanzine for hardcore Cirque fans to keep up with the latest and greatest from the Cirque du Soleil fandom! For long-time readers of Fascination! don’t worry; we’ll continue to publish our monthly text-based newsletter as we’ve always done. And The Chapiteau isn’t going anywhere either. Rather, we’re embarking on a fantastic – and much more colorful way – to archive the news, updates and features both Fascination! and The Chapiteau bring you on a daily and monthly basis instead, together! So download it today and tell us what you think! And best of all? We’re bi-lingual! English: < http://goo.gl/q6Ctku > Spanish: < http://goo.gl/pptVO0 > As always we've got the latest news items posted to Fascination! Web, the posts made to CirqueClub's pages and Cirque's Facebook links, and, of course, updates to Cirque's tour schedule. So, let's get started! Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * 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 * Club Cirque -- This Month at CirqueClub & Casting * Networking -- Posts on Facebook, G+, & YouTube o) Fascination! Features * "KÀ at 10: The Original Creator's Notebook" By: Ricky Russo - Atlanta, Georgia (USA) * INTERVIEW /// "Lindsey Bruck-Ayotte - Uneven Bars" By: The Chapiteau, a Cirque du Soleil Fan Club o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Cirque to Present "Allavita!" at Expo Milano 2015 {Oct.01.2014} ----------------------------------------------------- Expo 2015 has selected the Cirque du Soleil Group, Events and Special Projects, to create an engaging and unique show concept to be presented during the Universal Expo taking place in Milan, Italy from May 1 to October 31, 2015. The colourful artistic circus will employ their graceful, acrobatic dancers to delve into the deep and complex ties between food and human existence at Expo's request. The theme of the Universal Exposition that runs from May to October next year is "Feeding the Planet. Energy for Life," exploring nutrition, food security, sustainable practices and celebrating global cuisines. More than 50 Italian and international artists will perform in the Allavita! (To life!) in the Open Air Theatre, which goes on stage from May 6 to August 23, 2015. The 2015 Exhibition theme “Feeding the Planet, Energy for Life” embraces culture, tradition, technology, innovation and their relationship with food. The Cirque du Soleil event production will celebrate these elements through the creation of a fascinating tale, interwoven with music and dance with the main inspiration stemming from the deep union between Food and Life. Allavita! is the evocative title of this new exclusive production that will be presented during the Expo and will include the participation of over 50 Italian and international artists. This performance for the Universal Exposition of Milan 2015 will be set in a spectacular open air theatre from May 6 to August 23, 2015. The title Allavita! refers to the awareness of the winds that nourish us and the roots that bring our international family together. It is a call to feed our lives with pleasure, spice and passion. “We are proud of our choice of Cirque du Soleil to represent the universality of the public that will attend Expo Milano 2015. As one of the most renowned international companies of artistic performance, Cirque du Soleil constantly wishes to evoke the unreal, to invoke the senses and provoke the emotions in people from all over the world, using universal languages enjoyed by all,” said Giuseppe Sala, Commissioner of the Government of Italy for Expo Milano 2015 and CEO of Expo 2015 Company. “We are extremely excited to bring Cirque du Soleil’s creativity to this significant event for Italy and the world,” said Yasmine Khalil, President, Events and Special Projects for The Cirque du Soleil Group. “Allavita! will be a never-before-seen production that will reflect the Expo Milano 2015 theme in an innovative, entertaining and thought-provoking style.” Cirque du Soleil will collaborate with experts in Italy to create Allavita!, which will include Italian performers who will attend invited audition sessions in Milan. Specialty technical and logistical experts from Italy will be a crucial part of the show’s production team and local providers and suppliers will also assist in diverse areas. “The high-quality expertise available in Italy will be a great benefit to the Cirque du Soleil team,” added Khalil. Allavita! will allow audiences to "discover the winds that sustain us, and the roots that unite our international family. An invitation to nourish our lives with pleasure, enthusiasm and passion," said Yasmine Khalil, event and special projects president for Cirque du Soleil. "Allavita! will be a never before seen production that will re- propose the Milan Expo 2015 theme in an innovative, entertaining and stimulating way". Art and food will also co-mingle for Expo in Milano al Bacio (Milan at the kiss), announced this week - a series of initiatives surrounding the celebrated Italian romantic painting, and symbol of the 19th century risorgimento movement that led to national unity, The Kiss, by Francesco Hayez. The painting represents a dashing young couple from the middle ages in the act of a passionate kiss, using colours and a presentation that made the painting a symbolic, political celebration of the alliance between the Italian patriotic movement and France. Pastry lessons, but also the creation of 20 different versions of the famous painting by as many art students at the Milanese art school Accademia di Belle Arti di Brera - home to the celebrated masterpiece - will be part of the initiative as will a photographs of people posing like the protagonists of The Kiss. The students' paintings will be exhibited during the month of October and then, at the end of Expo, auctioned off to benefit Father Virginio Colmegna's Charity House Foundation, which supports troubled people in their effort to acquire autonomy. Milano al Bacio is curated by Flavio Maestrini, a journalist at the Rima publishing house and Pietro Pedroni of the advertising agency Temantica. * * * Expo Milano 2015 introduces a new model for Universal Expositions in the 21st century through an innovative thematic approach that pervades every aspect of Expo and proposes to tackle the problem of nutrition for humankind, respecting the earth on which we live and from which we draw its exhaustible vital resources. The success of Expo 2015 will depend on the committed engagement of all the participants and their willingness to share their contributions to the theme across a platform that gives a voice to all the players involved. Six months of work, meetings and seminars will help bring out all the know-how needed to optimize the food chain with new perspectives on waste reduction, food security and a greater recovery of the nutritional value of the food. The Cirque du Soleil Events and Special Projects team is dedicated to designing and producing unique and exquisite experiences that remain etched in the minds of the audience. They have presented exclusive creative content for prestigious international events such as The Super Bowl, FIFA & FiBA, Academy Awards, Eurovision, as well as unforgettable corporate and private celebrations and high-end brand launches. { SOURCE: Cirque du Soleil } Saban & Cirque Unveil TV Show – “Luna Petunia” {Oct.11.2014} ----------------------------------------------------- Saban Brands and Cirque du Soleil unveiled their first TV co- production, Luna Petunia, a pre-school series inspired by the Quebec-based circus troupe. Veteran kids TV writer Bradley Zweig (Sid the Science Kid, Krypto) will serve as showrunner for the cross-platform project about a little girl who plays in a dreamland where she learns how to make the impossible possible. The TV series, showcased at MIP Jr. during a networking lunch, will be accompanied by a consumer products line and interactive and digital content. Saban Brands, an affiliate of Saban Capital Group, in February 2014 pacted with Cirque du Soleil Media to co-produce kids TV series with online content and merchandising spinoffs. Saban Brands, best known for its Power Rangers and Ninja Turtles: The Next Mutation titles, was launched in 2010 to acquire and develop kids properties with consumer brand potential. “We are enjoying this fantastic journey with Cirque du Soleil Media as we collaborate on our upcoming series, Luna Petunia,” said Saban Brands president Elie Dekel on Saturday during the annual kids TV buying and selling bazaar in Cannes. “Along with our showrunner Bradley Zweig, Cirque and Saban’s creative vision is becoming a reality as we bring to life a groundbreaking, immersive new preschool series.” Jacques Méthé, president of Cirque du Soleil Media, added: “We are committed to delivering refreshing, beautifully artistic entertainment and we are confident that Luna Petunia will do just that.” Rights holder Saban Brands is partnering with another Canadian- based media group, Lionsgate, to do a movie reboot of its iconic Power Rangers TV property. Cirque du Soleil Media is a joint venture between Cirque du Soleil and Canadian media giant Bell Media, and is charged with creating film, TV, digital and gaming content for worldwide distribution. { SOURCE: Hollywood Reporter | http://goo.gl/U8jgw1 } Pre-Order KURIOS CD on Amazon Today! {Oct.14.2014} ----------------------------------------------------- The release isn’t until December 9, 2014, but be one of the first few to get it in your hands when it does by pre-ordering KURIOS CD on Amazon.com today! LINK /// < http://goo.gl/RRtlSb > Cost: $14.98 USD { SOURCE: Amazon.com } ONE NIGHT for ONE DROP 3: “Through the Eyes of One, We Explore the Lives Of Many” {Oct.16.2014} ----------------------------------------------------- One Drop celebrated the third-annual “Walk for Water” last weekend at Springs Preserve presented by UFC with a 2.7-mile walk kicked off at Symphony Park by the Smith Center for the Performing Arts and ended with a celebration at Springs Preserve. The event paid tribute to the 780 million people who lack access to water and are forced to walk miles every day to retrieve it. Keynote speeches about our growing lack of water and need for conservation were made by Mayor Carolyn Goodman, Congresswoman Dina Titus, One Drop CEO Catherine B. Bachand, UFC Hall of Famer and former light-heavyweight champion Forrest Griffin and other concerned residents. Robin Leach spoke at length with Catherine Bachand about the work of ONE DROP and what we can expect at Cirque’s next benefit performance, on March 20, 2015 at The Beatles LOVE Thaeter at the Mirage. Q. What did you set out to achieve with this “Walk for Water”? What did you raise, and what did you feel it accomplished? How does all that marry into what you’re doing with One Drop in Las Vegas? It was an amazing, beautiful day where 600 participants and students joined us. The idea is to really have a community-based event that’s not so much focused on raising funds but on generating awareness and mobilizing the community around the issue of water. It’s also the opportunity that we have to launch our efforts to promote “One Night for One Drop 2015.” So in that sense, it was a great success, and the difference also this year was the route that took us from the Smith Center to Springs Preserve, where we have a partnership to build a huge education program. Q. Catherine, if it’s too far afield, then we won’t explore it, but is the knowledge of good, clean water worldwide one of the things that is going to come to the forefront now because of the Ebola crisis? I think certainly it’s an interesting thing because that’s part of what we do, using the arts and entertainment to educate people. I know they’re having some challenges convincing populations and reaching populations to educate them about the danger of Ebola and how it’s being transmitted. Which also is what we do about cholera and all water-related disease. What we do in our platforms and our way of doing business is very effective in cases just like that. When we had our project in Haiti and we saw a rise in Cholera levels, we inserted a portion dedicated to that specifically in the plan that we delivered in the communities where we worked. It provoked a dramatic shift in lowering the numbers. So we know that through theater and art, you’re able to communicate and educate. Q. Other than the fact that Cirque is so dominant as an entertainment conglomerate in Las Vegas, what’s the importance for Las Vegas to One Drop? You’re right, our first connection is definitely our presence with Cirque du Soleil, our largest and most important partner, but it goes beyond that. Your mayor and the community have embraced One Drop like probably no other community in the world. The fact that we are telling a very powerful message about water, water stewardship and conservation right in the middle of the desert, that is in itself a very powerful message. The city of Las Vegas also has a very unique and powerful story to tell the world. It’s the city that grew by 400,000 people and yet your water consumption levels have gone down by about 30 percent. I think the rest of the world should know this, and I think Las Vegas can definitely lead the way. Q. So that naturally leads to the biggest effort in fundraising and awareness with the annual “One Drop” show. It started off being a one-time special, and now in March it will go into its third year. The show that’s now presented every year is a unique show; it’s a brand new show around the theme of water. Every year, there’s a different, or at least a new creative concept behind it tackling or approaching a different subject relating to water and water-related subjects. Each single “One Night for One Drop” is performed only once ever. So it’s a whole new show built from the ground up: New music, new costumes, new location, new acts. This is not a collage of other Cirque du Soleil shows. This is a completely unique, one-night, one-time-only Cirque du Soleil performance. Q. So the first year we were in the “O” theater at Bellagio, and we saw performers in the water and actually using water. Last March, we switched to Mandalay Bay for more of a desertification production. So this year, can you give me a little sneak peek as to how you keep the same but different message going? We used projections a lot more last year with the desertification — the increasing desertification of the world that we live in. We’re almost ready to