======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 15, NUMBER 8 August 2015 ISSUE #139 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. We've got another great issue for you this month, but before we get to it I just wanted to mention a quick format change for this month; a test if you will. Because we publish the news for the month as it is made (and therefore published on Fascination! Web), it can get somewhat messy here, especially since some items are mini-interviews, some long exposés, while others are reviews of happenings and just general news bits. So to keep some semblance of order I've broken up our news section - CIRQUE BUZZ - into three divisions, which you'll find noted in the Table of Contents below. These are: "La Presse" - general news, "Q&A" - Quick chats and press interviews, and "Special Engagement" - for longer, more in-depth articles published by other press sources. It's a small change but one that will hopefully benefit you, the reader! To that end I'll bypass commenting on headlines this month and get right to the good stuff (other than to say it looks like TOTEM is up for a few changes soon!). Keith Johnson, after seeing KURIOS in the Seattle area recently, reached out to composer Raphael Bëau to ask a few questions about his work with the show. Since he only speaks French there was a slight language barrier, but thanks to the show's publicist we were able to work through it and have a nice email conversation with him. A couple of issues back, Keith Johnson (in his review of KURIOS under the Big Top and VAREKAI in Arena) mentioned the new-style programme book Varekai now has, praising the way it told the show's story and how the new "book" made updating it an easier process. A few of you contacted us wondering more about how the new book went about telling the show's story. And while it's a bit difficult for us to share images of the new book (since we're a text-based newsletter), we can share the text used now to describe the story (thanks to Varekai's timely appearance in the Atlanta area...) And so you'll find that within this month. As always we also have the relevant posts made to Cirque's Facebook pages, and updates to Cirque's touring schedule. So, let's get started! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | Realy Simple Syndication (RSS) Feed (News Only): | | < http://www.cirquefascination.com/?feed=rss2 > | | | \----------------------------------------------------/ - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News for the Month * Q&A –- Quick Chats & Press Interviews * Special Engagement –- More In-depth Articles 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 * Didyaknow? -- Facts About Cirque * Networking -- Posts on Facebook, YouTube & Twitter o) Fascination! Features *) INTERVIEW /// "Raphaël Beau – Compositeur des Curiosités" By: Keith Johnson - Seattle, Washington (USA) *) "Varekai: A NEW Tale of the Forest?" By: Ricky Russo - Atlanta, Georgia (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Ibiza Opens Exclusive Whimsical Dining Club {Jul.01.2015} ----------------------------------------------------- Take top Spanish chefs Ferran and Albert Adria, the founder of circus troupe Cirque du Soleil, Guy Laliberte, and Japan’s foremost pop artist Takashi Murakami and mix them all on Spain’s Mediterranean party island of Ibiza. The result is “Heart” — an explosion of taste, colour and sound designed to delight all the senses. “This is not a restaurant, this is a dream turned into reality,” said Albert Adria, one of the founders of the project which opened on Tuesday and runs until September. “A dream of many people. We have sound technicians, image technicians, make up artists, wardrobe masters,” he told AFP during a preview party at the luxury hotel in Ibiza where the event is held. Around him a group of hooded youths performed urban dance routines as a DJ spun tunes and guests munched on Peruvian, Mexican, Japanese and Thai fusion cuisine surrounded by sculptures and video installations. “It is a very bold project which combines three things that normally don’t mix: cuisine and art with entertainment,” said Laliberte, a former stilt-walker and fire-eater. “It is totally different from Cirque du Soleil, it is more in the spirit of Ibiza,” added the 55-year-old, whose circus troupe and its whimsical plots have toured all over the world. The idea for the project was born from Laliberte and the Adria brothers’ shared passion for art and cuisine. Laliberte met the chefs over a decade ago when he ate at their award-winning elBulli restaurant, which closed in 2011, and they started work on “Heart” two years ago. Murakami, whose sculptures combine Japanese traditional art with a “manga” aesthetic, joined the project later, drawn by Laliberte’s creativity. “I met him a year ago in Tokyo. He had brought one of his big Cirque du Soleil shows and it brought tears to my eyes I cried from the emotion of it all,” he said, while on the stage nearby a painter worked on the body of a scantily-clad model. Murakami’s works mix with those of New York artist Dan Graham and France’s Miguel Chevalier, who created two multimedia installations for “Heart”. One of them, “Fractal Flowers”, is a virtual garden where flowers evolve into new shapes when they die. The installation is run by a computer programme and it uses motion sensors to interact with the public. “In every age artists appropriate the tools of the era and art in the 21st Century can be done with the tools that we use every day for the Internet,” said Chevalier. In a vast terrace decorated like a street market overlooking the luxurious yachts in the port, chefs reinterpreted world street foods with a sophisticated touch including watermelon infused in sangria, parmesan cheese pizza, tacos al pastor and oysters with soy sauce. Inside the elegant indoor dining room, the offer is even more sophisticated. There, guests can make a gastronomic journey through five worlds – the Iberian, Mexico, Oriental, traditional Japanese and Japanese food with a South American twist known as “nikkei”. But that comes at a price. Mere access to the terrace will set you back €100 ($110) while to have dinner inside, see the show and party until sunrise starts at €315 per person. “Heart” will be open for just 77 days this year, said Alberto Adria, coinciding with the high season in Ibiza which draws celebrities from around the world. It is already almost fully booked. After September there are no plans to set up “Heart” somewhere else. “It is too big to take it on tour, I don’t even want to think about it,” said Albert Adria. Laliberte said the project stems from “a search for emotion, and the pleasure of working with these people and their creativity.” “Though we also want commercial success,” added the showman, who in April sold a controlling stake in Cirque du Soleil to American and Chinese investors. { SOURCE: The Local ES | http://goo.gl/fX4Yfh } KURIOS in Denver Evacuated After Gas Leak {Jul.04.2015} ----------------------------------------------------- KURIOS, The touring Cirque du Soleil show in the Pepsi Center parking lot (in Denver), was evacuated Saturday after a 150 pound container of liquid propane gas started to leak, according to the Denver Fire Department. The tank was located around 150 feet away from the show’s tent. As of 6 p.m., Denver Fire said they were in the process of starting to let people back in. { SOURCE: Denver 9 News | http://goo.gl/Qcz52P } BAZ Performs Quick Change at Light {Jul.05.2015} ----------------------------------------------------- John Katsilometes of the Las Vegas Sun has some news this morning regarding Cirque du Soleil’s “On The Record: BAZ” at Light Mandalay Bay... One of the six principal performers in “For the Record: Baz” at Light in Mandalay Bay has taken leave from the show. Constantine Rousoulis, a physical and vocal force as one of the three male leads in the production, is reportedly back in L.A. and not currently onstage in the production on the Strip. A spokeswoman for the production said Rousoulis is performing a final screen test for an independent film and has taken time away from “Baz” to take part in that shoot. Meantime, Steve Mazurek is covering for him this week, with Payson Lewis taking over next week in the role originated in Las Vegas by Rousoulis (who is still listed on the “Baz” website as one of the ensemble performers). In the “For the Record” operation, such swift swaps of artists is not uncommon, and while Rousoulis is a major talent, this is not being presented as a major happening. Word is that he’ll be back, but no word on the “when” of it all. { SOURCE: The Las Vegas Sun | http://goo.gl/ehx3py } PHOTOS /// Premiere: Scalada – STORIA {Jul.07.2015} ----------------------------------------------------- “Scalada returns, this year with STORIA, which premiered Saturday in Andorra. We are still buzzing from the excitement.” STORIA is an acrobatic and metaphoric journey through the legends of Andorra. In a minimalist décor evoking the vaulted roof of a contemporary cathedral, somewhere between tradition and modernity, STORIA takes root in the founding legends of Andorra. The White Lady – the patron goddess of this luminous land – will open one by one the boxes containing the legends of this magical STORIA. The boxes will in turn reveal their acrobatic, aerial and choreographic performances – living symbols of the fabulous secrets of Andorra’s past. See photos from STORIA here: LINK /// < https://goo.gl/unc4yV > { SOURCE: Cirque du Soleil } Even More on Soda Stereo Imagined By Cirque {Jul.08.2015} ----------------------------------------------------- Soda Stereo’s drummer Charly Alberti reveals new details about the upcoming Cirque du Soleil Soda Stereo show that has everybody talking. Alberti and bassist Zeta Bosio are teaming up with the Canadian entertainment company to bring to life a spectacle currently called as “Soda Stereo imagined by Cirque du Soleil.” The show is expected to launch in 2017 in the band’s native country in Argentina. “This is a show about Soda Stereo. It’s not a tribute to Gustavo [Cerati] or a tribute to rock en español. It’s a show about Soda Stereo, the same way Cirque de Soleil did a show about Michael Jackson or the Beatles,” he said to Billboard, clarifying that the show is not a homage to the late singer/guitarist Gustavo Cerati who passed away in Sept. 2014. “They understand that the story of Soda Stereo, the way we broke barriers, the way we were the first really big rock en español band, that’s what is going to tell the story.” The creative team from Cirque du Soleil will travel to Buenos Aires to visit the River Plate Stadium, venues where they have performed and places where they have rehearsed. To better grasp the power of “Soda Mania,” they will also talk to fans and travel around Latin America. “Once the idea of the show is worked out, Zeta and I will start working on the adaption of Soda songs for each one of the acts. The show is set to premiere in 2017. That seems like a long way off, but with everything we have to do, for us it’s like the day after tomorrow,” he said. { SOURCE: LA Times | http://goo.gl/x8MxGC } Cirque Closes Previously Announced Transaction {Jul.09.2015} ----------------------------------------------------- Cirque du Soleil (“Cirque”), the world’s leading producer of high-quality live artistic entertainment, today announced the closing of the transaction under which TPG, a global private investment firm, has acquired a majority stake in Cirque du Soleil, alongside partners Fosun and the Caisse de dépôt et placement du Québec. Cirque founder and strategic advisor, Guy Laliberté will also retain a minority stake in the Company. Mitch Garber, Chair of the Cirque Board, Claridge, Stephen Bronfman’s family investment arm, and Cirque President and CEO Daniel Lamarre will also acquire ownership stakes. “With the assistance of our new partners, we have already begun laying the ground work for the global expansion of the Cirque du Soleil brand, as evidenced by our recently announced growth plans in Asia,” said Daniel Lamarre, President and CEO of Cirque du Soleil. “We look forward to