unveil the creative genius of Mukhtar as he is the best at taking people on a very unique journey. Robin, you have the scoop in that the subtitle for this one, because it’s always “One Night for One Drop,” will be “Through the Eyes of One, We Explore the Lives Of Many.” Mukhtar is going to take us on a journey through the eye of one telling the story of many. One thing that really struck me when I saw the presentation is that the first year, there was this beautiful performance choreography. Then last year, he took that a little farther and he used the same performers and had those ladies also play a role in the show. My understanding is that this year, he’s going to actually get even closer and really follow the lives of these six women — the journey that they have had and the different elements that are important in their lives. { SOURCE: Las Vegas Sun | http://goo.gl/yOQfIW } PennLive Chats With Emilie Schram, Varekai Slippery Surface Performer {Oct.20.2014} ----------------------------------------------------- Sean Adams, writer for the Patriot Times in Central Pennsylvania, had a moment to speak with Emilie Schram, one of Varekai’s Slippery Surface performers, which is scheduled to play in the city of Hershey soon. # # # Q. Thanks so much for taking the time to speak with us, Emilie. What is your role in ‘Varekai’? “I’m a female dancer and singer. I’m doing break-dancing stuff, like head spinning and jumping on my hands, stuff like that.” Q. How did you first become interested in breakdancing? “So I was very young and still doing gymnastics, and I saw on TV some breakdancing. When I saw that, I was so inspired. Many years after I began to go outside on the street and practice with people out on the street in my hometown of Nice, in the southeast of France. I was 17, so that was in 2003.” Q. I think a lot of Americans tend to think of break-dancing and hip-hop dance as a very American thing. What is that culture like in Europe? “We got inspired by Americans, and so now the hip hop dance is very huge. We have many events everywhere, mostly Paris. It’s very huge, many young people begin to train. In France we have a very huge level. We don’t only have break-dance, we have many types of hip-hop dance. Popping and locking, house dance, new style, experimental.” Q. When did you start performing with Cirque du Soleil? Did you run away and join the circus, as they say? “I began last May, 2014. I’m replacing another girl who got hurt, so I sent a video one year ago and they found me. I came first in April. I was in Montreal for two weeks to learn her character. There are many other moments in the show where I dance, but it’s mostly the Slippery Surface act.” Q. Can you explain the Slippery Surface act? “Slippery Surface is part of the show where we are aquatic, [moving as if we are] underwater. We are seaweed and other creatures, and there are acrobatic gymnastics. There are also contortionists. Very light; very colorful. The music is very joyful. It’s very beautiful and impressive, all of the talents in this scene, for maybe five minutes. I love this act. It’s a light in the show.” Q. What is an average day of rehearsal like? “Usually I come very early, because I also like to sing and I come in early to train in singing. After I go and eat and stretch – that’s maybe two hours, because I like to take my time. I go do my makeup. After we have pilates with my coach, about one hour before the show and after the show.” “Every day is different. Sometimes you stretch, sometimes you work out. Sometimes you just dance to make yourself feel good.” Q. What does an average workout routine look like for a Cirque performer? How do you stay in shape? “It’s a lot of, how you say, core work, yeah? To have strength in the legs, arms, we work on every part, every muscle. We do a lot of Pilates. I’m used to being my own coach, so I take exercises from many people that I met. But since I met this coach, he made me love Pilates, and he made me love to work out. I started very slow, a lot of breathing and we take our time. A lot of exercise is about doing things fast, push-ups, as fast as you can. We work our muscles so much more when we take our time. For me, it’s mostly Pilates.” Q. How do you rest and recover from a show? “Every morning I’m trying to breathe and doing breathing exercises. We are always traveling. We are kind of out of our bodies sometimes. I’m always trying to be grounded. At night, I make sure to sleep well. I’m the kind of person who loves to sleep, so I will go to sleep around maximum 11 [p.m.], and to sleep around 9 [a.m.].” “It’s good to find peace and peace of mind, and eat well! I’m careful of what I eat. Not a lot of bread or heavy stuff. I can feel the difference between when I eat heavy and when I eat healthy. A lot of vegetables and fruit, not a lot of meat. After a show, something very light.” Q. What’s something unusual about being a Cirque performer that audience members might not know about? “What comes to me right now is being an artist, at Cirque du Soleil or not, all the time I’m here to give, you know. I have a huge chance to be on stage and with Cirque du Soleil. I always dreamed to be in this family, and it’s good to travel and be with people all the time. But it’s very challenging to learn a lot how to live with each other and accept each other. It’s like a school of life, a fast school of life. Trying to be stable. People come and see us perform and get inspired, and that’s how I get inspired to be an artist.” { SOURCE: PennLive | http://goo.gl/qCcsxg } Cirque Performers Wear Hexoskin to Record Biometrics {Oct.21.2014} ----------------------------------------------------- Hexoskin announced that 10 Cirque du Soleil performers are wearing its smart shirts to record their biometrics during the live Beatles Love show. Though Cirque du Soleil performers around the world normally wear Hexoskin smart shirts during training routines, this marks the first time that they will be wearing the smart shirts for the Beatles live show. Hexoskin said it will continue this trial for the next six weeks to analyze the artists’ performances and identify new ways on how these can be optimized. The wearable tech solution connects an intelligent sports garment with integrated sensors that capture body metrics, including heart rate, breathing rate, power, and acceleration. Hexoskin is designed for trainers and coaches of amateur and professional athletes and sports teams who are looking to evaluate and monitor performance results. The Hexoskin intelligent garment provides trainers with an easy and natural way of regularly capturing precise data, recording more than 35,000 data points per minute to provide accurate body metrics. Trainers can monitor and compare their athlete’s detailed body metrics either remotely or onsite using an iPhone or iPad or via a Web portal. Learn more about Hexoskin here: LINK /// < http://www.hexoskin.com/ > { SOURCE: Biometric Update | http://goo.gl/06HWrX } Glade Triggers First-Ever Cirque du Soleil Scent-Inspired Performance {Oct.22.2014} ----------------------------------------------------- Glade and Cirque du Soleil announced a partnership to prove there is more to scent than meets the nose. As expressed through the artistry of Cirque du Soleil, the year-long partnership will demonstrate how any of the 37 Glade fragrances can incite emotion, spark the imagination and arouse the senses. Beginning with an immersive, multi-sensory experience on Wednesday, October 22, Cirque du Soleil will transform Madison Square Park in New York City into a dreamland. Animators and acrobats will alter the park landscape as various scents fill the air. Inspired by Glade fragrances Pumpkin Pie Diner, Apple Cinnamon, Red Honeysuckle Nectar, Cashmere Woods and Clean Linen, the visual animation will shift as each scent elicits a different emotion and artistic expression. “Cirque du Soleil is one of the most innovative brands in the world – they are a great partner to bring-to-life the power of Glade scent as a driver to emotion and creative expression,” says Kelly M. Semrau, Senior Vice President of Global Corporate Affairs, Communication and Sustainability, for SC Johnson. “We look forward to the year ahead and Glade playing the part of catalyst to Cirque du Soleil’s special performance.” Cirque du Soleil is known for producing high quality productions telling each show’s story through captivating theatrical performances, stunning acrobatics, dramatic music and lighting. As part of the year-long partnership, Cirque du Soleil and Glade will bring people across the country scent-inspired surprise special performances, testimonials from Cirque du Soleil experts, and more. “What we’ve developed for Glade is unlike anything we’ve ever done before,” says Cirque du Soleil’s Corporate Alliances Senior Director Louis Malafarina. “Fragrance has the power to elicit a specific feeling or emotion, or in our case, inspire us to imagine a new one.” As the worldwide leader in home fragrance, Glade can help unlock a variety of positive emotions through scent. Glade has been a fragrance leader for more than 50 years, growing from two products to 37 fragrances in an ever-evolving range of product forms. To learn more about the partnership or Glade fragrances and products visit: www.Glade.com, www.Facebook.com/Glade or follow us at Twitter.com/Glade and Instagram.com/Glade using #FEELGLADE. { SOURCE: PR Newswire | http://goo.gl/cq7ID0 } KURIOS Shares Some Last Minute Halloween Costume Tips {Oct.23.2014} ----------------------------------------------------- With Halloween just days away, KURIOS by Cirque du Soleil is sharing some last-minute tips and tricks to create your own innovative Kurios-inspired costume! Check out the images here: LINK /// < http://www.cirquefascination.com/?p=5129 > { SOURCE: Cirque du Soleil } Air Canada Vacations Partners with Cirque and MGM Resorts {Oct.24.2014} ----------------------------------------------------- What happens in Vegas now starts right here in Canada as travellers will have the ability to book best-priced tickets for all eight spectacular Cirque du Soleil shows either when they book their Air Canada Vacations packages or, for more spontaneous travellers, directly from their seats aboard Air Canada rouge flights to Las Vegas. The in-flight booking program for Cirque du Soleil tickets, the first of its kind in Canada, will start January 1, 2015 from Montreal, with a view to expanding across Canada in the future. This new service is a result of a partnership between Cirque du Soleil, MGM Resorts International and Air Canada Vacations that was launched last night at a glittering event held at Cirque du Soleil headquarters. According to Michael Friisdahl, President and Chief Executive Officer of Air Canada Leisure Group, this partnership is great news for consumers. “Air Canada rouge has 38 direct flights a week from Canadian cities to Las Vegas, making it one of our most popular destinations. We know that our passengers want access to the best Cirque du Soleil shows at the best prices, and we are delighted to add this new program to the list of services—things like airport transfers and great car rental packages—that we already provide our Vegas clients. We are proud to launch the program in Montreal where Cirque du Soleil began, and look forward to expanding the program to other cities soon.” To celebrate the launch of this program, every passenger who books a package to Las Vegas with Air Canada Vacations from now until November 15, 2014, will receive a complimentary ticket to one of three Cirque du Soleil shows: KÁ at MGM Grand Hotel & Casino, Zarkana at ARIA Resort & Casino, or Zumanity, The Sensual Side of Cirque du Soleil at New York-New York Hotel & Casino. “We are excited about this partnership and this is our way of kicking it off in typical Vegas fashion” added Friisdahl. “No matter where in Canada you book from, no matter what hotel you stay in, as long as you book your trip to Las Vegas with Air Canada Vacations by November 15, 2014 you will be seeing a spectacular show as our treat.” Jerry Nadal, Senior Vice President of the Resident Shows Division of Cirque du Soleil was in Montreal to launch the partnership. “As the world’s leading live entertainment company we are proud to be here in Montreal where our international success story began. Cirque du Soleil shows are a must-see experience for all Canadian guests visiting Las Vegas. We look forward to working closely with Air Canada Vacations and our Canadian travel partners in further promoting live entertainment and Cirque du Soleil.” Cirque du Soleil’s Vegas show venues are located at resorts including Bellagio, ARIA, MGM Grand, Mandalay Bay and The Mirage, all part of MGM Resorts International, a significant hotel partner for Air Canada Vacations. According to Jeff Eisenhart, MGM Resorts Vice President of Leisure Sales and Marketing, there is something for all types of visitors in the portfolio. “MGM Resorts properties provide a wide array of outstanding guest experiences for travellers to Las Vegas. By offering the city’s premier entertainment as well as dining and nightlife options, we hope to inspire many more Canadians to choose Las Vegas for their next vacation, and we are proud to be working closely with Air Canada Vacations as we work towards our goal.” Las Vegas is renowned as a veritable playground for Canadian travellers. Brand USA—the public-private partnership responsible for promoting the United States—reports that at 1.8 million annual visitors, Canadians represent 36 per cent of the total international visitor market to the city. Canada is the largest international market for the destination. “Brand USA is the destination marketing organization for the USA it’s only logical that we partner with Air Canada Vacations to offer the best in comprehensive travel services for Canadians travelling to Las Vegas, and one of the most recognizable entertainment brands in the world, Cirque du Soleil,“ said Chris Thompson, President and CEO for Brand USA. “We believe world class theatrical productions, concerts, music festivals and professional sports to be some of the unique experiences that distinguish the USA and Las Vegas as a world class travel destination.” Daily non-stop flights to Las Vegas aboard Air Canada rouge operate from Montreal, Toronto, Calgary and Vancouver. { SOURCE: Cirque du Soleil | http://goo.gl/uXiaoL } Club Med and Cirque Announce New Partnership with Unique