working with TPG, Fosun and the Caisse for years to come, as we continue to bring Cirque’s extraordinary artistic vision to audiences around the world.” “The incredible team at Cirque du Soleil is in a great position to continue building upon the legacy of excellence and imagination fostered by Guy Laliberté and to expand this iconic brand to new markets,” said Mitch Garber, Chairman of Cirque du Soleil. “On behalf of the entire investor group, we look forward to partnering with the Cirque team and seeing the amazing things that are yet to come from this truly unique organization.” { SOURCE: Cirque du Solei | https://goo.gl/Ek4fQp } Guy Laliberte’s final bow as head of Cirque {Jul.13.2015} ----------------------------------------------------- This week, Monday By the Numbers marks the end of an era as the co-founder of the Strip’s predominant production company has formally stepped down. Or, to use the vernacular of his company, he has unbuckled the harness. We speak of onetime street performer-turned billionaire visionary Guy Laliberte. Last Wednesday, the mastermind behind Cirque du Soleil sent an email to the vast family of Cirque announcing that the transfer of ownership of the famed French- Canadian performance company is finished and the deal officially closed. In April, the company announced a new owner, investment giant TPG Capital, which also holds a significant stake in Caesars Entertainment and along with investment firm Leonard Green and Partners is majority owner of the Palms. Also investing in Cirque are Fosun, a top private investment group out of China, which has signed on as a minority equity partner, along with Caisse of Quebec. The new chairman of Cirque is Mitch Garber of Montreal, long affiliated with TPG and member of the new investment group. In his message to the Cirque team, Laliberte gave thanks to the Cirque community and said, “The adventure continues — taking a different path, perhaps, but one that promises to be as enjoyable as ever. It is important for me to tell you that the current situation is the one that I had hoped for when I started exploring our options, and even better. We have a seasoned leadership team in place along with business partners who understand Cirque’s ‘spirit’ and whose expertise will allow us to take the Cirque du Soleil adventure to new heights.” If that’s the case, Cirque better raise the ceilings at some of these Strip venues. The troupe is already flying pretty high. More stats as they relate to Laliberte and his artistic masterpiece: 31: Years since Laliberte staged the first show under the Cirque title, a tented production at the 450th birthday celebration of the province of Quebec in 1984. 18: Laliberte’s age when he hitchhiked across Europe and earned money by playing the accordion. 24: Laliberte’s age when he launched Cirque. 55: Laliberte’s age today. $1.5 billion: The reported sales price of Laliberte’s ownership stake in Cirque. $1.9 billion: Laliberte’s reported net worth after the sale. 90 percent: Laliberte’s pre-sale stake in the company. 10 percent: His remaining investment stake in Cirque. 3: Acts for which Laliberte was known during his days as a performer (accordion, stilt walking and fire breathing). 12: Days Laliberte spent on the Russian Soyuz spacecraft as a private tourist and researcher in 2009. $35 million: Fee Laliberte paid for that experience. 24: Depth of the pool, in feet, in “O” at Bellagio. 75: Height, in feet, of the main rehearsal room at Cirque’s headquarters in Montreal. 22: Years since the opening of “Mystere” at Treasure Island, Cirque’s first open-ended Strip production. 19: Productions Cirque stages around the world. 8: Cirque shows currently performing on the Strip. 138,000: Tickets that Cirque offers for sale each week in Las Vegas. 2: Amount, in cents, Laliberte promises to contribute to Cirque’s artistic development. As in, “I am still here with you putting in my 2 cents into creation.” { SOURCE: Las Vegas Sun | http://goo.gl/DGJSBS } 45 DEGREES Delivers Cirque’s First Opening Ceremony {Jul.14.2015} ----------------------------------------------------- The 2015 Pan Am games in Toronto was the perfect stage to host Cirque du Soleil’s first Opening Ceremony. In front of a sold- out live audience of 45,000, with hundreds of millions of households watching the broadcast across the world, 45 DEGREES presented an exclusive Cirque du Soleil show that brought the games spirit to reality and paid tribute to the 41 nations and their athletes. Honoured delegates present were moved by the incredible performance and joined the crowd in the multiple standing-ovations throughout the evening. The spectacle was an idealistic story inspired by the setbacks and victories encountered on the way to our dream, and a celebration of the men and women who together continue to build this beautiful country and this colourful city. “It was a thrill and our team was seduced by the great challenge of being part of one of Canada’s most important sporting events in its history where we celebrated humanity, sports, culture, courage and excellence, values that are embodied in our work. We are equally thankful to TO2015 to have entrusted us with this amazing opportunity.” explained Yasmine Khalil, Executive Producer, Opening Ceremony, and President, 45 DEGREES. Check out some amazing pictures here: LINK /// < http://goo.gl/GHtLuy > Fast Facts about the Opening Ceremony: November 2013 — Start date for creation process. 2 hours, 30 minutes — Ceremony running time. 10/71 — Age of youngest/oldest performers. 22 — Rehearsal weeks. 25 — Nationalities represented among the performers. 47 — Makeup artists. 125 — Minutes of original music composed. 530 — Costume items created. 600 — Protocol and support volunteers. 625 — Performers (569 from the Greater Toronto Area). 1,000 — Rehearsal hours. ABOUT 45 DEGREES In January 2015, the division of Cirque du Soleil’s Special Events became 45 DEGREES Inc., a company of the Cirque du Soleil Group. The company creates and produces events and special projects under both the Cirque du Soleil and 45 DEGREES brands. Over the last 10 years, it has successfully developed and conceived hundreds of projects in both the public and private sectors worldwide. While currently working on the production of a dozen projects, noteworthy accomplishments include two Academy Awards performances, two Super Bowl appearances, the World Expo Shanghai Pavilion, and several outdoor festivals in Canada, Andorra and Russia. www.45degrees.com and www.facebook.com/ 45degreescirquedusoleil { SOURCE: CNW | http://goo.gl/GqOOY7 } Cirque Teases 2016 Show {Jul.19.2015} ----------------------------------------------------- Imagine a Cirque du Soleil Big Top show that is creatively inspired by Mexico in all its exhilarating spirit. You can catch this incredible adventure when Cirque du Soleil presents its next touring production in 2016. The teaser site, which you can find at https://www.cirquedusoleil.com/cirque2016/ is divided up into four “inspirations”: “Love at First Sight”, “Humanscapes”, “Life is Art, Art is Life”, and “Wonderstruck”, which gives us a few more clues about what the next Cirque du Soleil show is all about. LOVE AT FIRST SIGHT Some experiences, scenes and encounters enliven our heart and spirit and set in motion the mysterious forces of attraction that bind us to a place and its inhabitants. These situations arouse our passion and are part of the chemistry that binds Cirque du Soleil and Mexico together. https://www.cirquedusoleil.com/cirque2016/love-first-sight HUMANSCAPES Innovation and renewal are more than just words; they are perspectives. By melding past and present, tradition and modernity, rural and urban landscapes in Mexico create rich tapestries that transcend space and time, all the while infusing a breathtaking element of surprise. The dizzying spell of beauty and wonder illustrates the deep connection between Cirque du Soleil and Mexico. https://www.cirquedusoleil.com/cirque2016/humanscapes LIFE IS ART, ART IS LIFE Artists and artisans in Mexico unleash their creative fiber day after day to bring their visions into the material world. Each individual work is a vessel filled with the dreams, passion, knowledge and expertise of its creator, who breathes in experience, and breathes out poetry. Like the creators and artisans at Cirque du Soleil, their work is a tribute to craftsmanship and the quest for perfection. https://www.cirquedusoleil.com/cirque2016/art WONDERSTRUCK Some moments of sheer beauty become forever etched in our memory. Time seems to suddenly stand still, immortalized in freeze-frame images that inspire awe and admiration. Creating, capturing and offering these fleeting moments of wonder – these dreamlike states – is part of what Cirque du Soleil and Mexico are all about. https://www.cirquedusoleil.com/cirque2016/wonderstruck What inspires you? Cirque wants to know. Share your inspiring photos using #InspireCirque { SOURCE: Cirque du Soleil } Cirque Performers on “Extreme Weight Loss” Tonight? {Jul.21.2015} ----------------------------------------------------- “Extreme Weight Loss” is an ABC reality television docu-series that follows participants over a year to document their weight- loss journey. Tonight’s episode; however, seems to feature some performers from Cirque du Soleil… [Tiffany Humpert’s] episode will air from 8-10 p.m. Tuesday on ABC. Guest starring in the episode are autism advocate Holly Robinson Peete, WWE World Heavyweight Champion Seth Rollins, Chef Rocco DiSpirito and performers from Cirque du Soleil’s “La Nouba.” I guess check your local listings… { SOURCE: Wichita Falls Times-Record News | http://goo.gl/MYqRly } Montreal Gazette on Cirque’s Pan Am Games Opening {Jul.21.2015} ----------------------------------------------------- The Pan Am Games kicked off with an audacious flourish Friday, featuring a dazzling Cirque du Soleil production, a constellation of the country’s most accomplished sports stars and the indelible visual of Canada’s fastest man Donovan Bailey appearing to base-jump from Canada’s tallest structure, the CN Tower. It was not the only sky-reaching moment in a spare-no-spectacle opening ceremony that rivaled — or topped — the scale and sizzle of the memorable launch of the 2010 Vancouver Olympics with an inclusive, youthfully skewed presentation that adorned its Cirque wizardry with a cavalcade of famous faces. Organizers followed through on a promise to cater the presentation to a younger generation of viewers who might have anticipated a stodgier production. The opening sequence found A Tribe Called Red’s DJ Shub twisting vinyl on elevated turntables as 183 vibrantly clad dancers nodded to the city’s diversity with a “Powwow Carnival” that sought to incorporate choreography from countless cultures. Cirque’s production featured at various points a fleet of BMX cyclists hurtling up and over ramps, a cheeky sequence of jukebox-based choreography set to a mashup of semi-recent pop tunes and abstractly edgy multimedia accompaniments beamed imagery that was by turns soothing or ripped from a dystopian- future sci-fi flick. Even the mandatory elements of the ceremony were buffed to a slick finish. The raising of the flag was accompanied by a performance from Grammy-winning Canadian pianist Chilly Gonzales (a collaborator of Daft Punk, Feist and Drake), while the parade of nations — during which flag-bearer Mark Oldershaw led the biggest Canadian team ever assembled — was marked by an insistently pounding EDM score paying tribute to the unique sound of each of the 41 competing countries, the names of which were beamed through gaudy LED screens. And the entrance of the flags for the International Olympic Committee and Pan American Sports Organization was enlivened by the presence of a procession of Canuck public figures, including: political activist Loly Rico; former hockey stars Mark Messier and Bobby Orr; author Yann Martel; Hall of Fame right-hander Fergie Jenkins; astronaut Chris Hadfield; and decorated athletes Marnie McBean, Catriona Le May Doan, Rick Hansen and Chantal Petitclerc. The vibrant core of the presentation, however, was provided by a frequently awe-inspiring presentation from Cirque du Soleil with an oblique plot intended to pay tribute to the region’s First Nations population and its rich history. Even without pondering the ornately costumed performance’s thematic messaging, it was a sensory feast that encompassed 625 performers, 47 makeup artists, 530 costumes crafted from 600 metres of fabric and 1,000 laborious hours of rehearsal spread over 22 weeks. A forest sequence soundtracked by ethereal cooing featured dancers incubated in sparkling spheres, rising and descending high above the stage. Later, a 25-metre strip of towering fire bisected the stage, with 53 hip-hop dancers on each side, before eight tumblers initiated a series of scalp-scorching flips over the flames. Another sequence featured an aerial contortionist cavorting 15 metres in the air, the stage draped in 14 pieces of fabric billowing 30 metres wide. A storm motif incorporated acrobats clinging to 10-metre-high ladders while the show-stealing BMX sequence was furthered by the efforts of three bungee-plunging aerialists dressed as airline pilots. { SOURCE: The Montreal Gazette | http://goo.gl/y9NSuy } May/Jones Win Mixed Duet in Synchro-Swimming at FINA {Jul.28.2015} ----------------------------------------------------- The dreams of male synchronised swimmers came true as mixed duet made its first appearance at the FINA World Championships in Kazan. Bill May and Christina Jones (USA) were the favourites of the first technical routine before the start. May is 36 years old. He is the most experienced and the most famous male synchronised swimmer in the world. He is actually the pioneer of this discipline. Back in 1998 Bill took part in his first international competition – the Goodwill Games, where he and his partner Kristina Lum competed with “ordinary” duets and lost only to Russia’s Maria Kiseleva and Olga Brusnikina. Ten years ago May left sport for the Cirque du Soleil show but got back to synchronised swimming with one goal in mind, to grab the first world gold medal. And he did it! Although May and Jones had very strong rivals from team Russia. Alexandr Maltsev and Darina Valitova with their dramatic war theme managed to win the preliminary round with 2 points advantage over the American mixed duet. But the foot tapping and sexy programme of Bill May and Christina Jones impressed the judges in the final more than in the qualification. Nevertheless their dominance was not overwhelming – 88,5108 against 88,2986. The bronze medal went to Manila Flamini and Giorgio Minisini from Italy (86,3640). Gold medallist Bill May (USA): “It’s unreal, a dream come true! I never thought this would happen because I retired from synchro ten years ago. So being able to do this has been a long time in the making. The sport is finally recognising men and it feels great. I have been stubborn and it has paid off. Allowing men to the programme will add athleticism to the sport and today truly showcased that men have their place in synchro swimming.” Gold medallist Christina Jones (USA): “Kristina Lum-Underwood and Bill May are the real pioneers of the sport. They have shown the world that duet can be mixed at the World Championships. And here we are twenty years later, it’s a great honour.” Silver medalist Alexandr Maltsev (RUS): “We were underscored, and all others were clearly overscored. That’s bitter, we are upset. 0,22 points of deficit from the first place – this is such a bit. If just one judge would have underscored us significantly, this could have affected the result of the whole competition”. (on Olympic challenge of mixed duets): “Mixed duet combines men’s power and women’s grace and beauty. I would love to take part in the Olympic Games. I think there are all reasons to include this new discipline in the Olympic programme”. Silver Medalist Darina Valitova (RUS): “Of course, it is disappointing that we only have placed second. We performed the programme much better today than in the preliminary attempts, but we were placed in the second line. Anyway it is nice to know that mixed events are finally included into the programme of the World Championships.” Bronze medallist Giorgio Minisini (ITA): “At this point we couldn’t have pretended more than what we did simply because the others have such a high level. We have work for what we got, to be on the podium. We feel it is already an amazing result. Mixed duet is already so popular within the younger generation in Italy and we’re very excited for this evolution.” { SOURCE: Swimming World Magazine | https://goo.gl/0pxgfu } Queen Latifah, Mary J. Blige Join NBC’s ‘The Wiz’ {Jul.29.2015} ----------------------------------------------------- Queen Latifah and Mary J. Blige are the latest singers ready to make mischief in Oz for NBC’s upcoming live production of “The Wiz.” Executive producer Craig Zadan shared the news via Twitter. Latifah will play the mysterious and powerful wizard who holds the keys to the Emerald City, but who is keeping the secret that her metamorphosis from ordinary to extraordinary is a hoax since she only got to Oz as a result of a faulty hot air balloon ride. Mary J. Blige will play Evillene, better known as the Wicked Witch of the West, who holds sway over the Winkies and the Winged Monkeys that do her bidding. She captures our leads to avenge the unintentional murder of her evil sister, Evvamean, and to get back the powerful silver slippers given to Dorothy by the Good Witch of the North. NBC is holding a nationwide search to find a fresh face to play lead character Dorothy. The musicians join cast members who include Stephanie Mills, who starred in the original Broadway production of “The Wiz” and who will play Dorothy’s beloved Auntie Em in this version. “The Wiz: Live!” premieres Dec. 3 on NBC. Zadan is exec producing along with partner Neil Meron. Kenny Leon and Harvey Fierstein are directing. Fierstein also created new material to the original Broadway book by William F. Brown. A co-production with Cirque du Soleil, a stage version of this performance will run on Broadway in 2016-17. { SOURCE: Variety | http://goo.gl/9PGkOw } AXS TV To Premiere 3rd Annual One Night for ONE DROP {Jul.30.2015} ----------------------------------------------------- XS TV is proud to premiere the third annual One Night for ONE DROP spectacular, an exclusive event presented by world- renowned entertainment company Cirque du Soleil, on Wednesday, August 19, at 8pE. This unique and exclusive performance in honor of ONE DROP, a non-profit organization established by Cirque du Soleil founder Guy Laliberté, is presented for one night only in Las Vegas, crafts an incredible visual experience that captivates the imagination, while raising awareness and funds for global water issues. All proceeds benefit ONE DROP’s global initiatives that address the ongoing crisis of safe water necessary for people around the world. “We are so excited to have One Night for ONE DROP featured on AXS TV nationwide,” said Mukhtar O.S. Mukhtar. “To be able to share this once-in-a-lifetime performance with a larger audience is a dream come true, not just for me, but for the hundreds of Cirque volunteers that offered their talents and support to raise awareness for critical water issues around the world during this special night.” { SOURCE: TVbytheNumbers.com | http://goo.gl/TthFF4 } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Meet: Kerren McKeeman – Varekai Trapezist {Jul.03.2015} ----------------------------------------------------- As a hybrid of circus and theatre — two worlds where superstitions are extremely common — it would be reasonable to presume that Cirque du Soleil performers are likely to harbour numerous rituals. Kerren McKeeman, a 30-year-old trapeze artist performing in Varekai at the Canadian Tire Centre this weekend, revealed some of hers to the Citizen’s Bruce Deachman. Q. What are your rituals? I have a lot, probably more than I know. I have a few things that help me get into the character. My character is based on Diana the Huntress. She protects the forest of Varekai. So in order to get into that, I always choose somebody to protect, somebody in my life. Maybe it’s somebody here in the show, or someone from my personal life — a family member or a friend that maybe needs a little extra love that day. So when I start my act in the catwalk, I have that person in mind. Q. Are there universal superstitions that you hold, like stepping into a ring with your right foot only, or certain colours you won’t wear? There’s the circus tradition of never sitting with your back to the ring. We’re a theatrical circus and don’t have a ring curb, but in general you would never sit on the stage looking out. You always, always, always face in. The ring is sacred, and you don’t want to put your back to it. You also don’t want to talk about what you don’t want to happen. Of course a lot of things can go wrong, so when you’re talking about the show, you’re envisioning what you want to happen. You don’t talk about tripping; you talk about what you want to happen. Q. Are there things you always bring with you on the road? As an aerialist, I can be up in the clouds sometimes, so I try to do things to keep me grounded. I have a rock collection that I travel with, and I collect stones from all over the world. Sometimes they’re really beautiful and other times they’re just something I found in a place that’s really meaningful. I choose one every day, and it kind of shapes the day and keeps me grounded. It may be impractical to keep in your suitcase, but we all have our things. Q. Do many of the traditional habits continue, like a bird in the house being bad luck? Well, a bird in the house always makes me feel like — even a lost bird that’s flying through the rafters — I always wish I could be half as graceful as that. That’s what birds say to me. As aerialists, we want to fly. In theatre they say “break a leg” before a show, but of course we don’t say that. We say “merde,” which means “shit.” It comes from having a lot of horseshit in front of the theatre. If there’s a lot of it, there’s been a lot of carriages and a lot of people to see your show. Q. Are there things you do on performance days that you don’t do on other days? I love raw sushi, but right before the show I might not test that out. We have to eat at least an hour-and-a-half before the show. You need to digest before you’re upside-down. And small meals; you can’t have a full stomach when you’re doing aerial stuff. When you live on the road and everything around you is constantly changing, you start to depend on certain things. It’s a good lesson about attachment. You don’t want to be addicted or attached to things, but at the same time that’s the only way that we can have a consistent lifestyle. There are mental preparations and physical preparations, and some of our superstitions are almost just as important as the physical preparations, because your mind has to be ready, too. And even if it doesn’t matter who goes up the (catwalk) stairs first, we still hold on to those things because your mind is feeling that everything is the same, and that takes out all the improbablilty. { SOURCE: Ottawa Citizen | http://goo.gl/sVbQGX } Meet: Liz Samatis – Varekai’s Head Chef {Jul.15.2015} ----------------------------------------------------- Although Liz Samatis has been traveling with the circus for the past year and a half, it isn’t a talent for acrobatics or feats of strength that got her there. It was a culinary degree and the allure of life on the road. Samatis, 29, feeds an international cast and crew of 100 daily as head chef for “Varekai,” a Cirque du Soleil production that celebrates the nomadic spirit. The Reading native found her way to “Varekai” (which coincidentally means “wherever” in the Romani language) after hearing about touring life from a chef for a rock ’n’ roll show. “It sounded like a cool thing,” she says on the phone from Baltimore, where the troupe was performing. “It’s been a long ride but I’ve really grown to love it,” says Samatis, a Johnson & Wales University graduate, who began her career in Providence and the Boston area. She returns to Boston this week when “Varekai” begins