Experimental Activities for Guests {Oct.24.2014} ----------------------------------------------------- Club Med, the brand that pioneered the all-inclusive concept over 60 years ago, and Cirque du Soleil, which reinvented circus arts and reshaped it into a groundbreaking entertainment company, have partnered to launch a completely new and unique concept in experiential travel with Club Med CREACTIVE by Cirque du Soleil. The CREACTIVE concept will debut at Club Med Punta Cana in the Dominican Republic in June 2015, where guests will be able to learn many of the exciting acrobatic disciplines showcased in famed Cirque du Soleil productions. These two iconic global brands were created by visionaries who sought to create moments of happiness, and both continue to do so through innovative experiences that tap into the desire for adventure and surprise. The original CREACTIVE experience will invite vacationers to participate in a variety of recreational circus acrobatic and artistic activities ranging from high bungee, flying trapeze, aerial silk, tightrope and trampoline to juggling, percussion and dance or mask painting, amongst many others. Guests will be fully immersed in a fantastically colorful and imaginative environment that is custom designed to encourage both adults and children alike to learn new skills, play and have fun under the supervision of Cirque du Soleil trained staff, which will help them progress and discover unexpected new abilities. Cirque du Soleil President and CEO, Daniel Lamarre stated “This partnership is a natural progression, stemming from the success and uniqueness of Club Med having provided circus instruction for over 25 years, and now with Cirque du Soleil’s 30 years of experience and know-how, this activity will have a new color.” Club Med’s Chairman and CEO, Henri Giscard d’Estaing also added, “This new concept will leverage, for the benefit of Club Med guests, the expertise and knowledge of Cirque du Soleil, who are unrivalled innovators in the realm of circus artistry. It will also capitalize on the heritage and talent of Club Med in creating extraordinary memories in beautiful vacation destinations.” { SOURCE: Cirque du Soleil | http://goo.gl/5hzzHJ } Introducing: Club Med “Creactive” by Cirque du Soleil {Oct.24.2014} ----------------------------------------------------- Escape to a world of creative exploration. Club Med and Cirque du Soleil have joined forces to dream up the ultimate circus- inspired playground. Adults and children alike are invited to live a one-of-a-kind immersive experience in Punta Cana, featuring unique activities inspired by the wondrous and unexpected world of Cirque du Soleil. From artistic to acrobatic activities, vacationers will have fun, learn new skills and achieve things they would never have expected / discover capabilities they would never have imagined. With CLUB MED CREACTIVE by CIRQUE DU SOLEIL, we’ll elevate your vacation fun to a whole new level VIDEO /// < http://youtu.be/VfiPDM67mHM > CREACTIVE PLAYGROUND: o) Recreational acrobatic activities: high bungee, double flying trapeze, aerial silk, tightrope and trampoline o) Artistic activities: mask painting, juggling, percussion and dance o) Over 25 activities for both adults and children o) Expert staff supervision from our Gentils Circassiens trained by Cirque du Soleil and Club Med Check out a few images here: LINK /// < http://www.cirquefascination.com/?p=5138 > { SOURCE: Cirque du Soleil, ClubMed | http://cirk.me/1shjfiU } Alevtyna Titarenko (Rings/TOTEM)… Afraid of Heights? {Oct.25.2014} ----------------------------------------------------- Cirque du Soleil star Alevtyna Titarenko and her talented castmates are set to thrill Sydney when their show Totem opens on Tuesday. Titarenko is the extraordinarily athletic acrobat who performs the female role in Totem’s Rings Trio act, in which she soars over the heads of the crowd up to 12 metres in the air. Watching her, you’d never guess she’s afraid of heights, and that she prefers not to know her exact distance from the ground when she’s working aloft. Speaking to S during rehearsals for Totem, Ukrainian-born Titarenko revealed her latest height-related anxiety: watching her 10-year-old daughter, Alisa, perform aerial acts. “She came on tour with the show last year and took circus lessons,” says Titarenko. “And she excels at aerial. She likes it best, which is unfortunate for me! I am terrified to watch her up there. I’m saying: ‘hold on! Don’t let go!’ It’s very different when it’s your child doing the things that you do.” Alisa, says Titarenko, does not share the fear that causes her mother to avoid roller coasters and bungee jumps and even, sometimes, to close her eyes during her spectacular Totem performances. “She thinks it’s embarrassing,” says the 34-year- old veteran of four Cirque shows. Titarenko’s mother wanted to be a trapeze artist, but became a fashion designer instead. “She was able to realise her acrobatic dreams through me,” says the performer, who is also an international bodybuilding champion. Now the next generation looks set to take the high road, too. ” I will support her of course, all the way,” says Titarenko. ‘Although my heart will be pounding and I will be praying!” { SOURCE: Sydney Morning Herald | http://goo.gl/wmyNEQ } Here Comes the Sun – Life is Beautiful {Oct.26.2014} ----------------------------------------------------- As he finished conducting the Las Vegas Philharmonic in an exquisitely performed medley of music by The Beatles, maestro Richard Oberacker turned toward the thousands of people crowding the Life Is Beautiful Downtown Stage. Clad in a stately black suit in the face of a sunny Las Vegas afternoon, Oberacker gestured with a sweep of his arm to that army of talented musicians. He then stopped to notice a prop at his feet. Beach ball. The maestro grinned, scooped up the plaything and tossed it to the crowd. Then he flashed the peace sign. It was a beautiful moment in one of the most eagerly anticipated performances of the festival. The Las Vegas Philharmonic, teaming with artists from the Cirque show “The Beatles Love” at the Mirage, all happily converging on LIB’s main stage. Never had these artistic institutions collaborated in such a way. The idea bloomed over time, with L.V. Phil CEO Jeri Crawford approaching Life Is Beautiful founder Rehan Choudhry and asking about, maybe, setting up a “rave” with the Phil. The concept was further enlivened when LIB music guru Craig Nyman suggested incorporating Cirque’s “Love” cast into a performance of The Beatles classics. It all came off beautifully. The Phil opened with a series of those readily recognizable songs, played purely as the crowd swayed and even sang along to “Across the Universe,” “Eleanor Rigby,” “Michelle,” “Here, There and Everywhere,” “Yellow Submarine,” among other songs. The Cirque artists bounded to the scene, as is their wont, as the tea-toting character from “Love” took center stage. The recording of The Beatles playing “Get Back” blanketed the crowd. Footage of the rooftop concert was buoyed by the symphony’s live playing, and the “Love” cast took to the air on a line of four long bungee chords. “Eleanor Rigby” was played a second time, powerfully delivered as the “Love” cast member portraying that character shuffled across the stage. “Here Comes the Sun” was warmly received by the sun-drenched crowd, cheering George Harrison’s vocals, followed by “Yesterday.” At the end, it was a full-voiced “All You Need Is Love,” with the crowd roaring at the images of John Lennon and Paul McCartney singing together during footage of the live “Our World” global telecast from 1967. “All together now!” McCartney shouts in that clip, throughout history and over the masses in downtown Las Vegas. “Everybody!” “All you need is love, love, love is all you need!” the crowd sang, obeying gleefully. The song played out, with the musicians and Cirque artists amassing in the middle to acknowledge all that love. Afterward, Oberacker, the music director of “Ka” and co-creator of a new musical called “Bandstand,” said it was a career highlight. “The perfect fusion” of the elements of his career is how he termed it. It also was the perfect fusion of music spanning generations and a pair of this city’s great cultural institutions. It was a moment when life really was beautiful. {SOURCE: Las Vegas Sun | http://goo.gl/4BmYT5 } Cirque du Soleil looks to the cloud to transform HR {Oct.27.2014} ----------------------------------------------------- Global dance company Cirque du Soleil has implemented cloud- based HR service SuccessFactors to help manage its staff as they travel around the world. Cirque du Soleil tours in more than 100 cities on a yearly basis – with the direct support of an employee group made up of artists, operations and management professionals from 50 different countries. The organisation said it was looking for a platform that offered both remote access and could handle the extremely complex realities of a global workforce, always on the move. After an evaluation process, it opted to use SuccessFactors because it is cloud-based and integrates a multitude of workforce-related functionalities that are both mobile and international, according to Bernard Hébert, vice president of Information and Business Systems at Cirque du Soleil. He added that it “simply aligns very well with our needs.” He said that in using the cloud, the organisation’s HR team is able to deliver all of the key services expected of a world- class HR department, anywhere, anytime. “It provides the transactional flexibility that is required in order to carry out the HR functions within a company that is complex and in movement,” he added. “The SuccessFactors Employee Central Function provides us with all the required information to set up any future requirements in terms of master data management.” Hébert also said it is important, in the future, that employees and direct managers have the option to use self-service functions that the cloud software offers to carry out HR-related activities by themselves. The initial investment the group had to make to get up and running was limited to the software component and requires no infrastructure spending, resulting in savings from the beginning, according to Hébert, which made the cloud option much more attractive than staying on-premise. Furthermore, the core application/platform is maintained and constantly optimised by SAP thus minimising future investment requirements. “The vast majority of the costs of operational rather than capital investments – making each cloud-based project much less demanding of the enterprise’s financial resources,” said Hébert. Lastly, Hébert said that the service can scale up and down as and when the needs of the group change over time. { SOURCE: Cloud Pro | http://goo.gl/NrVj44 } Robin Leach Talks to Mukhtar About ONOD 3 {Oct.27.2014} ----------------------------------------------------- Cirque du Soleil’s ambitious voluntary cast effort for the annual, one-night-only “One Night for Drop” benefit performance is underway for the third consecutive year. At the helm again for the second time is “The Beatles Love” performer Mukhtar O.S. Mukhtar, and he promises in our exclusive interview that his vision for the new production will ensure that we won’t even recognize the “Love” theater in the Mirage where it will be staged next March. “You are definitely not going to feel like you are in the ‘Love’ show,” he said. “One Night for One Drop” is the large annual fundraiser for the clean water for the world charity. Our interview with One Drop Foundation President Catherine Bachand was posted last week. Nicknamed “The Mind of Mukhtar,” here is a YouTube video of his preparation for last year’s show at Mandalay Bay. Returning from a conference about the One Drop shows in Switzerland and juggling a trip for a Cirque show expansion in Dubai, Mukhtar talked with me about the March 20 show subtitled: “Through the Eyes of One, We Follow the Lives of Many.” Q. Is it more difficult the second time to be original when you’ve done such a great job the first time out? I don’t think it’s more difficult because the amazing thing is I can do something completely different. That’s my aim because people are going to expect to see the same type of field, but I want to really flip the script and do the opposite. Q. So how will this be different? Year one was the search for water, year two, which was your first year last year, was desertification. If you had to use one word or a couple of words to describe year three, how would you describe what you envision? I would say exploring. Exploring the lives of these women who are on this journey for water. Q. Last year we began with the ladies who were looking for water in the desert? It actually goes back to the first year. The first year we saw a whole act dedicated to these women who were looking for water. Then last year, I just thought I would continue their journey because I found them really interesting, so I thought I’ll continue their journey and respect their fellowship and that would link the two shows. As I was thinking more about it, these six women really interested me and I wanted to know who they were individually and what they’ve experienced in life or experienced on their journey to this water. So this is the show where I really want to show that to the audience because we have a similar type of audience each year who come, so they can really relate. Q. As you increase the depth of the storytelling of the characters, do we get more emotional over the lack of the world’s water? I think definitely emotion is one of the feelings that we’ll see, but it’s not only emotion. I’m also looking for hope. Even though they’re looking for water, I don’t want the whole show about just that. I feel like the past few years have been about that feeling. So what I want to do is even though these women are walking for water, we’re going into their individual stories; these stories are going to be completely different. For example, if all six women are Indian or from a Third World country, some of the things they experience might not only be related to women from that area. It might be related to something you and I could relate to. So I don’t want to make the show depressing because of everyday life that’s happening. For example, one of the women is going to focus on this 9-to-5 system that a lot of people are stuck with. It’s like a robotic type of thing. So that has nothing to do with a Third World country, but it’s something you and I can relate to. It’s something that the woman has experienced, and at the end of the show there’s going to be a moment where all these stories are going to be connected. That’s why I want to make these six stories different and make these women different. I’ve already developed six stories. I’m in the process right now of picking the right creative team who’s going to push this concept forward. Q. In the first year, you had a larger cast with guest stars, last year less guest stars and a smaller number of people onstage. Where do you stand this year? I like working with not such a large cast because of the time that we have, and I also learned a lot from the first year, as well, because of what we’re working with and the restrictions. To get more benefit and results, maybe having 200-plus people might not be the answer for that for me personally. I think this year because we have a bigger theater, I might be able to push the cast number up a little from last year. Q. There’s a lot of moving, computer-driven parts to that “Love” theater. Are you going to be able to take advantage of it in what you are going to stage? For sure. I’m actually going one step ahead of that. I’m trying to figure out a way to transform the whole stage by looking at the technology that the stage provides because the stage does things that “Love” doesn’t even use because they don’t need to, so I’m trying to figure out what things people haven’t seen that the stage does. Q. So it will be a completely different look and feel this time around? Well you’re going to get, of course, the 360-degree stage, but you’re definitely not going to feel like you’re in ‘The Beatles Love.’ I can assure you that. Q. So definitely not a Beatles touch to it, but you’ve got projection screens to work with, you’ve got stages breaking into four quarters to work with. You’ve got the up-and-down lifts. Yes, exactly, we’ve got all of that to work with. I think the best thing about this stage is I’ve got a lot more technical advances around; I have a lot more aerial equipment that we didn’t have at the Michael Jackson Mandalay Bay Theater. We did a great job in masking that when we did the performance, but this year “Love” is unlimited in terms of winches, in terms of things that can possibly happen through the air, so we’re really going to take advantage of that. Q. The first two years, we had The Canadian Tenors, Jackie Evancho and the incredible poet. Are those artists returning, or do you have new artists? I won’t give anything away too much right now, but I want to create a new show, so you can take what you want from that. Q. What kind of music are you going to be using? We’re going to be using contemporary music as well as bringing in musicians who will create live music. Q. Where are you in the timeline of production? Have you started sketching costumes and makeup appearances for the look of the show? Right now, we’re in the stage where most of the creative team is onboard, we’re at the point where we’re going to go to all the show casts and present the show to them so that we can engage them in what we’re doing. Then we start picking the cast. Q. Do you audition them for this like any other show? I don’t really use the word “audition” because everyone is volunteering their time. What we do is we give them the presentation, they see what we’re doing, and then they volunteer for what they think they can do in the show. If they aren’t ready for our show, then we see where else we can use them. Some of these artists, even though they do what they do in their shows, they’re extremely skillful in other disciplines, too, so I want to bring out those skills that no one has seen before. Q. The first year, which was at Bellagio, physical water was obviously very prevalent because that’s what “O” is all about. Last year, being in the desert was the complete contradiction of that. I know you don’t want to give anything away, but in the “Love” theater, do you have any access to water? I can get access to water, yes; the question is do I want water in this show. These women are searching for water; the question is do they get there? Do they find it? And if they do find it, do we actually see the water, or do we see the water in a different metaphor? That’s the question. The more and more I’m getting involved with this, the more and more I’m thinking to myself that maybe I don’t want to use water onstage. Q. How has this whole thing affected you in terms of you are African bringing to the Western world the message of water shortages and the lack of good, clean water? How has it affected you emotionally from doing it the first time to where you’re redoing it now a second time? What has it made you realize? It has definitely made me realize that there are people out there who are trying to help solve the problem, which is incredible, especially in the One Drop Foundation. It’s pulled me harder than ever to come and help. Putting on a show like this is a lot of work, and for me to come back again and say, “Yes, I’ll do it,” must show that there’s a big cause there that I’m doing this for. It’s because everybody is coming from a great place and everybody really wants to do this because they’re trying to help. Q. And you are juggling your regular work while tackling this show? Yes, exactly. Well, three. Right now I’m juggling this with a project I’m doing in Dubai with Cirque du Soleil, and I’ve also got 5-month-old twin girls this time. That’s a lot of work in and of itself. Q. So you’re sort of working 24 hours a day at the moment? Yes, definitely. I’ve already got the whole concept for the Dubai project, and we’re just waiting right now on them. So all my attention can now go to “One Drop.” Q. Do you find the process exhilarating or is it daunting in terms of the challenge? I find it extremely exhilarating. This is the only way you can get challenged creatively. You have a time limit, and you have to find solutions creatively; there’s no other way that you can go forward unless you use your brain to find a creative way to find solutions. It really excites me because I learn so much from the process, as well. This really trains me. Q. Is it sad that it’s only for one night, or does that make it extra special? It’s both. It’s sad for me and the players that it’s only one night because of all the work that goes into it. They really want to perform it again for different people, and it creates such a huge buzz, but looking at it from the other side, the format gives it an incredibly unique feel. I gave a conference last week in Switzerland, and I had a lot of people come up to me asking why isn’t it more than one night? They saw it on the Internet, and it created a huge buzz all the way on the other side of the world. That uniqueness of it is what makes people really want to watch it. Q. What at this moment is the biggest challenge you face with this particular production? The biggest challenge I face is first of all the time frame. I think the time frame is a challenge for anyone who comes into a production like this because the show has to be on the same field as the other Cirque shows that are all closing on the same day for ours and all the people come to donate their money and time. You have to respect that by giving them a really high-end show. I think the biggest challenge is under the timeframe creating the best show you can possibly create.” * * * Mukhtar’s production in March will be the largest of the three to date, as the “Love” theater has 2,000 seats. Robin Leach will continue to report its progress in the months to come! { SOURCE: Las Vegas Sun, Luxe Life | http://goo.gl/wORYo8 } Chime buys SJX Partners, a Cirque du Soleil marketer {Oct.28.2014} ----------------------------------------------------- The communications group Chime has continued its overseas expansion with the acquisition of SJX Partners, a US marketing firm that promotes Cirque du Soleil, for as much as £12.1m. Chime is paying £5.3m up front, with the rest dependent on the performance of SJX until 2020. It is paying for the takeover with 70pc cash and the rest in shares. As well as Cirque du Soleil, the Las Vegas show, SJX represent the US Tennis Association and Little League Baseball. It will form part of Chime’s focus on sports marketing, which has increased since it bought Lord Coe’s consultancy business two years ago. Alongside the acquisition, Chime said it had extended and increased its £95m credit facility, which had been due for repayment in September 2016. A new deal will allow it to borrow £130m until 2019. The acquisition of SJX is the latest in a series of sports acquisitions by Chime. Last month it bought BC Sports Management, which manages rugby players. Chime’s biggest sports deal, the £71m acquisition of the Formula 1 specialist JMI last year, prompted disquiet from major shareholder WPP. Sir Martin Sorrell’s group said it would look to sell its stake in Chime as a result but it remains invested. { SOURCE: The Telegraph | http://goo.gl/ZEa1aJ } VIDEO /// “Feel Inspired: Glade & Cirque du Soleil” {Oct.28.2014} ----------------------------------------------------- Couldn’t be with us and Cirque du Soleil in NYC? Live vicariously. LINK /// < http://www.cirquefascination.com/?p=5160 > { SOURCE: Cirque du Soleil, Glade } Rock in Rio USA: 100 acts, 300,000 fans, and 37-acre City of Rock {Oct.29.2014} ----------------------------------------------------- For two weekends next May, more than 100 acts representing the music of America, Britain and Brazil will entertain 300,000 expected fans at the debut Rock in Rio USA festival at its very own 37-acre City of Rock on the Las Vegas Strip. Bruno Mars, Joss Stone and Ed Sheeran were announced Monday as the newest performers to join already-set Taylor Swift, Metallica, Linkin Park, John Legend and The Deftones. More concert artists will be revealed in December and January. Organizers said Monday as they unveiled an on-site miniaturized model that they have booked more than 50 percent of the 100-plus stars expected. The first-time Las Vegas event, on MGM Resorts land from Circus Circus to the edge of Sahara Avenue opposite SLS Las Vegas, celebrates the 30th anniversary of the legendary Rock in Rio celebrations in Rio de Janeiro, Brazil, and Lisbon, Portugal. Although the venue will have six stages for entertainment, it’s more about “the gathering” for people to enjoy music, culture and food. In addition to a Ferris wheel, there will be a 64- foot-high and 600-foot-long zip line that stretches in front of the Main Stage. As many as 85,000 people can attend daily from 4 p.m. until 2 a.m. The air-conditioned VIP area alone can accommodate as many as 4,000 people with a unique view of the City of Rock. Organizers provided a sneak preview Monday of the three thematic streets inside the City of Rock. Dozens of musicians, performers and street artists tantalized with the experience that audiences will enjoy. Rock in Rio chief Roberto Medina conceived the U.S. festival and its City of Rock four years ago. Now his vision will come to life in partnership with MGM Resorts, Cirque du Soleil and billionaire Ron Burkle — his Yucaipa equity investment takeover company owns Fresh & Easy among his numerous supermarket holdings. Unlike other music festivals, Roberto wanted Rock Streets where audience and artists could interact over each 500-foot area featuring 20 “homes” filled with shops, restaurants and a stage. Performers will transform the street into stage areas to connect with audiences. Rock Street USA will use the imagery of New Orleans, its culture and music as its backdrop with a diner, parked Cadillac, street- side cafes, jam sessions, the blues and dozens of street-dance styles with an official crew. Artistic directors Bruno Bastos, Miguel Colker and Shaun Evaristo will choreograph 15 dancers performing routines from artists including Beyonce, Usher, Justin Timberlake and Michael Jackson as diverse as hip-hop, popping and locking, voguing, waackin’, dancehall, house, breaking and krumping. Guest crews from L.A. and Las Vegas will take part alongside the street-dance battles of the official crew. Rock Street U.K. will feature the heritage of music from Great Britain and Ireland on a street created to resemble London’s Camden Town and Ireland’s Grafton Street with houses inspired by traditional Irish and English pubs and shops. On the streets, audiences will meet magicians, bagpipers, a Victorian-inspired photographer, jugglers, caricaturists and even a Buckingham Palace guard. Onstage, there will be Celtic-inspired music by Terra Celta, and to honor the influences of The Beatles and The Rolling Stones, the band Stone the Beetles will perform every night. Hula-hoop performer Lisa Lottie will present her “Bend It Like Barbie” contortionism circus art that has taken her to more than 100 cities in 29 countries. More than 1.5 million views of her have been accumulated on YouTube. Rock Street Brazil will capture the warm and colorful culture of Brazil featuring some of the most charismatic figures of the typical Bahiana woman resembling the character that inspired Carmen Miranda and carrying the famous fruit basket on her head; the “Malandro da Lapa” from the bohemian neighborhoods in Rio played by ballroom-dancing legend Carlinhos de Jesus; Bumba Meu Boi, a folkloric bull figure typical from the northeast of Brazil; and capoeira group Batuque that will dance and battle on the street. The stage will spotlight three acts that represent the variety of Brazilian music culture. Spok Frevo Orquestra, the Pernambuco big band composed of 17 musicians, and Latin Grammy nominee Cris Delanno and her Bossa Cuca Nova band with traditional bossa nova sounds and percussion. Since Rock in Rio USA was announced this year, advance tickets have been purchased from 32 countries six months in advance of the Las Vegas invasion. News has generated $25 million in coverage worldwide and is expected to be worth $150 million in Las Vegas exposure by May. A Cirque executive told me that acts from the company’s eight Strip shows will be featured at the festival in collaborations similar to Sunday’s Life Is Beautiful concert The Beatles “Love” cast performed with the Las Vegas Philharmonic. The lineup announcements to date include: o) May 8: - Main Stage: No Doubt o) May 9: - Main Stage: Metallica; Linkin Park - Sunset Stage: The Deftones o) May 15: - Main Stage: Taylor Swift; Ed Sheeran o) May 16: - Main Stage: Bruno Mars - Sunset Stage: John Legend; Joss Stone Our thanks to Steve Marcus of the Las Vegas Sun, contributing photographer Tom Donoghue and videographers Richard Corey and Chris Rauschnot for their coverage. As the Las Vegas debut gets underway, Rock in Rio celebrates its own 30th anniversary and during its 14 festivals has attracted more than 7.4 million fans. Organizers say the Las Vegas venue will be a premium world-class facility. “It’s a monumental task, but this will be no ordinary festival,” said Roberto proudly. “It’s a permanent installation, so we have a permanent city within a city complete with grassed gardens and even real toilets.” In my book, that sure makes a difference! { SOURCE: Robin Leach via The Las Vegas Sun | http://goo.gl/tT261M } BWW Interviews: Ella Louise Allaire and Martin Lord Ferguson Talk N THE QUEEN OF PARIS {Oct.29.2014} ----------------------------------------------------- With its World Premiere about a year away, tickets are already on sale for the Broadway bound musical N THE QUEEN OF PARIS. And 2015 is shaping up to be the year of Émile Zola, with Keira Knightley set to make her Broadway debut in the stage adaption of his novel Therese Raquin and N THE QUEEN OF PARIS bringing his novel Nana to the stage. Recently, David Clarke of Broadway World sat down with Ella Louise Allaire and Martin Lord Ferguson, the co-creators of N THE QUEEN OF PARIS, and Pascal Nadon to discuss the upcoming musical. Fans of Cirque du Soleil will recognize the pair as the producers of the ZED album (and more); Mr. Clarke’s interview touched on their time with Cirque briefly… # # # I also read that you both have experience writing for Cirque du Soleil and that your choreographer, Jean-Jacques Pillet, also has experience working with Cirque du Soleil. Can audiences expect a Cirque du Soleil tonality or their type of imagery in N THE QUEEN OF PARIS? Ella Louise Allaire: Absolutely not. [She and Martin Lord Ferguson Laugh] You’re right. We did do a lot of Cirque du Soleil, starting in 2004 in Las Vegas with KÀ. Our contribution to Cirque du Soleil was the large score. We were always pushing for 60 pieces and musicians… Martin Lord Ferguson: Choirs. Ella Louise Allaire: Yes. Choir as well. This is what we did for KÀ and also for ZED, which was in Tokyo Disney. We went to record a 60-piece string orchestra as well as a large ensemble choir. Martin Lord Ferguson: It’s a valuable question because Cirque [du Soleil] is an icon where we come from-Quebec. It employs a lot of people and creative minds for that reason. Sometimes you end up at that company by accident. It’s not necessarily because you had the love of circus arts when you were growing up. Being in the music business and being in the theatre business, at a certain point we got approached by Cirque to do shows. Through them we also met great creators, like our choreographer. He’s actually from the classical side of choreography. He was a French choreographer who was doing modern choreographies for ballet in Paris, and he got approached for the same reason. He was pushing the boundaries further than others, so he got noticed by Cirque. They said, “Hey, I’d kind of like to take what you’re doing for modern ballet and dance and put it into a circus atmosphere.” This is a bit like what we were doing. We were doing large scores, like Ella was saying. We were writing trailer music for Hollywood and these other large, large scores, and we ended up at Cirque for KÀ for that particular reason. We were writing in that big, epic style of music, and they were like, “Oh, let’s take this and bring it to the Cirque environment.” # # # Read the rest of the interview here: LINK /// < http://goo.gl/59Bsq7 > { SOURCE: Broadway World } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem & Kurios} o) ARENA - In Stadium-like venues {Quidam, Dralion & Varekai} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, Zarkana, MJ ONE & JOYÀ} 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: Atlanta, GA -- Oct 3, 2014 to Nov 30, 2014 Miami, FL -- Dec 11, 2014 to Jan 25, 2015 Houston, TX -- Feb 12, 2015 to Mar 22, 2015 Madrid, ES -- May 6, 2015 to Jun 21, 2015 Corteo: Lima, PE -- Oct 25, 2014 to Nov 9, 2014 San Jose, CR -- Jan 22, 2015 to Feb 15, 2015 Bogota, CO -- Mar 19, 2015 to Apr 12, 2015 Koozå: Düsseldorf, DE -- Nov 6, 2014 to Dec 14, 2014 London, UK -- Jan 7, 2015 to Feb 8, 2015 Bern, CH -- Mar 1, 2015 to Mar 15, 2015 Kurios: San Francisco, CA -- Nov 14, 2014 to Jan 18, 2015 Seattle, WA -- Jan 29, 2015 to Feb 22, 2015 Denver, CO -- Apr 10, 2015 to May 3, 2015 Calgary, AB -- Jun 10, 2015 to Jul 5, 2015 Chicago, IL -- Aug 6, 2015 to Sep 20, 2015 Ovo: Osaka, JP -- Jul 17, 2014 to Nov 2, 2014 Nagoya, JP -- Nov 20, 2014 to Feb 1, 2015 Fukuoka, JP -- Feb 20, 2015 to Apr 5, 2015 Sendai, JP -- Apr 23, 2015 to Jun 7, 2015 Totem: Syndey, AU -- Oct 28, 2014 to Jan 4, 2015 Melbourne, AU -- Jan 21, 2015 to Mar 15, 2015 Brisbane, AU -- Apr 10, 2015 to May 17, 2015 Adelaide, AU -- Jun 11, 2015 to Jul 5, 2015 Perth, AU -- Jul 31, 2015 to Aug 16, 2015 ----------------------------------- ARENA - In Stadium-Like Venues ------------------------------------ Quidam: Bologna, IT -- Oct 29, 2014 to Nov 2, 2014 Florence, IT -- Nov 5, 2014 to Nov 9, 2014 Pesaro, IT -- Nov 14, 2014 to Nov 16, 2014 Milan, IT -- Nov 19, 2014 to Nov 23, 2014 Turin, IT -- Nov 27, 2014 to Nov 30, 2014 Paris, FR -- Dec 2, 2014 to Dec 7, 2014 Lille, FR -- Dec 10, 2014 to Dec 14, 2014 Lisbon, PT -- Dec 18, 2014 to Dec 28, 2014 Santa Cruz de Tenerife, ES -- Jan 3, 2015 to Jan 11, 2015 Bucharest, RO -- Jan 29, 2015 to Feb 1, 2015 Bratislava, SK -- Feb 5, 2015 to Feb 8, 2015 Budapest, HU -- Feb 13, 2015 to Feb 15, 2015 Copenhagen, DK -- Feb 18, 2015 to Feb 22, 2015 Oslo, NO -- Mar 5, 2015 to Mar 7, 2015 Helsinki, FI -- Mar 11, 2015 to Mar 15, 2015 Vilnius, LT -- Mar 19, 2015 to Mar 21, 2015 Minsk, BY -- Mar 26, 2015 to Mar 29, 2015 Tel Aviv, IL -- Jul 2, 2015 to Jul 16, 2015 Dralion: Sault Ste. Marie, ON -- Oct 29, 2014 to Nov 2, 2014 Fort Wayne, IN -- Nov 5, 2014 to Nov 9, 2014 Bloomington, IL -- Nov 13, 2014 to Nov 16, 2014 Cedar Rapids, IA -- Nov 19, 2014 to Nov 23, 2014 Duluth, MN -- Nov 26, 2014 to Nov 30, 2014 Kearney, NE -- Dec 3, 2014 to Dec 7, 2014 Regina, SK -- Dec 10, 2014 to Dec 14, 2014 Lethbridge, AB -- Dec 17, 2014 to Dec 21, 2014 Kamloops, BC -- Dec 24, 2014 to Dec 28, 2014 Prince George, BC -- Dec 31, 2014 to Jan 4, 2015 Fairbanks, AK -- Jan 8, 2015 to Jan 11, 2015 Anchorage, AK -- Jan 14, 2015 to Jan 18, 2015 ** Closing, Anchorage, AK - Jan 18, 2015 ** Varekai: Hershey, PA -- Oct 29, 2014 to Nov 2, 2014 Columbia, SC -- Nov 5, 2014 to Nov 9, 2014 Hampton, VA -- Nov 12, 2014 to Nov 16, 2014 New Orleans, LA -- Nov 19, 2014 to Nov 23, 2014 Sioux Falls, SD -- Dec 11, 2014 to Dec 14, 2014 Milwaukee, WI -- Dec 18, 2014 to Dec 21, 2014 Minneapolis, MN -- Dec 25, 2014 to Dec 28, 2014 Colorado Springs, CO -- Dec 31, 2014 to Jan 4, 2015 St. Louis, MO -- Jan 7, 2015 to Jan 11, 2015 Wichita, KS -- Jan 14, 2015 to Jan 18, 2015 Tulsa, OK -- Jan 21, 2015 to Jan 25, 2015 Oklahoma City, OK -- Jan 28, 2015 to Feb 1, 2015 San Antonio, TX -- Feb 4, 2015 to Feb 8, 2015 Phoenix, AZ -- Feb 18, 2015 to Feb 22, 2015 San Diego, CA -- Feb 25, 2015 to Mar 1, 2015 El Paso, TX -- Mar 18, 2015 to Mar 22, 2015 Bakersfiled, CA -- Apr 1, 2015 to Apr 5, 2015 Sacramento, CA -- Apr 8, 2015 to Apr 12, 2015 Stockton, CA -- May 6, 2015 to May 10, 2015 --------------------------------- 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 November 5 - 7 Added performances in 2014: 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 December 1 - 16 Added performances in 2014: 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 November 2 - 5 o December 7 - 9 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 December 10-18 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 December 2 Added performances in 2014: o 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 December 2 - 17 Added performances in 2014: 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 November 9 - 17 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 November 4 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 November 13 - 28 Added performances in 2014: o December 26 JOYÀ: Location: Riviera Maya, Mexico Performs: Tuesday through Saturday, Dark: Sunday/Monday One/Two Shows Nightly: 9:00pm (Weekdays) 7:00pm & 10:15pm (Fri, Sat & Holidays) Premiere will be held on Saturday, November 8th at 9:00pm Prices: o) VIP Show Dinner & Champagne [RED] — $MXN 2,970.00 o) Show Dinner and Champagne [BLUE] — $MXN 2,178.00 o) Show and Champagne [GREEN] — $MXN 1,452.00 o) Show Only [ORANGE] — $MXN $1,056 o) High Stools (Show Only) [PURPLE] — $MXN 858.000 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub & Casting o) Networking -- Posts on Facebook, G+, & YouTube --------------------------------------------------- CLUB CIRQUE: This Month at CirqueClub & Casting --------------------------------------------------- /// CASTING NEWSLETTER - October 2014 o) Welcome to our Instagram account! A few weeks ago we launched our Instagram page. Subscribe today to keep abreast of our talent scouts' activities through the beautiful world of images. These audition and scouting event images captured on the spot is our way of bringing you with us – so feel the moment as if you were part of the action… or the next best thing. LINK /// < http://instagram.com/cirquedusoleilcasting > o) Canadian gymnasts win gold Congratulations to Maria Kitkarska and her Canadian teammates for finishing first in the rhythmic gymnastics team all-around event at the Commonwealth Games in Glasgow. We are proud to have been able to support Maria over the past five years, through the Cirque du Soleil bursary program, which has provided young athletes with financial assistance over the past decade. o) Interview with acrobatic gymnasts Our talent scout Dmitry Belyaykov interviewed two acrobatic gymnastics duos who have recently joined Cirque du Soleil. Watch these world champions discuss their career transition. VIDEO /// < https://www.youtube.com/watch?v=327OOD9dsbY > o) Artists and coaches: A relationship based on teamwork Even though we may master certain skills, we all need a little guidance from time to time. This is why every Cirque du Soleil artist works with highly qualified coaches every day. Go behind the scenes of a training session to see how this teamwork helps artists truly excel. VIDEO /// < https://www.youtube.com/watch?v=bPRQNqTpF5M > o) Recreating a Cirque du Soleil character makeup Isabelle Fink, who supervises the makeup team at Cirque du Soleil, presents a few techniques you can use to stand out at Halloween or any other opportunity to dress up. Brushes at the ready! VIDEO /// < https://www.youtube.com/watch?v=TNofom0X2RI > o) Upcoming Auditions: .) January 2015 - Paris, France - Circus Performers .) February 2015 - Mexico City, Mexico - Instrumentalists - Singers .) March 2015 - Amsterdam, Netherlands - Clowns - Dancers For details on our auditions, check our calendars, which are updated regularly: < http://goo.gl/w6Ol0z > --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ AMALUNA ]--- {Oct.13} With Halloween just around the corner, do you know what YOU are going to dress up as this year?! LINK /// < http://goo.gl/5IG4qj > {Oct.25} Halloween Party this weekend?! Check out this make-up application from our very own Cali... LINK /// < http://youtu.be/ooVHsn-IZyc > {Oct.29} ATL! If you are in the Lenox Square Mall come check out our Amaluna costume display in Bloomingdales! LINK /// < http://goo.gl/HHictn > {Oct.31} HAPPY HALLOWEEN! Our Amazons had SO much fun trick-or- treating with the local kids at Atlantic Station this evening. Have a wonderful weekend, everyone! LINK /// < http://goo.gl/al85qt > ---[ CORTEO ]--- {Oct.05} Hoy es nuestro último dia en Santiago! Muchas gracias por su calidez!! Disfruten de este plano aéreo del site tomado por uno de nuestros técnicos... Listos para volar a Lima!!!! LINK /// < http://goo.gl/gs4ouq > {Oct.23} Ya estamos en Lima!! LINK /// < http://goo.gl/oF9zXV > {Oct.24} Mañana es nuestra premiere en Lima! LINK /// < http://goo.gl/d8HFwI > {Oct.29} Victorino, el payaso gigante de Corteo, en breve en una divertida entrevista junto a Monica Delta. LINK /// < http://goo.gl/WFMw3m > {Oct.30} Los artistas de Corteo sorpendieron al público del Jockey Plaza con un increíble flash Mobe. La exhibición de su fabuloso vestuario continuará hasta el 09 de noviembre en el CC Jockey Plaza. LINK /// < http://goo.gl/TegAMk > {Oct.31} Hoy, Mauro y el payaso blanco en una divertida entrevista con Milagros Leiva en "No culpes a la noche". ¡No se lo pierdan! LINK /// < http://goo.gl/EeUIzp > ---[ CIRQUE DU SOLEIL ]--- {Oct.28} Halloween Make-Up Tips from Cirque du Soleil: 1) https://www.youtube.com/watch?v=c2nn5c7MFaU 2) https://www.youtube.com/watch?v=eCSQZQ0A1qA 3) https://www.youtube.com/watch?v=1Vbek_VhEyA 4) https://www.youtube.com/watch?v=v0T5ZZpA6DE {Oct.30} Are you planning on a Cirque du Soleil inspired halloween costume this year? Check out the video as we go behind the scenes at the final costume and make up fitting for "Scottish Fantasy!" LINK /// < https://www.youtube.com/watch?v=LKo-lTo2S-Y > {Oct.31} Cirque shares its "Best Of's..." o) Best Icarian Games from Varekai: < https://www.youtube.com/watch?v=Tr5oPaJccas > o) Best of High Wire from KOOZA: o) Best of Teeterboard from Amaluna: o) Best of Tournik from Corteo: o) Best of Aerial Hoops from Quidam: o) Best of High Bars from Alegria: ---[ CRISS ANGEL BELIEVE ]--- {Oct.07} Congratulations to Criss Angel and the entire BeLIEve team as they celebrate their 2,400th show tonight! ---[ DRALION ]--- {Oct.01} Tune in WNYT-NBC Channel 13 in Albany for a preview of Dralion followed by a juggling demonstration. LINK /// < http://goo.gl/dtGcDw > {Oct.03} If you posed with one of our artists last night, tag yourself and share your picture with your friends! LINK /// < http://goo.gl/2fAmMC > {Oct.06} Dumbbell push press, squats, abs, lunges, bench press... Our performers are getting stronger. LINK /// < http://goo.gl/Bov0pF > {Oct.07} Hello Penn State,This is what we do on our day off! LINK /// < http://goo.gl/aXKN34 > {Oct.08} Have you met our Dralions or King Bamboo? You might have seen them walking around the Bryce Jordan Arena. If so, tag yourself in one of these pictures and share it with your friends! LINK /// < http://goo.gl/5c4th9 > {Oct.10} Happy Stage Manager day! LINK /// < http://goo.gl/65czMz > {Oct.12} Happy Canadian Thanksgiving from Dralion! LINK /// < http://goo.gl/22ROjd > {Oct.15} Our cast had lots of fun with Ryan Leckey from WNEP-TV. Missed it? Check out our cool segment at noon on Channel 16. LINK /// < http://goo.gl/Tkr8gS > {Oct.16} Our Hoop Diving performers just before their live appearance at Dancing With the Stars in Greece! LINK /// < http://goo.gl/Z3m6Qe > {Oct.20} Congratulation Kala! 10 years of hard work and fun performing! LINK /// < http://goo.gl/gq7Wyl > {Oct.21} Good day Cedar Rapids! Stay tuned for a sneak peak of Dralion on Fox28 later today. LINK /// < http://goo.gl/PznYui > {Oct.25} Oh!! How was the show tonight? LINK /// < http://goo.gl/sb5X4x > {Oct.29} Hey Dralion fans! Have you ever wondered what's happening backstage? Take a look! LINK /// < http://goo.gl/gKldz9 > {Oct.30} The First Halloween celebration on Dralion took place n Buffalo in 2010. For more than half of our cast this was the first Halloween they ever celebrated! This year, we're in Sault Ste Marie, Will you be joining us? LINK /// < http://goo.gl/gv5YsX > {Oct.31} Dralion in Sault Ste Marie is prepping the pre-show parade. Show us your best scary face tonight! LINK /// < http://goo.gl/FejY7Z > {Oct.31} We have seen some very cool little monsters tonight in Sault Ste Marie. Was your photo taken with our cast? If so, tag yourself and share the pictures with your friends. We had a lot of fun! LINK /// < http://goo.gl/7x5JZz > ---[ JOYÀ ]--- {Oct.02} Our artists made it to Riviera Maya and can’t wait to take the stage! We got an exclusive sneak peek at the venue for you. Ready? LINK /// < http://goo.gl/FsMhJg > {Oct.21} Riviera Maya suits us well, don’t you think? LINK /// < http://goo.gl/Yfn9hc > ---[ KÀ ]--- {Oct.09} Cosplay? KÀ-splay. New York Comic Con starts in two hours, will we see you there? (Booth 1336!) LINK /// < http://goo.gl/gj8Vh2 > {Oct.09} Are you at New York Comic Con? Look for KÀ at booth 1336 and keep an eye out for the bad guys! LINK /// < http://goo.gl/9NluNY > {Oct.09} Thanks for a great first day, New York Comic Con! KÀ & booth 1336 are here all con, plus a main stage performance on Saturday! LINK /// < http://goo.gl/5Dr532 > {Oct.10} New York Comic Con day 2! If you haven't visited KÀ & booth 1336 yet, don't miss a chance to get your hands in the wash-up scene! LINK /// < http://goo.gl/S3CrUl > {Oct.10} New York Comic Con day 2 is a wrap! KÀ will be back in booth 1336 tomorrow, and performing tomorrow night at 7:30 on the main stage! LINK /// < http://goo.gl/XPBZ2F > {Oct.11} New York Comic Con day 3! We're back in booth 1336, plus a special performance on the main stage tonight at 7:30! LINK /// < http://goo.gl/xXDH6M > {Oct.11} KÀ performs live from New York Comic Con at 7:30 p.m. ET, and you can tune in here: http://cirk.me/kastream LINK /// < http://goo.gl/l1HxbK > {Oct.11} KA on (and briefly off!) the NYCC main stage! LINK /// < http://goo.gl/vxdvAo > {Oct.12} Tune in to the Today Show this morning to catch a performance from KÀ on the Plaza! LINK /// < http://goo.gl/h8s4gB > {Oct.12} KA performing on the TODAY Show Plaza! LINK /// < http://goo.gl/5I4DRL > {Oct.12} Last day of New York Comic Con! KÀ is back at booth 1336 with issue 3 of our Marvel custom comic book! ---[ KOOZA ]--- {Oct.03} Did you catch the cast of Cirque du Soleil's KOOZA on the streets of Warsaw this week? LINK /// < http://goo.gl/9tDWEG > {Oct.27} KOOZA shadows on the Big Top! Can you guess which act is creating these awesome shadows? LINK /// < http://goo.gl/KlLjMF > ---[ KURIOS ]--- {Oct.01) On this International MusicD ay, we're very excited to invite you to our KURIOS Album Launch that will be held on December 10th in San Francisco! Make sure to be part of the celebration if you'll be around! Meanwhile, we just released our single 'Clouds'! Have a listen here on the event page: LINK /// < http://cirk.me/1vpH1ij > {Oct.01) Get ready, San Francisco! KURIOS is coming this November! LINK /// < http://goo.gl/SU9KaY > {Oct.15) Early morning fun at KURIOS with Theweathernetwork.com to celebrate our 200 shows! LINK /// < http://goo.gl/kEqbpc > {Oct.21) Some members of the cast and crew of KURIOS participated in the Scotiabank Toronto Waterfront Marathon last weekend! LINK /// < http://goo.gl/Cnpvsp > {Oct.29) Thank you to the 180k+ of you who have helped us break our audience record in Toronto! LINK /// < http://www.youtube.com/watch?v=Sxneg23AlSI > ---[ MYSTERE ]--- {Oct.02} "Kunya Sobe" (Official Music Video) - Immerse yourself in this high-energy music video featuring "Kunya Sobe," a music score played live for Mystère. LINK /// < http://cirk.me/1pJ5rNi > ---[ OVO ]--- {Oct.01} A souvenir from our first Bug Dance in San Francisco. LINK /// < http://goo.gl/SCvQqe > {Oct.09} Here's a short timelapse to show you how the OVO Crickets train when they are in Montreal. LINK /// < http://goo.gl/ia4nmY > {Oct.20} Our sound technicians have definitely the best seat to watch OVO. LINK /// < http://goo.gl/hrYWgm > {Oct.21} Today OVO is saying goodbye to one of its original crickets who will be joining our newest production KURIOS. Good luck Gary, we will miss you! LINK /// < http://goo.gl/pQp2Qr > {Oct.28} A very special Halloween day for the OVO children who visited the different departments to receive candy. The kitchen also prepared a very “tasty” menu for this special occasion. How will you celebrate Halloween this year? LINK /// < http://goo.gl/Zb2oli > {Oct.31} OVO is saying another goodbye this week. Our cricket Michel is leaving us for a new adventure on Mystère! Thank you Michel and we wish you all the best! LINK /// < http://goo.gl/MhpEmy > ---[ QUIDAM ]--- {Oct.05} Did you know we could see the Quidam Hand to Hand banner from the planes landing at the nearby Thessaloniki airport? LINK /// < http://goo.gl/mN3QZl > {Oct.29} Always amazing to see our team working hard on improving our iconic acts! LINK /// < http://goo.gl/kFtE4A > ---[ TOTEM ]--- {Oct.09} In a week from now, our Big Top will be up in Sydney! In the meantime, Richard Wilkins from 9 News takes you behind -the-scenes of TOTEM to meet cast and crew members who make the magic happen every night! Enjoy this preview of the show with amazing footage shot in Auckland last month! LINK /// < http://goo.gl/D9n48G > {Oct.18} The set is being put together inside the Big Top at The Entertainment Quarter in Sydney, Australia!! Only 9 days to go until our Opening Night on Tuesday, October 28! LINK /// < http://goo.gl/kB6xqc > LINK /// < http://goo.gl/12lCA5 > LINK /// < http://goo.gl/8EGdzC > {Oct.20} The artists are back to work! Only one week of rehearsals left before our Sydney Opening Night at The Entertainment Quarter! LINK /// < http://goo.gl/fIcZMB > {Oct.22} We are about to go live on ABC Radio across Australia with Artistic Director Neelanthi Vadivel and Rings artist Olli Torkkel!! 5 days to go until Opening Night in Sydney! LINK /// < http://goo.gl/cgnTLb > {Oct.23}} Another day of rehearsal is starting at TOTEM! Only 4 days to go until our Sydney Opening Night! LINK /// < http://goo.gl/dCIukF > {Oct.25} We are putting the final touches prior to our Sydney Dress Rehearsal tonight! Only 2 days left until our official Grand Australian Premiere! LINK /// < http://goo.gl/NTdibd > {Oct.26} Have you seen artists Umihiko Miya and Mikalai Liubezny on the cover of Mx Sydney today? Only a little over 24 hours before our Sydney Premiere! LINK /// < http://goo.gl/g2rWaQ > {Oct.29} Beautiful day in Sydney, we took our Rings Trio performers out to Centennial Park for a special photoshoot! LINK /// < http://goo.gl/aVI1xc > ---[ VAREKAI ]--- {Oct.02} Dedicated to Mark Halasi who for 8 years has performed his beautiful Net act and has enchanted millions of people all around the world with his version of Icarus! LINK /// < http://goo.gl/xlhlr3 > {Oct.07} Hey fans! Check out this really cool behind-the-scenes video that was shot while we were in Fort Myers, FL. LINK /// < http://goo.gl/2g49qE > {Oct.11} Captured backstage! LINK /// < http://goo.gl/2I1f8q > {Oct.22} Roanoke! Have you seen these? Follow Icarus' feathers into the Berglund Center and get your tickets to see Varekai. LINK /// < http://goo.gl/X6Gb0y > {Oct.22} Artists getting ready for opening night in Roanoke! LINK /// < http://goo.gl/NQ5eKF > {Oct.25} Check out some of our photos that were shot in Cincinnati. LINK /// < http://goo.gl/nrSZrc > ---[ ZARKANA ]--- {Oct.13} Timelapse Recreation of the High Wire - On display at The Shops at Crystals is an amazing recreation of the high wire act. Here’s a look at the construction process. Be sure to stop by 10/18 from 4:30pm - 5:50pm for an exclusive meet & greet with the high wire artists! LINK /// < http://goo.gl/63TT6b > {Oct.27} Last week we unveiled our re-creation of the high wire act! Be sure to stop by The Shops at Crystals, and have a look! LINK /// < http://goo.gl/pTHPRR > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "KÀ at 10: The Original Creator's Notebook" By: Ricky Russo - Atlanta, Georgia (USA) o) INTERVIEW /// "Lindsey Bruck-Ayotte - Uneven Bars" By: The Chapiteau, a Cirque du Soleil Fan Club ---------------------------------------------------------- "KÀ at 10: The Original Creator's Notebook" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- The following entries are excerpts given to us by an anonymous Cirquester from the KÀ Creators’ Notebook, and they feature some very interesting behind-the-scenes notes regarding the creation of the MGM Grand show. Picking up just following the official press conference on September 15, 2004, we hear from Anh-Dao Bui (the Assistant to the Production Manager), Céciles Vignes (Internal Communications Advisor), and Stéphane Mongeau (Production Manager) as milestones in the show’s creation are reached – including living through a “Lion’s Den” performance! # # # October 3, 2004: Robert Lepage is in Las Vegas and we're concentrating our team efforts on the staging by providing him with as many of the show conditions as much as possible (sound, EFX, lighting, video, costumes, etc). We also showed him the work that's been done during the last two weeks to get his artistic input. Robert's goal for this week is to prepare this Sunday's run-through, at which Guy Laliberté and Lyn Heward will be present. He also wants to work on the show content. One of our biggest challenges is telling this epic tale to the audience without words. In order to achieve this, we must focus on the artists' acting skills (body language, gesture, posture, facial expression) and on the interaction between all the characters during the show. The acrobatic performances ("Wheel of Death," "Wushu," etc.) are in good shape. In terms of acting and linking everything to support the storyline, we still have some work to do. We're also trying out new EFX and props objects (retractable spears, body arrows, flash devices, etc), and integrating them into the staging. The devices were tested during their manufacturing, but we are now testing them with the artists during rehearsal time. The cueing work continues. We're trying more and more to respect the transition time between the scenes. The more we practice, the more efficient we'll become. The pre-set time will get shorter and the show run-through will get smoother. Also, backstage and in the dressing room at each rehearsal, we're asking the artists to act as though they were actually performing for an audience in terms of how quickly they change their costumes and do their make-up. This gives us a good idea of the amount of time required for them to go from one scene to the other. And speaking of make-up, Nathalie Gagné (Make-up Designer) has started to teach the artists how to do their own make-up. As she said: "Until they memorize the technique, we might see some Picasso artwork running around!” So far, though, it hasn’t been so bad: not too many Picassos have been seen backstage! Last Monday, we also presented the flame and pyro effects to Robert Lepage and to the Clark County Fire Department (CCFD). This process is still in progress since the CCFD needs to make sure that all effects are safe for the cast, crew and audience. Anh-Dao Bui Assistant to the Production Manager * * * October 10, 2004: 2:28 p.m. The entire KÀ team is on alert. Creative team, department heads, Guy Laliberté, naturally, Robert Lepage, Guy Caron, and many, many more are here. In just two minutes we’ll start the very first run-through: a start-to-finish rehearsal of the whole show. This will be the first assessment of the transitions, including recent costume changes. That means the artists must behave exactly as they would during a real performance. The idea is to go as fast as possible, but safety must not be jeopardized in any way. In Guy Caron’s words, the run-through is a testing phase. No one knows yet whether there will be changes, but with six and a half weeks until the premiere it’s likely, so it’s important to be very receptive. 4:45 p.m. After more than two hours of performance, we’re about 22 minutes into the show, according to the script. After every scene, the whole technical crew and the dressers go into high gear preparing for the next step. Technology is a prime component in KÀ and a considerable number of operations are involved in preparing for a scene. It’s also the first time these operations have been conducted in a “real life” situation. This is another important objective of the run-through: to assess the feasibility and duration of the transitions. 6:30 p.m. We’ve broken for dinner, to everyone’s relief. The artists have an hour ahead of them to recharge their batteries and rest. The sofas in the green room will serve as makeshift beds for some while others change to go out to eat (costumes are not allowed outside the theatre!). Meanwhile, the technical crew works on, using this break to make some headway on a longer-than-average transition. 8:10 p.m. The run-through continues. As the artists take their turns on “stage” and the technical crews go about their business below, above, or right in the middle of the equipment, some lucky souls get to sit in the theatre and act like an audience. These are the KÀ team members who aren’t directly involved in the performance. Everyone’s heavy workloads notwithstanding, they shuttle between their offices and the theatre, trying to take full advantage of this unique opportunity. 