a run at Agganis Arena at Boston University. But nowadays she considers her home to be the road. “I don’t have an apartment anymore. I love to see my family and travel on my time off. But this lifestyle makes things easier for me. It doesn’t require worrying about paying bills and a lot of other things,” Samatis says. Her main concern these days? “Finding somewhere to do laundry.” Q. Is cooking for the circus what you expected? A. I didn’t have a lot of expectations. Before, I would be cooking for a different client every night and now I’m cooking for the same client every day, which is a bigger challenge. You have to keep people enticed. Catering has to be a place where they feel like they’re eating at home. Q. Describe what it’s like to cook on the road. A. We’re in a location for one week. We’re [in Baltimore] until Monday morning and start setting up in Boston on Tuesday. I have a completely mobile kitchen that’s on the truck. When they load in the stage, I load in my kitchen, set up all my equipment, and set up our dining room. Every week we pretty much start from scratch and adapt to the arena where we’ll be working. That can be anywhere from a loading dock to outside in a tent to a conference room. We are completely self-sufficient. I have everything that can be rolled off the truck: two ovens, two flat-top grills, six induction burners. I carry all my own spices. I have a refrigerator on the truck so I can keep food fresh and bring it from city to city. Q. What’s your everyday schedule like? A. We feed about 100 people on the staff. That’s 50 performers, and then technicians, management. We cook a hot lunch and a hot dinner daily, except for Sunday, when we do a nice big Sunday brunch for everybody. The menus are based on seasonal ingredients, as well as keeping things diverse with ethnic foods representing all the countries on the tour. We provide a lot of variety. There’s a deli bar, a juice bar, and a salad bar. We make sure to always have lean protein for the acrobats and we like to provide a lot of accompaniments. Q. Since the show moves so frequently, how do you handle buying groceries for that many people? A. I have one global provider that will deliver standard items to any city in North America. Aside from that, I count on my manager, who has been touring for a while. We research ahead of time where we’re going and who the vendors are. We try to use local products. That’s the fun of it: developing networks of people all over the country. I really, really enjoy using local products and supporting local vendors in town, then using the global provider for other things. Q. How has cooking for an international cast influenced your approach in the kitchen? A. When you have to cook for the same people every day you have to start researching. We have a lot of [performers] from Russia and Ukraine, so I started researching what they eat there and use some of those same ingredients. Before I used to stick to more of an American style. Now I do a lot more Middle Eastern food, Asian ingredients, Russian techniques. Q. What are you looking forward to in Boston? A. It’s such a great season to be cooking. Probably my favorite season is summer. Getting some seasonal produce and heirloom tomatoes are all things we look forward to. New England clam chowder is a must. We try to do one day where we serve something local. So we’ll be having lobsters, clam chowder, clams. Q. What restaurant tips will you be giving others on the staff? A. I will probably just tell people to get a cup of clam chowder, fried clams, and steamers on the waterfront. Those are special things you can only really get in this part of the country. { SOURCE: Boston Globe | http://goo.gl/2VdxhM } Billboard: Cirque Teases SODA STEREO Spectacular {Jul.22.2015} ----------------------------------------------------- The creative team at Cirque du Soleil has begun work on its recently announced show inspired by the music and lives of Argentine rock trio Soda Stereo, set to debut in 2017. After opening in a Buenos Aires arena, Montreal’s Cirque and Argentine partners Pop Art expect to tour the musical and acrobatic spectacular to Latin American cities and to Miami, Los Angeles, and possibly other U.S. cities. A soundtrack album, created by surviving Soda members Zeta Bosio and Charly Alberti and producers who worked with the band, will be released. Cirque du Soleil is creating the show together with leading Argentine music promoter PopArt, and Triple, Soda’s production company. PopArt’s Diego Saenz, Triple’s Daniel Kon, the band’s longtime manager, and producer Roberto Costa proposed the idea of the show to the theatrical entertainment giant. “I had not heard of them a year ago,” confessed Gabriel Pinkstone, Cirque’s Senior Director of Special Projects, who has clearly become an instant fan of the band that broke through barriers in Latin America in the 1980s to gain a following throughout the region, and whose popularity has since grown to include several generations. “It’s very exciting. People love them because they are a soundtrack to their lives, but there’s also an inspirational quality about their success that people find very touching.” In an exclusive interview, Pinkstone talked about Soda’s enduring legacy, and the creative process behind the upcoming show and its soundtrack. “You’ll hear some things that have never been heard before,” she promised. SODA STEREO IMAGINED BY CIRQUE DU SOLEIL | A MINI DOCUMENTAL LINK /// < https://youtu.be/o5ywgiKdk7o > # # # Q. Soda Stereo will be the first Latin artist to inspire a Cirque du Soleil show. This is great news for fans and it could be a brilliant idea, but it was still a surprising choice. What was your familiarity with the band? It´s only when we organized a focus group with some of our Latino employees that we started to understand really how huge they were. We got together a group of our employees who come from South American countries and Mexico, and [Cirque Director of Creation] Jean Francois Bouchard said to them, ‘I’m not going to tell you anything else, I’m just going to tell you two words, and I want to hear your reaction.’ And when he said ‘Soda Stereo’ they screamed, somebody cried, they were like, ‘oh my god we’re going to do a show with Soda Stereo.’ It was the first hint we had of how huge they were. They are so beloved. It’s a very visceral thing. They are very, very loved as a band. And we’re all about wanting to touch people, so it’s a very special and exciting project for us, and at the same time a very big responsibility because something that is so beloved we of course need to treat with the respect that it deserves. Q. Why Soda and not one of today’s Latin superstars, someone like Shakira? When we look for a creative partnership we’re not, despite what people could think, scanning around for the most likely commercial success. The creative challenge, the creative world that we’re going to working with, and the partnership with the people is very important. The fact that they approached us means they understand what Cirque has to offer. They came to us understanding what a Cirque du Soleil show about a musical work can be, and believing that their work could be applicable in that contest. And when we looked into it we agreed with them. Q. What have been the first steps in creating the show? We started delving into the band’s universe. We were very honored to have Charly and Zeta and Laura, [the late Soda frontman Gustavo Cerati’s sister], here with us, and Daniel Kon, the band’s manager, explaining the band’s history and how they met, and each of the albums and the symbolism behind the graphics they chose, the words of Gustavo Cerati’s songs. They explained all of that, and we started to really get excited about the project, and the potential for a Cirque du Soleil show that could really do justice to that heritage. Q. Can you give me an idea of what the show will look and sound like? Cirque du Soleil shows are about imagination, about touching people, about human endeavor. In the case of The Beatles and Michael Jackson, both of those artists have very strong imaginary worlds, for example, the Beatles, with “Lucy in the Sky With Diamonds,” “Yellow Submarine…” there are a lot of interesting visual starting points in their songs. Both The Beatles and Michael Jackson shows use the music remixed in new ways, with the Cirque du Soleil creative artistic acrobatic approach. In the case of Michael Jackson, the dance aspect was of course very important. It’s hard to say right now, because we are in the very early stages of the creative process, exactly how that will be translated to the stage for Soda Stereo. It’s not a tribute show at all. We’re not following their story like a documentary, that’s not the Cirque approach. So I can say for sure it’s not a tribute show and band is not on stage. Because the band is not physically onstage, it’s the Cirque du Soleil content, if you like, that replaces that visually, with the music of the band in the forefront. We’re working with sound designers and mixers who worked with the band in order to come up with those remixes. It’s all that recorded music, but remixed especially for the show. You’ll hear some things that have never been heard before. Q. Will there be a soundtrack album? Yes. Q. What are some of the next steps in preparing the show for a 2017 debut? The creative team will be visiting Buenos Aires to go and understand where it all came from – where Zeta grew up where Charly grew up, where Gustavo grew up, what was Buenos Aires was like in the ’80s. Q. You’re working with PopArt, a leading concert promoter in Buenos Aires whose CEO has previous ties to Soda Stereo. Tell me something about your partnership with them. We’re providing the creation and production expertise to create the show, and then PopArt will be producing it. They are way more experienced in South America than we are, particularly in a rock n’ roll context. PopArt is extremely experienced and very well connected in South America, so we’ll be taking advantage of that and finding the right combination of Montreal, Buenos Aires, the right people and the right places [for the production.] Q. The show is set to debut in Buenos Aires. Where will it go next? It will be Buenos Aires, Latin America, including of course Mexico. In the States right now we are thinking Los Angeles and Miami and we’ll investigate [the possibility of runs in] other cities, too. { SOURCE: Billboard | http://goo.gl/1RFfU5 } Interview with Director Michel Laprise {Jul.30.2015} ----------------------------------------------------- Cirque du Soleil is coming to Chicago this August with their production KURIOS-Cabinet of Curiosities, a show which promises to touch on Cirque du Soleil’s roots, to convey a message of optimism to all ages and to give us a good dose of steam punk mechanics. They’ll be setting up the Big Top right in the United Center parking lot and keeping it there for six weeks. I had a chance to talk with Michel Laprise, director and writer of KURIOS, to ask him about his work with Cirque du Soleil, and his vision while creating the show. The show has a steam punk façade, but underneath the rich imagery of brass geegaws and quaint contraptions is a message of optimism about the power of human creativity in our age, says Laprise. “I use the old principle of Shakespeare that if you want to talk about an era, don’t do it right now. Your reference point should be with some distance and in another country. So we invented our own steam punk in a Victorian era; it’s Paris 1900– the Universal Exhibition–when everyone got excited about the new discoveries! But we are in fact talking about our own era.” It seemed as if we were visiting the early 20th century during our interview, as we sat down in the recently remodeled Chicago Athletic Association Hotel on Michigan Avenue. The lobby was so vintage that it was like entering a private gentlemen’s club, the kind where men had their midday Scotch and smoked a pipe. Seating himself in the plush armchair beside me, and raising an impressed eyebrow at the ornate fireplace next to us, Laprise launched right in to the pleasantries. Within the first five minutes, he had consulted me about his wardrobe (he had just hopped off of a plane and wanted to know if a Hawaiian shirt would work for the interview), handed me his cellphone so I could read a fan email that had touched him, and promised to give me a virtual reality tour of his show before I left. Clearly, Michel Laprise was a man who was excited about life. He said as much when describing a day of work, and also leaking some interesting info, “I just started two new shows with Cirque du Soleil and I’m hoping it’s going to be as fun as KURIOS is– because during the whole creation we worked hard but we laughed all the time. It’s not a job. I go play. I never say the office. I say ‘creation studio’. It changes the way you see things–it changes your whole attitude about it.” Laprise’s optimism is infectious and permeates everything he does, which may explain his great success in the theater and circus world. He started out as an actor, moved in to directing and eventually became an artistic director of spectacles, such as Madonna’s Super Bowl halftime show in 2012. It was in 2001 that he came to Cirque du Soleil as a talent scout, but found himself soon involved in upgrading the audition process and eventually landing in the events department, where he produced corporate shows and attracted many performers due to his artist- friendly approach to creation, which he maintains in KURIOS. ”I am very pro artist. I think Cirque du Soleil exists because of the artists. For KURIOS, I put the artists back in the middle of the process. I ask them often to contribute and they really own the show.” This is saying something, when you consider that there are 46 cast members from 15 different countries. What makes Laprise most proud is the low rate of injuries among the performers, which he attributes to their professionalism, “Our artists love to be there and are focused. We have almost no injuries.” He has a photo on his ‘creation studio’ door that indicates the house counts and the injury counts of KURIOS. It says ‘House counts 100 percent: Injuries 0'. “When the Big Top is full of people and the stage is full. This is a dream,” Laprise explains. But what is a KURIOS? And how can a cabinet full of stuff tell us anything about our own times? Before museums became a thing, there was a period where it was fashionable for educated households to harbor collections called ‘cabinets of curiosities’. The cabinets were full of artifacts that represented a microcosm of natural history, culture and travel. Curios were the objects that were carefully stowed there. Laprise found that idea fascinating, so he used the metaphor to make a tale of humanity chock full of characters like the Seeker, Mr. Microcosmos, Mini Lili and Klara the Telegraph of the Invisible. “I want people to come out of the tent thinking everything is possible because of human creativity and human invention and the pure power of joy. All the problems we have we can deal with and solve,” Laprise explained. His optimism extends beyond technology and scientific discovery, to the idea that humanity can be explained and bettered by what our technology says about us. He marvels over the impact of 19th century inventions on mankind, like the gramophone, “It was the first time in human history that music could travel. You could be in a humble house and have a symphonic orchestra playing. You could have your grandma, who is not able to get out of the house, listen to her favorite singer. It’s tremendous.” While paying homage to the past, Laprise is very conscious of the roots of Cirque du Soleil and strives to stay true to them with the creation of KURIOS, where the performers welcome the audience outside the Big Top and tip their hats to circus tradition in telling ways throughout the show. “The idea was to go back to the essence of Cirque du Soleil. We were born in the streets. A street performance is the only performance where the audience pays after the show, so you have to be very good. When I did the show I thought ‘What if we were in the street and there was a hat?’ When you see the opening act there is a hat in front of the performers. To me it changes everything, because when you are performing in the street you don’t have your resume or your press kit. You have just what you have now and you have to prove yourself to the audience every single time.” Laprise says the optimism towards the future in KURIOS appeals to all ages, but he appears to have a soft spot for teenagers, “The show is very human, so it’s for everybody, but I’m glad the young kids love it and they get it. This new generation is fantastic. I like teenagers because they are really demanding, so to me they are my best audience. If they like it, everyone will like it. They don’t bullshit and they are really sincere. I don’t know if it is hormonal but they are very political in a good way and they want to change the world.” After our talk, Laprise lived up to his promise and gave me a tour of the technology of the future by popping a virtual reality rig on to my head so I could see a 10-minute preview of KURIOS. I was immediately plunged in to the world of the Big Top where I sat within arm’s length of the characters as they juggled and played live music. The real room I was in faded in to the background for a few minutes and I entered Laprise’s circus universe. Someday soon, maybe the circus will travel to your living room, giving your housebound grandmom a chance to see her favorite acts, but until then, you might want to see KURIOS-Cabinet of Curiosities in real time on a 360-degree Big Top stage (called the chapiteau in French) where Laprise says the magic happens because “When you step on the stage of the chapiteau, you see there are people all around you, so you can’t be closed. It’s beautiful. Every modern circus artist should experience it because after a while you learn to open up. If you learn to do that, than you can do everything. It’s a growth moment for an artist.” { SOURCE: Gapers Block | http://goo.gl/Gfy54r } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- Backstage Pass to Pan Am Games Make-up {Jul.23.2015} ----------------------------------------------------- A line of fire splits the stage as Javeline—a character inspired by the goddesses Nike, Athena and Artemis—dances on a platform, five aerialists whirl in spheres above her, warriors leap over the flames and viewers hold their collective breath. The drama is unfolding at the 2015 Pan American Games, held July 10 in Toronto’s Roger Centre. The event has drawn 45,000 attendees, 625 performers, athletes from 41 countries and Make- Up Artist magazine’s senior editor, Cori Stoddard, who is there to cover the make-up. Sponsored by M.A.C. Cosmetics and applied by 36 M.A.C. artists and 30 international make-up volunteers, the make-up has been six months in development. Cirque du Soleil is producing the Opening Ceremony performances and Julie Bégin (who worked with Cirque on its 2009 show Ovo) has signed on as make-up designer. “With the nature of this—crazy timeline, one night only—they needed someone to think outside, be flexible and think on toes,” Bégin explains before the event. Usually the make-up for a Cirque show has individual instruction books for performers, who do their own make-up. To gear the instruction to make-up artists, she created a new app to streamline the documentation: Persona (set to release in September). She says the show’s narrative is about people’s evolution toward multiculturalism. Her inspiration started with the native communities, and she aimed for a contemporary tribal vibe. “I discovered a universe full of colors and textures, not at all like native art seen in souvenir shops,” she says. “So many amazing colors in native looks.” Here Stoddard shares how that vibe came to life backstage on the day of the event. # # # 11:15 a.m. I meet up with Jade Hunka, M.A.C. Cosmetics’ manager of artist relations. “This is the best organized show we’ve done. Each artist gets a baggy of the make-up they need for each look,” she explains. Our first stop is the kids’ make-up area; there are 153 performers ages 8 to 10. Eleven make-up artists will process them, matching their eye make-up to their socks. 11:35 a.m. On to the straight make-up. Hunka explains that everyone has a schedule of what to expect “to the minute.” Wranglers bring in the people, and if anyone is one minute over, they get pulled from the chair. At the moment, Bégin is facing challenges beyond timing: She wasn’t able to work with the lighting director building up to the show. “‘How is my make-up going to be lit?’ she wonders aloud before the event. “Everything crazy. Opposite to normal.” Additionally, she and the team weren’t able to rehearse in the venue until the night before the event. 11:53 a.m. Bégin and the M.A.C. make-up team finish a quick meeting in the Green Room. First looks begin at noon, and the lead characters will start at 1:30 and 3 p.m. The leads are Discus, Javeline, Lutus, Runus, Satina, The Messenger and Clay Juggler. Each make-up station has a number and an artist’s name clearly marked above it, and make-up and brushes are neatly organized. Artists’ assigned make-ups, with images of the performers, hang next to a schedule. Bégin created every make-up design digitally in Photoshop with casting shots from the artistic coordinator. She designed straight onto the photo. The Fireline Warrior dance make-up is modern tribal. Bégin split the bulk of the cast into pink and blue tribes. “You’ll notice that there’s a lot of cyan and fuchsia,” she says. She has designed everything to be high impact and low complexity and accomplished in a short time. “We did the run-through yesterday and it was really, really well done,” says Bégin. “The M.A.C. team is killing it. We had a little unexpected product shortage yesterday and all of a sudden, bam! It didn’t matter much. The product emerged out of thin air.” (Later Hunka says she ran to the M.A.C. office to get more Pigment in Silver Fog.) Even though the artists in this room will process nearly 400 performers, the atmosphere is calm and lighthearted. Dancers joke with their make-up artists and talk about the latest YouTube video or celebrity gossip. In preparation for the big day, Bégin made a design list, extracted the products and shipping list and gave all the artists what they needed. Some products are not out of the box, so she and her assistant, Holly Bradridge, have premixed what’s needed. Practically speaking, the make-up has to survive profuse sweating. It has to read well in the arena. And: “Worst of all it’s an HD live transcript,” Bégin says. “Those are the things from a make-up standpoint that are completely opposed to each other. I’ve had a lot of fun finding a happy medium. It’s been intense but it all paid off, really.” 12:15 p.m. “Nobody needs direction this morning. It’s just boom boom boom,” says Bégin as she moves from station to station to see if artists need help or more products. 