10:35 p.m. The artists are standing by for a scene that comes about 12 minutes from the end of the show. Everyone is tired, but at the same time, the tension from earlier in the day is gone. The end is in sight, and the jokes have begun flying thick and fast. 11:20 p.m. It’s over! The longest day is now officially a thing of the past. The house lights have come up revealing smiles on every face. Guy Caron announces that there will be few changes: Guy Laliberté was extremely pleased with what he saw and the remaining work will primarily be a matter of polishing what’s already there. He thanks all the artists for their patience and praises the quality of their performance. After the smiles of relief this good news brings, the next announcement prompts unanimous jubilation: they’re all invited to a very special party in early November, organized in their honour – a present from Guy Laliberté! Céciles Vignes Internal Communications Advisor * * * October 15, 2004: There was a first run-through on Sunday for all the designers, the production crew, the team from the Montreal Costume Shop, Robert Lepage, and Guy Laliberté). The run-through came six and a half weeks before the première. It was a long day, with pitfalls galore, but we got through it in seven hours. The reactions were very positive. For the team, this was a perfect opportunity to get a unified view of what everyone is doing and imagine the full effect when all this potential is realized. The day after the run-through, there was a production meeting with Robert and the thirty-odd members of his team. We still have a long road ahead of us and we’re in the process of combining all of the show’s ingredients so we can do a second run-through on October 24, when Robert comes back. In Guy Laliberté’s words, “The horse is still wild.” It’s a highly technical show, but it’s also very complex in terms of the various performance disciplines. So it’s really exciting to finally see the framework of the show emerging, and above all, to see what was a theoretical design now bearing fruit and full of potential. This week was marred by a minor mechanical breakdown affecting our stage machinery (gantry crane), which resulted in some schedule changes. But every cloud has a silver lining: this breakdown gave us a better idea of the system’s limitations and prompted us to establish stricter protocols to ensure the system is reliable in the long term. We must remain vigilant and be ready to respond to any glitches in the system. What’s important is that everything remains under control and safe. Bill Close, who designed and invented the harp in the lobby, is here to teach the musicians how to play the instrument. The effect and the music will be extraordinary. A lot more is happening, but that’s the basic picture for now. Stéphane Mongeau Production Manager – KÀ * * * October 22, 2004: Incredible, but true: this week in Las Vegas, the weather was grey and depressing, and it even rained for a few days! We’re almost ready to compete with Montreal weather... Electricity is in the air, and we’re preparing for the next run-through, taking place on October 24. That date is also when Robert Lepage returns to Las Vegas. Over the last two weeks, Nino D'Introna, Neilson Vignola and Jacques Heim have worked night and day to create, invent and tighten things up based on Robert’s directives. The goal is to present everything to him during the run-through. October 24 is a crucial moment for the production, because the Clark County fire department will by visiting us to give its final approval for the fire and pyrotechnic effects. A team specializing in radio frequencies will also be coming by to analyze our radio frequencies and make sure they are not in conflict with one another. At the same time, this is when some of our creators, including René Dupéré, Martin Lord Ferguson, Jonathan Deans, Luc Lafortune and Holger Förterer, will reveal a major part of their work. Five weeks before the premiere... anxiety and stress levels are rising within the team. We need to tame the beast! Anh-Dao Bui Assistant to the Production Manager * * * October 24, 2004: We’d been long anticipating this date, and we expected a long workday. It began an hour late. The fire department inspectors, present at the event, were asking us detailed questions. The radio-frequency verifiers, also in the house, had serious looks on their faces. We managed to do the run-through in just over three and a half hours. Quite an improvement compared to the October 10 run-through! That one lasted almost seven hours! Around 6:00, as a pleasant surprise, we announced to the artists that the day was over and they had Monday and Tuesday off. In addition, the fire department gave us the appropriate certificates and permits for our fire and pyrotechnical effects. The day was a productive one! This week was also marked by the return of Robert Lepage. Michael Curry (Puppet Designer) and Joe DePaul (comic acts) are also back in town. This is the beginning of the final sprint! Robert and his partners in crime (Guy Caron, Nino d'Introna, Neilson Vignola, Joe DePaul, Jacques Heim and Yung Biau Lin) met to discuss the show’s content and to review their plan of action for the coming weeks. Another intense week is on the horizon: the presentation of the first Lions’ Den (on November 5) for an audience made up of the artists, technicians and employees of Cirque du Soleil’s other Las Vegas shows. Anh-Dao Bui Assistant to the Production Manager * * * November 5, 2004: The tension is mounting, and soon it’ll be time to make some decisions. The first lions’ den takes place today (Friday, November 5), but the premiere is still three weeks away. The last run-through lasted three and a half hours. We hope to pull off the lions’ den in a maximum of three hours. The show’s approximately 150 technicians are in the process of polishing the technical transitions. The creators are programming the special effects and the lighting, sound, music and video effects. Robert Lepage and his team are concentrating on the last dramatic and artistic adjustments. The Props and Costumes workshops are moving heaven and earth to finish up the last details. After this first lions’ den, Robert Lepage, Guy Laliberté, the creators and the production team will take the time to reflect on the show and prepare a plan of action for November 26 (the public premiere) and February 3 (the premiere gala). Also taking place this week: various magazines (Time, Total Production and others) will be interviewing show creation and production personnel. Anh-Dao Bui Assistant Production Manager * * * November 12, 2004: Our first lions’ den was held on November 6. For a big part of the day, the team was busy with last-minute preparations, and a whole battery of tests (sound, lighting, etc.) was conducted. Just around 2:10 p.m., the theatre doors opened. Based on what little they knew of the show, our colleagues from the other Las Vegas shows (Mystère, “O” and Zumanity) and offices were more than eager to discover what KÀ had to offer. At 2:30, the show got underway. The run-through progressed nicely, with everything going smoothly. The crowd reacted with gasps of admiration and warm applause. What a change it was for all of us to have an audience in the theatre, especially after all these long months of training and rehearsals in a nearly empty room! At the halfway mark, everyone had to take a first break because of a technical problem related to lighting. There were to be two other breaks by the time the lions’ den ended. The audience understood: they knew that the technological and acrobatic challenges facing KÀ were enormous. At about 5:35, the show was over. We came close to meeting our goal of pulling off this lions’ den in less than three hours. The spectators’ comments after the performance were very positive. They will be invited back on November 20 for the third lions’ den, giving them a chance to see how much progress has been made over the preceding two weeks. Right after the performance, the entire KÀ team was brought together in the theatre. Guy Laliberté, Guy Caron and Stéphane Mongeau wanted to thank them all and to encourage them to continue their great work and stay calm and collected because there is still a lot left to do from now to November 26, the date of the premiere. This week was another very busy week in which we had to prepare the second lions’ den, scheduled for today. The countdown continues, with only two left weeks until the premiere! Anh-Dao Bui Assistant to the Production Manager * * * November 19, 2004: Our second lions’ den took place on November 12. During the first one, the show stopped three times and lasted just over three hours. But this second lions’ den left us all with smiles on our faces. Just before the audience entered the theatre, Lyn Heward found 25 cents: “It’s our lucky quarter,” she said. “Each cent represents a minute that we’re cutting off the show!” And while I’m not really superstitious, wouldn’t you know it—the show went off without a hitch and with no interruptions. This was the first time we managed to perform the whole show without stopping! And the length? An hour and 45 minutes total! The artists, creators, production people, operations team, technicians—everyone was overjoyed. We applauded ourselves and shook one another’s hands. The energy was beautiful and intense. And the public? Thrilled. Some people even compared the first and second lions’ dens: “During the first lions’ den, from the opening scenes, we were immediately wowed by the acrobatic and technical prowess. We didn’t want it to end! But every time the show stopped, we had to be patient and wait for it to start again. It was totally not the same the second time around! Truly amazing!” Now, we are now barely a week away from the premiere—and we’re starting to feel it. Some of the production tables that were in the middle of the theatre have been removed and replaced by seats. Soon, the last tables will be replaced. This week, we’ve been preparing for the last lions’ den. Next, we’ll prepare for the three dress rehearsals, to which the MGM and suppliers’ employees will be invited. Next, the premiere... Anh-Dao Bui Assistant to the Production Manager * * * November 26, 2004: We have been waiting for this day for such a long time. Due to the five-month delay, the project required most of us from Montreal to spend 9 to 12 months here in Las Vegas. Now, we are only a few hours, only a few minutes from the premiere. For some of us, it is a time of anxiety and last-minute preparations. For others, it is a time of relief. No matter what each of us is feeling all our energy is focused on our joint effort to make the premiere a success. We all hope that this show will live up to expectations. Working in the theatre day after day, we know the show inside-out and we become its most demanding critics. We often lack perspective, which is immediately obvious when we hear the reactions of members of the public and Cirque colleagues who enter the theatre for the first time. November 26 will be a decisive step for the production team. That’s the day when we hand the reins over to the operation team. Our work is not finished, however. Robert Lepage and most of the creators will remain in Las Vegas until December 3. The opening gala (for the media) is scheduled for February. In the meantime, they’ll be working on stabilizing the show. In short, there is a lot left to be done, but at least the premiere will be behind us. Anh-Dao Bui Assistant to the Production Manager * * * January 7, 2005: It’s already been a month and a half since the launch, and we’re already at our 51st show! In the last few weeks, the operations team has gotten the show rolling with a masterful hand, while preparing backups for various roles in case one of the main characters is unable to appear in a performance. This week, Robert Lepage is back in Las Vegas, along with certain members of the creation and production team. One of their goals is to examine our priorities and plan what we want to accomplish by February 3, the date of the official premiere gala. Some see this date as being all about the big party, but for us, it’s mainly about stabilizing the work. We are currently in the stabilization phase; we can always make changes to the show later, but they will need to be minor, since the creation phase will be over. Anh-Dao Bui Assistant to the Production Manager * * * February 4, 2005: A few days before the premiere, Charline Boulerice, Assistant to the Costume Designer, explained to us that they were still making changes to the Forest People costumes, with the aim of making them as visible as possible. The scene’s original lighting was blue against a blue set, and the entire costume, including the headpiece and make-up, was blue with white highlights. Just before the show opened in November, the Costume people decided that the headpiece and makeup would be yellow instead. A few days before the premiere, final touch-ups were made. Amber accents were added to the primary-color yellow to create texture and add sophistication to the entire look. The make-up was also adjusted as a result, with added shading in the same colors. The costume’s paler parts are now yellow, and they fade from yellow to green to blue with the characters’ movements. The shoulders are now yellow, too. So Marie-Chantale Vaillancourt redesigned the costumes, the Textile Design team created a new pattern and reprinted the cloth, and all the Forest People’s costumes were remade! The Twins’ costumes were also changed. They are now wearing two very distinct colors: red for the female twin and green for her brother. The entire Imperial Family’s costumes were changed to help the audience better recognize them in the Epilogue scene. The twin sister wore her new costume for the first time this week to get used to moving around in the new garments. It goes without saying that on the night of a premiere, the entire Las Vegas Marketing team is mobilized! For the past eight months, all 18 members of the team have been busy putting the finishing touches to the logistics surrounding the launch of KÀ. Premiere night is, of course, the culmination of all their efforts. A number of other people also lend a hand for the occasion, including not only the publicists for La Nouba, “O” and Mystère, but also members of the internal Box Office team, the Public Relations team from Montreal, Marketing representatives from Amsterdam and Melbourne, and dozens of MGM Group security guards, as well as a