12:24 p.m. Bradridge is painting a blue masked female Fireline Warrior. Next to Bradridge’s station is a tiled shower room draped with plastic. Two painters will work on the Javeline and Satina characters here. M.A.C. Senior Artist Melissa Gibson (below) says about the process: “It’s very smooth. Very organized. Easy to follow. It’s a beautiful look.” She’s making up a pink female Fireline Warrior. Like many artists here, this is her first production of this size. At Station 1, I talk to M.A.C. Senior Artist Jane McKay (below), who will create the make-ups for Discus, Javeline and Lutus, as well as for Sphere and the head female straps performer. “I don’t have a minute to spare for about six hours,” says McKay. Showing me the mock-up for Discus, she says, “I love this whole look when you see him all together.” Discus, played by Freestyle Frisbee world champion Daniel O’Neill, was designed following the director’s superhero inspiration. Products for his look include M.A.C. Studio Sculpt Foundation, acrylic paint in Black and Landscape; M.A.C. Pigments in Silver Fog, Platinum and Silver; and Lit Cosmetics waterproof glitter glue. He uses special nails to perform; they will be painted with dark sparkly green polish. “Everyone in the room is certified with the M.A.C. organization at different levels. We know we can bring them into the environment and know they can do it,” says McKay. “Julie’s job is to be happy with the continuity and adaptation.” When I ask her about the volume of glitter in the various looks, McKay says, “For this, it’s a staple.” It might also be a hazard—her eyes are red from glitter irritation the night before. She says she’ll probably turn off her fan. 12:57 p.m. Gibson readies her station to create looks for The Messenger, Fireline Warriors, DJ Shub and others. Senior Artist Caitlin Callahan, next to Gibson, is doing looks for Runus (inspired by the god Hermes, performed by Thomas Evans), Satina (modeled after surrealist interpretations of Aphrodite and performed by Erika Lemay) and Clay Juggler (Jimmy Gonzalez). VIDEO: https://goo.gl/xN3ZdP Gibson shows me one design she’s excited to work on: armbands for DJ Shub (below). She will use a fine white dust powder that goes over a gel mixing-medium base; it glows in the light like safety tape. “I love working with Cirque. They’re up for anything, right?” says Gibson. “Yesterday it was just a huge pile of glitter and big gobs of clay on my chair. I’m really sorry for whoever has to clean up,” says Callahan. Callahan describes changing the pink and blue warrior make-ups into silver make-up as an assembly line of artists slapping performers with a puff and saying, “Go! Go!” 1:52 p.m. “I like looking crazy! You get into character,” says Toronto dancer Mandy Keating (below), who’s made up as a blue Fireline Warrior. “It makes me get fully into character because then everything feels complete.” 2 p.m. McKay is working on The Sphere next. “The first look took 45 minutes yesterday and was 30 minutes today. Which is good, because I need 15 minutes to clean my brushes,” she says. 2:15 p.m. Kids’ Level: “With some of the pigments, the more you buff them in the more they glow,” says make-up artist Sarah Nisbett as she creates a luminous look on a girl. “It’s exciting to be a part of this. It’s great. It’s a nice change of pace and makes you feel like an artist fresh out of school.” 3:40 p.m. Green Room: Bégin checks Callahan’s station to replenish the mud jar for the Clay Juggler’s make-up (below). The clay mixture was a little too runny to her taste yesterday, Bégin says, so she’s adding to it. When she first created the look, she made a recipe that would keep the clay looking cracked without coming off. It’s sandwiched between two layers of Pros- Aide, she explains. 7:15 p.m. Only 45 minutes until showtime. Many of the make-up artists are moving with their kits closer to the immediate backstage areas. DJ Shub, formerly of the group A Tribe Called Red, just got his forearms painted in the safety-tape look so we can see how fast his arms move during the ceremony. Bégin helps McKay complete the look for The Sphere while another artist finalizes her matte-gray and one-gold-nail manicure. As they’re finishing, the attention in the room turns to a group of tall, authoritative men walking in. “He’s here,” Bégin tells McKay and apologizes as she pulls The Sphere performer from the chair. Turns out that the head of the group that just walked in is Donovan Bailey, a two-time Olympic champion sprinter. He gets a touch of powder. 8 p.m. I settle into my seat for the performance. It starts with four groups representing different tribes and then The Messenger (world champion hoop dancer Nakotah LaRance) appears onstage. This portion of the performance, dubbed “PowWow Carnival,” has 183 dancers from 21 dance troupes. 8:10 p.m Bailey’s role becomes clear when the video monitors show him—and his fellow 1996 Olympic gold-medal winning relay team—carrying the Pan American Games torch. 8:25 p.m. Parade of Nations starts, with more than 6,000 international athletes. 9:12 p.m. The Heralds (in silver eye make-up) who led in the athletes are now bounding acrobatically onto the stage. 9:17 p.m. To blaring music, the five gods appear onstage. The child performers light the stage with lamps. 9:27 p.m. Clay Juggler appears; his earthen make-up reads well from my seat. 9:38 p.m. Satina, Guardian of the Long Jump, and other rope performers sparkle in the air as they twirl; her facial jewels reflect the lights. 9:43 p.m. Lutus (performed by Wellington Lima) enters to the sounds of thunder. His body paint glows and shows off his moves. 9:55 p.m. The intense Discus makes his way onstage, his make-up and hair covered by a large hood which he removes to reveal the look. After a series of speeches from dignitaries, Runus and the Heralds run in place on treadmills on high platforms as other performers create slow-motion structures below them. Bégin’s 1500 hours of work leading up to the show, and the skilled make-up application just before it, were something to be proud of. “We LOVED how it went!” says Hunka. “The show ran so smoothly and the entire team had overwhelmingly positive feedback. From start to finish, it was an incredible project to be a part of.” For more on Cirque du Soleil, see Issue 114. For detailed breakdowns on the lead characters, see the tablet edition of Issue 116. This post contained pictures. See them here: < http://www.cirquefascination.com/?p=6291 > { SOURCE: Makeup Artist Magazine | https://goo.gl/Fsyiu6 } Interesting Read: “Acrobats or holograms: What’s next for Cirque du Soleil?” {Jul.31.2015} ----------------------------------------------------- Las Vegas has been through many reinventions — the Rat Pack era, the family-friendly moment, the uber-luxe resort era. But the profound, post-recession Vegas reinvention that has gone most unremarked upon to date is not something the Vegas tourist authorities like talking about: It’s the revenue-generation reinvention. As anyone observant who has been to Vegas can see, many of the once-grand waterfalls and mountains are gone now from the Strip, obscured by a cacophony of bars and stores squeezing cash out of visitors. Nobody can afford to waste valuable Strip-side real estate on a stage set for a pirate-ship battle anymore, not unless there’s a revenue-generating angle, preferably tied to technology, food, drink and social media. You can see much the same thing occurring on Michigan Avenue in Chicago — buildings like the Wrigley Building and Tribune Tower have had their lower levels sliced and diced into busy slots and squares of streetside commerce. Most of those new stores have an experiential base. The Cirque du Soleil still has eight shows running in Las Vegas, some now two decades old. You no longer see many acrobats or singers on the billboards coming in from the airports. You see the faces of Scandinavian DJs, with a few celebrity chefs thrown in for variety. That — along with the move away from spectacle on the Strip — would appear to pose something of an existential problem for Cirque, a blue-chip name (qualitatively speaking) for at least 20 years, but also now an aging and perceptually nondigital brand. These days, people think they’ve already seen what Cirque does. Their parents probably liked to go. That explains, in part, why it has been three years since the Montreal-based enterprise, which I first saw in Chicago in 1991, has pitched its chapiteau in Chicago. It finally does so again this week, when “Kurios — Cabinet of Curiosities” opens Thursday alongside the United Center. Much has changed at Cirque since the company last was here. In April, Cirque, which had been mostly owned and controlled by its founder, Guy Laliberte, was sold to a private equity group led by TPG (Laliberte retained 10 percent of the company). The new structure also includes the Fosun Capital Group of China. There are several interesting things about those new owners. One is that TPG has owned a majority stake in the Creative Artists Agency (CAA) since 2014, so that presumably will afford Cirque a new entree into that Hollywood agency’s formidable roster of celebrity clients. The other is that Fosun Capital Group is there, in part, to help Cirque expand into China, currently regarded as the promised land for live entertainment, albeit a landscape pockmarked with land mines, especially for those lacking a local partner. So how is the newly resourced Cirque going to change with Vegas, Chicago and the world? Daniel Lamarre, the president and CEO of Cirque, was there before, and he’s in place now. He is a formidably smart thinker on matters of technology and live entertainment. He said this: “The live entertainment of the coming era will be a blend of 3-D technology and live experience.” The existing Cirque show that puts that most in place is “Michael Jackson One” at the Mandalay Bay Hotel in Las Vegas, an eye-popping production that features a hologram-like image of the King of Pop, allowing him, it feels, to come back to life and interact with the live dancers. Audience members enjoy numerous surround-sound speakers in their seats. Lamarre said that Cirque plans to retrofit its other Vegas shows, probably one each year, with that kind of technology: there is much new focus on “The Beatles Love” at the Mirage Hotel, a nine-year-old show that already is from a prior technological era; John, Paul, George and Ringo likely will be making more of a personal appearance in the future. “Kurios,” the show that arrives in Chicago on Thursday, is the first touring show under Cirque’s new, younger regime, and it has, so far, done well in its previous markets. Aside from the celebrity projects in Vegas, most Cirque shows historically have shared a similar format: traditional circus acts presented with more sensuality than you’d find at the Ringing Bros. and Barnum & Bailey arena shows; a self-aware theme designed to entice without being overly literal or reliant on language; a “house troupe” of acrobatic dancers who extol the theme and act as the connective narrative tissue. So is that going to be gone now? Lamarre laughed. “The first thing to understand,” he said, “is that creativity is the bread and butter of this company. I told our new owners that the finance department is all theirs but that we have to protect our creators. They have to be in a bubble. They have to keep pushing the envelope.” So is that going to be gone? “Here’s the thing about millennials,” Lamarre said. “They love our shows, but we have always been too traditional in our advertising — not really sharing images from the shows, for example. That is all going to change. Millennials want you to approach them. We have never done that. We never have had a strong enough presence on social media. If you want to stay in contact with your clientele, either in Vegas or Chicago, social media now is crucial.” Newspapers like this one, of course, are going through much the same wrenching transition, although one notable difference is that newspapers rely on trust and Cirque tends to change its creatives with pretty much every show. As the director of “Kurios,” Michel Laprise well knows, predictability in that business is not comforting nor trustworthy, but death. “Oh, people would say it politely,” he said in a recent interview, “but I was feeling that they thought we were doing things out of habit. So for ‘Kurios,’ we decided to get rid of all the things we were doing out of habit. It demands a lot of courage but is also our moral responsibility.” But if the new world order means live performers and technology ensemble, what general predictions can one make about a new Cirque? “The shows will have to be more immersive from now on,” Lamarre said. “Much, much, much, more immersive. You can see the beginnings of that with ‘Kurios.’ There has to a better balance between acrobatics, dance, music and visuals.” Ah, balance. Meaning more of what? Less of what? “The visual,” Lamarre said, “is only going to be more important.” Lamarre’s Cirque, along with its new Chinese partners, is soon to open a permanent show about an hour outside Shanghai in a town called Huangzhou, which is emerging as something of a cultural center in China and an arts hub. But the next new Cirque show Chicago likely will see will be something quite different from the past: It’s called “Toruk — The First Flight” and will be a piece derived from the James Cameron movie “Avatar.” Cameron is a creative consultant. The show is beginning one year before the next movie in the “Avatar” franchise is slated to hit theaters. In fact, 20th Century Fox, which is paying for the movie, is a partner on the live show. Rarely has the line between a movie and a live show been so blurred. Film. Theater. Technology. All is almost one. The new touring production bows in Montreal in December and you can already find a whole lot of very shareable images on Pandrora. And plenty more besides. One gets sucked in: You have to follow a personal quest to discover a distant moon and unearth artifacts to discover the identities of five different clans. No acrobatics required. Just a sense of self, writ large. { SOURCE: Chicago Tribune | http://goo.gl/LKcGcW } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, Totem & KURIOS} o) ARENA - In Stadium-like venues {Quidam, Varekai, TORUK & OVO} 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: PortAventura, ES -- July 3, 2015 to Aug 23, 2015 Brussels, BE -- Sep 10, 2015 to Oct 25, 2015 Paris, FR -- Nov 5, 2015 to Dec 13, 2015 London, UK -- Jan 16, 2016 to Feb 14, 2016 Corteo: Guadalajara, MX -- Jul 30, 2015 to Aug 16, 2015 Mexico City, MX -- Sep 3, 2015 to Sep 27, 2015 Quito, EC -- Nov 19, 2015 to Dec 10, 2015 Koozå: Virginia Beach, VA -- Jul 16, 2015 to Aug 16, 2015 Austin, TX -- Sep 2, 2015 to Oct 8, 2015 Vancouver, BC -- Oct 29, 2015 to Dec 13, 2015 Kurios: Chicago, IL -- Aug 6, 2015 to Sep 20, 2015 Costa Mesa, CA -- Oct 15, 2015 to Nov 29, 2015 Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016 Atlanta, GA -- Mar 3, 2016 to May 8, 2016 Totem: Perth, AU -- Jul 31, 2015 to Sep 27, 2015 Singapore, SG -- Oct 28, 2015 to Nov 22, 2015 Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016 Osaka, JP -- TBA Nagoya, JP -- TBA Fukuoka, JP -- TBA Sendai, JP -- TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Quidam: Bangkok, TH -- Jul 29, 2015 to Aug 3, 2015 Seoul, SK -- Sep 10, 2015 to Nov 1, 2015 Canberra, AU -- Dec 11, 2015 to Dec 20, 2015 Wollongong, AU -- Dec 23, 2015 to Jan 2, 2016 Hobart, AU -- Jan 6, 2016 to Jan 10, 2016 Newcastle, AU -- Jan 15, 2016 to Jan 24, 2016 ** FINAL SHOW: February 21, 2016 in New Zealand ** Varekai: Duluth, GA -- Jul 29, 2015 to Aug 2, 2015 Tampa, FL -- Aug 5, 2015 to Aug 9, 2015 Sunrise, FL -- Aug 12, 2015 to Aug 23, 2015 Nashville, FL -- Aug 26, 2015 to Aug 30, 2015 Toronto, ON -- Sep 2, 2015 to Sep 6, 2015 Berlin, DE -- Oct 8, 2015 to Oct 11, 2015 Leipzig, DE -- Oct 14, 2015 to Oct 18, 2015 Stuttgart, DE -- Oct 21, 2015 to Oct 25, 2015 Mannheim, DE -- Oct 28, 2015 to Nov 1, 2015 Vienna, AT -- Nov 4, 2015 to Nov 8, 2015 Dortmund, DE -- Nov 11, 2015 to Nov 15, 2015 Cologne, DE -- Nov 18, 2015 to Nov 22, 2015 Innsbruck, AT -- Nov 25, 2015 to Nov 29, 2015 Munich, DE -- Dec 2, 2015 to Dec 6, 2015 A Coruña, ES -- Dec 22, 2015 to Dec 28, 2015 Barcelona, ES -- Jan 1, 2016 to Jan 10, 2016 Valencia, ES -- Jan 14, 2016 to Jan 17, 2016 Malaga, ES -- Jan 21, 2016 to Jan 24, 2016 Vitoria-Gasteiz, ES -- Jan 27, 2016 to Jan 31, 2016 Lyon, FR -- Feb 3, 2016 to Feb 7, 2016 Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016 Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016 Hanover, DE -- Feb 24, 2016 to Feb 28, 2016 Bordeaux, FR -- Mar 10, 2016 to Mar 13, 2016 Montpellier, FR -- Mar 17, 2016 to Mar 20, 2016 Nice, FR -- Mar 23, 2016 to Mar 27, 2016 Nantes, FR -- Nov 16, 2016 to Nov 20, 2016 Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016 Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016 TORUK - The First Flight: Allentown, PA -- Nov 12, 2015 to Nov 14, 2015 Lafayette, LA -- Nov 20, 2015 to Nov 22, 2015 Richmond, VA -- Nov 27, 2015 to Nov 29, 2015 Worcester, MA -- Dec 11, 2015 to Dec 13, 2015 Montreal, QC -- Dec 21, 2015 to Jan 3, 2016 Auburn Hills, MI -- Jan 22, 2016 to Jan 24, 2016 North Little Rock, AR -- Feb 19, 2016 to Feb 21, 2016 North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016 Tulsa, OK -- Mar 25, 2016 to Mar 27, 2016 Kansas City, MO -- Apr 1, 2016 to Apr 3, 2016 Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016 Louisville, KY -- Apr 29, 2016 to May 1, 2016 Cincinnati, OH -- May 5, 2016 to May 8, 2016 Hamilton, ON -- May 20, 2016 to May 22, 2016 London, ON -- May 27, 2016 to May 29, 2016 Providence, RI -- Jun 3, 2016 to Jun 5, 2016 Raleigh, NC -- Jun 24, 2016 to Jun 26, 2016 OVO: Rumored to begin touring in Arenas in April 2016! --------------------------------- 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 2015 Dark Dates: o September 10 - 18 o November 11 Added performances in 2015: o December 31 (only 7 pm performance) "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2015 Dark Dates: o August 3 - 11 o October 11 o November 30 - December 15 Added performances in 2015: 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: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm (Only 7:00pm on the following days in 2015: January 20, May 8, May 15, May 19, May 20, and December 31) 2015 Dark Dates: o August 16 - 31 o October 31 o December 6 - 14 Added performance in 2015: o December 27 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm (Only 7 pm performances on May 9, 16 and June 21) 2015 Dark Dates: o August 5 o September17 - 25 o November 18 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm (Only 7:00p.m. performances on May 15-16, June 19-21, December 31) (Only 4:30p.m. & 7:00p.m. performances on July 4) 2015 Dark Dates: o July 28 – August 5 o September 15 – 17 o October 20 – 22 o December 1 – 16 Added performances in 2014: o December 30 CRISS ANGEL BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm 2015 Show Schedule: o Wednesday: 7:00pm & 9:30pm (only 7:00pm on January 7, February 4 - 25, September 30) o Thursday: 7:00pm & 9:30pm (only 7:00pm on January 8-29, December 31) o Friday: 7:00pm & 9:30pm (only 7:00pm on January 9–30, February 6, February 20 – 27, March 6 – 13, May 1 – 22, June 5, June 19, September 11–25, October 2–9, October 23–30, December 4 11, December 25) o Saturday: 7:00pm & 9:30pm (only 7:00pm on May 2–16, June 20, July 4, October 31) o Sunday: 7:00pm & 9:30pm (only 7:00pm on February 8–22, March 1–15, April 26, May 24, June 7, June 21, September 13–27, October 4–25, November 1–8, November 22–29, December 6–13) 2015 Dark Dates: o August 31 – September 8 o November 9 – 17 o December 14 – 22 Added Performances in 2015: o December 29 ZARKÀNA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2015 Dark Dates: o July 14 o September 6 - 14 o November 10 Added Performances in 2015: o December 28 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Two Shows Nightly - Dark: Wednesday/Thursday Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday 4:30pm & 7:00pm on Sunday 2015 Dark Dates: o August 11 o October 14 – 22 o December 15 Added performances in 2015: o August 19 o November 25 o December 30 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) ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub & Casting o) DidYaKnow? -- Facts About Cirque o) Networking -- Posts on Facebook, G+, & YouTube --------------------------------------------------- CLUB CIRQUE: This Month at CirqueClub & Casting --------------------------------------------------- VIDEO /// "Top 5 Juggling Acts" {Jul.20.2015} ----------------------------------------------------- The year: 1984. The groundbreaking new spectacle: Cirque du Soleil. Amidst the mindboggling array of creative performances, a juggling act. In an instant the ancient art of juggling is thrust back into the spotlight and its fascinating history revived. Today Cirque du Soleil is proud to juggle back through time with you, featuring a retrospective of the most unforgettable juggling performances of the past thirty years. Most of us know that ‘juggling’ (technically known as ‘toss juggling’) refers to the art keeping two or more objects up in the air without letting them stop or drop. We’ve seen breathtaking examples of it during Cirque du Soleil performances, but the unique history of juggling carries us back to exotic scenarios from far earlier eras. The first signs of juggling were discovered on a wall painting in the Egyptian tomb of an unknown prince, between 1994 and 1781 BCE. In the depiction, a group of women can be seen tossing small round objects in the air. (Perhaps this is the true origin of the modern reference to those capable women who are able to successfully ‘juggle’ their career, family, and social life!) Throughout the next millennia, juggling would continue to pop up intermittently in various parts of the world—from China to Greece, India to England—with some fascinating impacts. Chinese warriors during the Zhou Dynasty juggled their way out of battle by impressing their enemies with their skills. (Seems they figured out how to toss their differences aside!) Things got particularly fragile during the Roman Empire, when one Roman’s gravestone proclaimed that he was the first to juggle with glass balls. Had he been born a bit later, during the fall of the Empire, his epitaph may have read differently—it’s during this time that juggling became viewed as a witchcraft-like art, banished to the streets where jugglers would perform for pocket change. Little did they know that on the cusp of the next millennium Cirque du Soleil’s founder, Guy Laliberté, would follow directly in their footsteps with his fire-eating feats! Not until the creation of the first modern circus in the 1700s did jugglers begin to regain their star-like status. They became staple acts of vaudeville and variety shows, forcing them to hone their skills and develop specialties as they tried to out-toss, and thus toss out, the competition! We can see the results today in the breathtaking juggling acts that punctuate many Cirque du Soleil performances. From an ancient tool of war to a modern-day art of wonder and delight, juggling has become a highlight for circus-goers around the world. What it will become over the next centuries is still up in the air! { SOURCE: CirqueClub | https://goo.gl/bsgMMt } --------------------------------------- DIDYAKNOW?: Facts About Cirque --------------------------------------- o) Did you know that JOYÀ's VIP package includes access to the exclusive lounge? This along with priority access to the theatre, unlimited Mercier Champagne and an exquisite dinner including Chef's special appetizers – pamper yourself with this truly VIP experience! o) Did you know KA's artists apply their own make-up, and it takes from 45 minutes to two hours to complete? o) Did you know La Nouba's 1,671-seat showroom is the first free- standing permanent theatre ever built for Cirque du Soleil? o) Did you know the fedoras featured in Michael Jackson ONE come from the same hat maker who made Michael’s iconic hats? o) Did you know more than 300 headpieces are used in Mystere? Each latex headpiece is an exact duplicate of the artist’s head. o) Did you know each artist in Mystere has an average of 3 costumes per look (character)? Each costume is custom-made in Montreal for each artist. o) Did you know the wardrobe in "O" has a relatively short shelf life? For instance, the swimmers need to their costumes replaced every 3 months. o) Did you know everything in "O" - from actual costumes to wigs and headpieces - had to be customized to work in water? For instance, the headpieces in this photo had to have chinstraps added. o) Did you know each performer in "O" has an average of 5 different looks they wear on stage? o) Did you know the lead female singer in Zarakana had her entire body, together with the harness she wears throughout the show, scanned with 225 precise measurements? The data was used to produce a cast that minimized the need for in-person costume fittings. o) Did you know the attire for the Jovians in Zarkana were inspired by a fictional tribe that lives off of the sea? Their costumes are made to make them look like fish, complete with bubbles, a ploy to fool their prey. --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ AMALUNA ]--- {Jul.04} The first night of Amaluna at Portaventura has been magical, you are going to come? LINK /// < https://goo.gl/klBLvQ > {Jul.15} This is how the boys of Amaluna relax before the show... LINK /// < https://goo.gl/aLwPAj > {Jul.23} Happening now: Cali is getting ready to get on stage... LINK /// < https://goo.gl/UMhDTd > ---[ CORTEO ]--- {Jul.01} We hope to see all of our friends yucatecos in the big tent! We will be in Merida just one more week! LINK /// < https://goo.gl/KBS0Q1 > LINK /// < https://goo.gl/PJgwbx > {Jul.07} Our artists spent a great last day off in this wonder of the world! Ready and full of energy for the last week in Merida! LINK /// < https://goo.gl/oEWPvI > {Jul.12} Our last day in Merida! We very much enjoyed the amazing people of this beautiful city and are delighted to have been there! We are going to miss you! LINK /// < https://goo.gl/crz78i > {Jul.24} Our Horse / puppet is taking his nap in Guadalajara, until the arrival of the artists next Monday. LINK /// < https://goo.gl/WYBokV > ---[ KOOZA ]--- {Jul.01} It's almost time to say goodbye, Columbus! LINK /// < https://goo.gl/lOJVCi > {Jul.13} Just three days until KOOZA premieres in ?