number of other resources called in for reinforcement. Journalists from all over the world Since the aim of the premiere is to ensure maximum visibility for the show, everything has been scrupulously planned to achieve this goal. The list of guests includes journalists from all over the world, celebrities and numerous business partners. The premiere of KÀ is, without a doubt, an excellent opportunity for us to show off Cirque du Soleil’s talent to all those with whom we do business. To provide journalists with the best conditions possible, Cirque has set up a special press room where they can write copy, send faxes, connect to Internet, edit videotapes and even transmit images by satellite. But who exactly are the chosen few who have access to these privileges? Of course, they include journalists from the Quebec media (La Presse, Radio-Canada, TQS, Musique Plus, etc.) and local media (Las Vegas Sun, Las Vegas Review-Journal), but they also include international journalists (New York Times, Time Magazine, US Weekly, Le Point, CNN, Algemeen Dagblad, Globe and Mail, El Pais, Wall Street Journal, Telemundo) and specialized media (Kung Fu Magazine, Backstage.com). In all, over 200 media representatives, armed with microphones, cameras and notebooks, accepted our invitation. In addition to backstage access to KÀ, they also get to see “O”, Mystère and Zumanity, allowing us to kill two (or three or four) birds with one stone! Over a period of three days, everything is organized to give them access to as much information as possible. Of course, there will also be a number of celebrities on hand, with all the usual red-carpet intricacies that entails, as they arrive in their limousines accompanied by armies of bodyguards. All these beautiful people have to be greeted, guided, escorted, photographed and interviewed in the maze of corridors populated by hundreds of potential fans. Several slot machines in the MGM lobby have even had to be temporarily moved to facilitate the comings and goings of the stars between the theatre, the hotel entrance and the site of the party at the MGM Grand Arena, and, of course, to ensure the safety of everyone. # # # The End! ---------------------------------------------------------- INTERVIEW /// "Lindsey Bruck-Ayotte - Uneven Bars" By: The Chapiteau, a Cirque du Soleil Fan Club ---------------------------------------------------------- “Getting the audience reaction every night because no matter how many times you can do it, just to see their faces and to see the awe and to take them to a place where they can forget about their worries and just enjoy a show, that’s the best part. We feed off the audience and if we’re getting a great reaction from the audience, it gives us more energy to give more.” - Lindsey Bruck-Ayotte. Q. You started gymnastics at the age of three. Do you come from a background of gymnasts or is it a common age to start? Usually young, around 3-5 is the common age. I started because I was flipping around on the couches and my mom was really nervous I was going to get hurt, so she decided to put me in gymnastics. I learned how to tuck my head and roll the proper way. At the age of 5, I think she was ready to pull me out and she saw me do a really good cartwheel and she said, “Well, maybe I’ll leave her in a little longer,” and it kind of just blossomed from there. Q. How long where you in gymnastics? After that you went over to the University of Michigan gymnastics team? I did club gymnastics growing up. I traveled to Texas and trained. I ended up getting a full scholarship to the University of Michigan and I did gymnastics. I ended up doing it for 5 years because I tore my Achilles tendon my senior year, so I stayed a 5th year to complete my eligibility. And then, when I graduated, I ended up coaching at the University of New Hampshire for 2 years, thinking I was done performing. Then 2 years of coaching and I kind of realized that I missed performing and I could still do it and I really wanted to continue with it. So I auditioned in Las Vegas for Cirque and ended up making it through the audition process. I guess it was about 6-7 months after I auditioned, they called me for a workshop for the new creation of uneven bars because Cirque had never done uneven bars before. I did a workshop for a week with some of the other girls and then a couple of days after the workshop I got called for the contract to start the creation of Amaluna. Q. How long were you an elementary PE teacher? That was my degree and I did student teaching for it, but I’ve actually never done ‘working’ as a job. Instead of going into teaching right away, I decided to go into the college coaching. So I have my degree in education, but I actually haven’t used it yet. Q. Did you want to work with kids? Was that your intention? I’ve always loved working with kids and I’ve always liked coaching. I knew that an education degree would be a great degree because I could use it anywhere. So that was the main reason why I got it, but then the opportunity of coaching at the collegiate level came about and there were opportunities and I knew I couldn’t pass that up. So that’s why I went into the college coaching and I actually loved it, it was great! You get to recruit and you get to coach, there’s the business side of it as well. So you get a bunch of different aspects of it, but performing is what I want to do right now. It’s what I love doing, so that’s where I went. Q. You said you auditioned in 2010 in Las Vegas, were you auditioning for a specific show or was it just a general audition? It was a general audition just so they could see who I was and my style and what I had to offer. Then I got put in their database. From there, they did the matchup to see where I would fit into the company. Q. Correct me if I’m wrong, general formation is when you go to Montreal and you’re there for some time training and doing different disciplines and then they put you in the database? You’re already in the database. If they send you to Montreal for general formation you’re already in the database and you already have something that they like, but they may not have a spot open for you in one of the shows. So you’ll go to general formation in Montreal and train different disciplines, they’ll get to know you a little better, get to know what you’re strengths are a little bit more. A lot of times from there, something will open in a show and you can go to the show. I was very fortunate in the fact that they saw that I was good enough bar worker that I could just be fit right into a show and I never had to do general formation. Q. I guess it would be cool to actually experience the general formation as well, huh? It would be and we did get a little bit of that because we did the creation of the show. In general formation you do other disciplines, but you also do acting classes and dance classes, make up classes. It’s not just acrobatics but the other side of it as well that you need to have when you do a show. And so during our creation, we did have that. We did have the dance classes and the acting classes. We had makeup classes to learn how to do all of our makeup and we had costume fittings and all of that stuff. So we did get a little taste of it, but we also knew specifically what we were training for. Q. What was the hardest part of the creation process for you? I would say, when we first started training, we did about 5 hours of bars a day, 5-6 days a week. That was hard just because as a gymnast you’re used to doing a max of maybe 1 1/2 hours a day, so your hands get pretty raw but we got used to it. It was fun because we got to play around and our structure is different because there are 4 different bars and we’re just used to one high-bar one low-bar. We got to help create the act with the other girls in the act, which was really exciting and kind of got to put our own little touch on it. Q. How many girls are on Uneven Bars? We have about 7 or 8 of us. Q. And actually on stage? 7-8 Q. So you don’t have a set amount? It depends. Right now we’re transitioning and we’re getting an 8th girl. So, it’s kind of nice because the more of us on bars, it looks better and we get to bring more to the audience, which we have fun with. Q. What does being captain entail? Having another set of eyes on the act itself, creating the line up, making sure that the girls know what they’re doing in the show that day, making sure that if there is an issue in the act that there is a quick decision moment that we can change it on the slide, and then also being an ear for the girls if they have any issues or any concerns and I can bring it to the coaches or solve the problem myself. Q. How much freedom do you have as far as implementing new tricks or changing something from the act? We actually have a good amount of freedom. If you saw the act 4 months ago to when you see it now, there are things that have changed. We still are developing more and more, we’re adding more difficulty, changing things around. So there is a lot of freedom as long as we’re still safe, but if we want to keep playing and keep changing things and add more difficulty, they’re all for it and they love it. Q. As far as the act itself, is there something you and the rest of the team are trying to portray? I think we’re mostly trying to portray the women’s strength. A lot of times, our show is different because we’re 70% women and 30% men, which is the opposite of a normal Cirque show. The one thing that we get to show is how strong we are and how fierce we are. That’s kind of what we’re trying to portray to the audience. We try to protect the island that we’re on and we have the boys that are playing on our apparatus, but it’s kind of our playground where we get to have fun and we get to show off. Q. Do you know if it’s difficult to find so many women artists for the show or to have as backup? Like you said, for the most part you see mostly men in the shows, but Amaluna calls for mostly women. It depends on the discipline. Obviously, we do uneven bars, so there are more and more gymnasts that have seen the act. They see a different avenue where they can go after graduating college or they’re finishing a gymnastics career but they want to keep performing. So they kind of see our act as another avenue of this is kind of a gymnastics professional life, but it is different because in gymnastics you’re the only on the bar. Now you have 7 to 8 girls you have to watch out for, the structure is different, it moves different than a normal set of uneven bars. So it takes training and working with the group, but definitely possible to add more girls and to integrate somebody else into the act, into the show. Q. For you, what’s the best part of performing in front of a live audience? Getting the audience reaction every night because no matter how many times you can do it, just to see their faces and to see the awe and to take them to a place where they can forget about their worries and just enjoy a show, that’s the best part. We feed off the audience and if we’re getting a great reaction from the audience, it gives us more energy to give more. If we have an audience that’s very quiet, and they like the show but are not giving us a lot back, it is harder for us to give them more. So we do feed a lot off the audience and what they give us, we end up giving a lot more back. Q. Your daily routine on a show day… From when you wake up, what is usually your normal routine? It depends a little bit. If it is a one-show day, usually the first day back after a day off, we come in, we have about an hour training on uneven bars, we’ll do a warm up before training, we’ll do a cool down after training, we may have staging or rehearsal to kind of tweak things in the show, and then usually about 2 hours before the show I’ll have dinner. After that I’ll start my makeup. It takes me about 45 minutes or so to do my makeup and then after I do that, I start stretching for the show, then about a half hour before the show starts, putting on my costume, headpiece, taping up for bars, putting everything else on for showtime. Q. What has been your favorite city so far, if you have one? That’s a hard question. I really enjoy Quebec City and Denver. I’m from the country in upstate New York so I’m used to farm life. I’m not a big fan of big cities, so Quebec City was really nice because it was a small. We were in the old port of it. And then Denver was beautiful. We weren’t right downtown so we could walk around, we could see green- life, wildlife and all that stuff. So I’d have to say those two, but every city has their own positives of it and being able to see them all is pretty cool. Q. Have you ever thought about going to another show or do you love Amaluna so much that you would rather stay there for some time? I’m pretty content staying at Amaluna. Maybe down the road I might want to transfer to a residential show just to have a little bit more stability later in life, but right now, traveling around and being with Amaluna is home for me. It’s what I’m used to, it’s what I’m comfortable with, so I’m quite content to stay where I am at the moment. Q. And the great thing, like you said, you travel with your husband… Yeah, and it’s great. And the girls that I work with are like sisters to me, so it’s a great experience. Q. Say in the future you’re burnt out or you want a change, what’s something you would want to do besides performing or another passion that you have? I really am passionate about coaching, so that is something that I’m also still working toward while I’m here at Cirque. I go to other trainings and learn to coach other disciplines, so that maybe an avenue down the road of when my body is done performing, going into coaching. Q. And lastly, for those who have not seen Amaluna, what can you say about show? What can you tell them to expect? Expect a very beautiful show showing women strength, the costumes and the lighting… We have very different music than normal Cirque show, it’s a little bit more Rock and Roll. It’s a very unique show and a very beautiful show. I definitely recommend everybody to go see it. Read and HEAR this fantastic interview on The Chapiteau's Website: < http://www.thechapiteau.com/interviews/lindsey-bruck/ > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 14, Number 11 (Issue #130) - November 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. { Nov.04.2014 } =======================================================================