#Virginia Beach!! LINK /// < https://www.youtube.com/watch?v=NFBy6l-hzlk > {Jul.15} KOOZA? is premiering tomorrow at the Virginia Beach Convention Center! We can't wait for you to discover our zany kingdom, Virginia Beach - Live The Life LINK /// < https://goo.gl/jj0f3c > {Jul.16} Putting the final touches to our make-up! Time to leave the beaches to come and see KOOZA LINK /// < https://goo.gl/JzCze0 > {Jul.16} A huge THANK YOU for the warm welcome, Virginia Beach! We couldn't wish for a better start! LINK /// < https://goo.gl/hfZ2Fg > {Jul.18} Do you have what it takes to be a KOOZA artist? Today on the beach a lineup of people are trying out their skills on the flying trapeze! LINK /// < https://goo.gl/TYyZjC > {Jul.19} If you’ve ever dreamed of flying through the air just like a trapeze artist, now’s your chance! Come by the beach today to try the KOOZA trapeze! LINK /// < https://goo.gl/Dniwgs > ---[ KURIOS ]--- {Jul.03} Bonjour Chicago! Our aviator was in your city for a quick visit and advanced media day this week! We are very excited to open on August 6th at United Center under the Grand Chapiteau! LINK /// < https://goo.gl/lraB7c > {Jul.08} Lunchtime at Union Station in Denver had some KURIOS surprises! Happy to be a part of the State Of Kind challenge. LINK /// < https://goo.gl/wG6G6l > {Jul.09} Bonjour Chicago! KURIOS will be in your city really soon. LINK /// < https://goo.gl/HhLgaK > {Jul.10} 1 Show. 2 countries. 7 cities. 15 months. And we’re close to 1 million fans seeing KURIOS. Thank you Denver and all our fans for getting us here! LINK /// < https://goo.gl/LgFTvB > {Jul.13} Hey Denver! Don't miss your chance to see KURIOS! LINK /// < https://goo.gl/Jtch1U > {Jul.14} Last Sunday in Denver we had our 1 millionth visitor at KURIOS. To celebrate this milestone we invited the special guest backstage to meet with our artists! LINK /// < https://goo.gl/J02S2Z > {Jul.23} Time flies by so fast! It's almost time for KURIOS to leave Denver! LINK /// < https://www.youtube.com/watch?v=eyXFIrWamMA > ---[ LA NOUBA ]--- {Jul.08} Ready to take flight? Don’t just watch the show. Be a part of it. LINK /// < https://goo.gl/rf0Ohk > {Jul.28} 300 flips. 60 twists. 27 artists. 1 60-foot power track. LINK /// < https://goo.gl/7tL25U > ---[ QUIDAM ]--- {Jul.02} Quidam is opening in Tel Aviv tonight! Watch our surprise street performance at Dizengoff Square. LINK /// < https://goo.gl/yxDxFK > {Jul.11} We love Friday night crowds! Photos taken from the band pit by violinist C. Zardé LINK /// < https://goo.gl/sVjD4i > {Jul.14} We love reading our fans! And we couldn't resist sharing these kind words... From all the Quidam cast and crew, THANK YOU Barbara for being such an amazing fan! LINK /// < https://goo.gl/rcS2eA > LINK /// < https://goo.gl/TKOoTh > {Jul.29} On stage, backstage, in the media... EVERYWHERE! After months of preparation, we are finally ready to present our very first Cirque du Soleil show in Thailand!!! Sawasdee Ka Bangkok! LINK /// < https://goo.gl/9wKQkj > {Jul.30} "Sometimes watching trainings you just witness a perfect..." Do you know what this Cordes Lisses move is called? LINK /// < https://goo.gl/suhnCP > ---[ TORUK ]--- {Jul.02} All the shades of a world beyond imagination. LINK /// < https://goo.gl/C2m6hf > {Jul.03} Check out the TORUK Zone at Montreal ComicCon and journey back thousands of years to the beginning of Pandora. TORUK – The First Flight opens December 21 in Montreal, get your tickets now! LINK /// < https://goo.gl/67yp3E > {Jul.09} High is our only level of expectations. LINK /// < https://goo.gl/yS52wQ > {Jul.16} A laboratory of creators: where it all began. LINK /// < https://goo.gl/s5bDcT > LINK /// < https://goo.gl/txVH4b > {Jul.23} Kite dancing. LINK /// < https://goo.gl/4mjwjl > ---[ TOTEM ]--- {Jul.04} appy 4th of July to our American fans from our Native Hoop Dancer Eric Hernandez! Even down under, we do not forget you! LINK /// < https://goo.gl/kMX0WT > {Jul.07} Thank you Perth for great media opportunities! Now back to Adelaide for our last week of performances! LINK /// < https://goo.gl/Q4aG1K > {Jul.07} There is talent on stage and backstage at TOTEM! Props technician Keiko Lemon hand-paints regularly many of our large pieces, including the Roller Skates platform, the Hand Balancing blocks and the Scientist boxes! LINK /// < https://goo.gl/DqPVEc > LINK /// < https://goo.gl/4jgoeP > LINK /// < https://goo.gl/coCtru > {Jul.14} Last week, our Hoop Dancer Eric Hernandez visited Perth for media interviews and photo sessions! Watch his vlog about this busy PR day all around the city! TOTEM opens in Perth - its last Australian tour stop - on 31 July! LINK /// < https://www.youtube.com/watch?v=3I3Oted83a0 > {Jul.21} "What's the next level after impressed? Amazed? Awe-stuck? Whatever it is, that emotion arrives often in TOTEM." - The New York Times LINK /// < https://goo.gl/3btaAT > {Jul.22} The bridge and the stage are being set up inside our Big Top - only 8 days to go until our Perth Opening Night at Belmont Park Racecourse! LINK /// < https://goo.gl/KKN0cA > LINK /// < https://goo.gl/PYJ3n4 > {Jul.23} New information regarding the performance schedule, ticket sales and the show has been announced for the Japanese tour of TOTEM! LINK /// < http://totem-jp.com > {Jul.24} Our artists have arrived in Perth and are starting training today in preparation for our 31 July Opening Night! LINK /// < https://goo.gl/l2miqD > {Jul.26} Ever wondered how it is to attend a Cirque du Soleil Opening Night? You are lucky, we've just released a few tickets for our Perth Premiere! Exclusively after the performance, audience members will get to meet and take photos with numerous TOTEM characters, enjoy live music performed by the TOTEM band, and take part in celebrations inspired by the show! LINK /// < https://www.youtube.com/watch?v=3icAA9AYK-k > {Jul.28} A lot of activity backstage this week getting ready for our last Australian Premiere in Perth this Friday! Shandien "Sonwai" Larance is showing media how make-up should be done. LINK /// < https://goo.gl/Rpqm7tv {Jul.30} 1,000 lucky West Australian Cirque Club members attended e arlier today a free exclusive media preview of TOTEM inside the Big Top! They were the first ones to experience our Hoop Dance and Rings Trio acts before we officially open in Perth tomorrow night! LINK /// < https://goo.gl/OJDmbQ > ---[ VAREKAI ]--- {Jul.08} What a fun day in Baltimore yesterday! Skywatcher and Magioso toured the city and made a few stops at Maryland Science Center and Phillips Seafood! Check out the show July 8-12 at the Royal Farms Arena! LINK /// < https://goo.gl/dLlSxZ > {Jul.13} Take a look at this slow motion jump part of the Russian Swing act! LINK /// < https://goo.gl/AEqzxJ > {Jul.19} We had a great time performing at the Agganis Arena this week. Thank you for the laughs and applause. Can't wait to be back! LINK /// < https://goo.gl/kjNlEW > {Jul.21} Good morning! We are in Miami for Univision's Wake Up America! LINK /// < https://goo.gl/t0edrz > {Jul.24} Afternoon warm up in the sun! LINK /// < https://goo.gl/Hn6pH7 > {Jul.28} Getting ready for our premiere at the Gwinnet Arena Center in Duluth, GA! LINK /// < https://goo.gl/xkRoNi > ======================================================================= FASCINATION! FEATURES ======================================================================= o) INTERVIEW /// "Raphaël Beau – Compositeur des Curiosités" By: Keith Johnson - Seattle, Washington (USA) o) "Tales of the Forest: The NEW Story of Varekai" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ INTERVIEW /// "Raphaël Beau – Compositeur des Curiosités" By: Keith Johnson - Seattle, Washington (USA) ----------------------------------------------------------- Responsible for the fun “Steampunk” sound that propels Kurios-Cabinet of Curiosities is Raphaël Beau. Raphaël was educated at the Conservatoires national de region of Toulouse and Paris. He also studied at the Paris Sorbonne where he became a certified music teacher. He composed the soundtrack for Micmacs, a film by Jean- Pierre Jeunet with whom he subsequently collaborated on some commercials. In 2011 he composed the soundtrack for the cute short film Defective Detective by Avner Geller and Stevie Lewis, which won a bronze award at the 38th Student Academy Awards (you can see it here): < https://youtu.be/tiy1MeXzhfA >. We sent Mr. Beau some questions via email and here are his responses in French, kindly translated into English by Kurios publicist Amelie Robitaille. One of our rare bi-lingual interviews! Enjoy! Q. How did you come to write the score for Kurios? Le cirque m'acontacté et m'ademandésij'étaisintéressé pour vivre l'aventure "cirque 2014" qui deviendrait "Kurios-Cabinet des curiosité". Après unemise à l'épreuve sur un certain nombre de situations compositionnelles, j'aiétéretenu et l'aventure a pu commencer... ouplutôt, elle a continué car cesdeux premières semaines de travail avait déjà été pour moi un grand voyage. Eneffet, la relation avec Michel Laprise et Chantal Tremblay a été tout de suite d'unegranderichesse et d'unegrandeintensitéémotionnelle. “Cirque contacted me asking if I was interested in participating in the Cirque 2014 adventure that would eventually become Kurios-Cabinet of Curiosities. After auditioning afew compositions I was chosen and the adventure began, or should I say kept going because those two first weeks of working with Cirque were already quite a journey! My relationship with (Director)Michel Laprise and (Director of Creation)Chantal Tremblay quickly became a very rich emotionally intense one.“ Q. What guidance did the director, Michel Laprise, give you? Michel m'a tout d'abordparlé du scénario pour me plongerdans son univers, puisdès que je suisvenu à Montréal, nous avonsregardé avec lui et Chantal des illustrations magnifiques formant un storyboard du spectacle. Nous échangions sur ce que nous évoquaientces images et Michel me donnait des mots-clefs qui me guideraient pour proposer les premières "capsules" ou intentions musicales. Une des directions stylistiquephareétaitl'électroswingence que ce style contenait de festif, énergique et joyeux. “Michel first talked to me about the storyline of the show so I could dive into his universe, and from the moment I came to Montréal, we (Michel, Chantal and I) started looking at magnificent sketches that were forming the storyboard of the show. We would discuss what these images meant to us and Michel gave me keywords that would help me propose the first excerpts or musical intentions. One of the main stylistic directions was electro swing, with the festivity, energy and happiness that goes along with that style.” Q. What inspired you while writing the score? Je crois que ce qui m'ainspiréc'est le fait que j'aimais tout ce que j'avaisluentermesscénaristiques, toutes les illustrations de décors, de costumes, d'ambianceslumineuses, de couleurs. L'esthétique Steampunk estaussiquelque chose dont je me sensproche car j'aimebienm'amuser à créer des mécanismesmusicaux. D'unecertainefaçon, la musiqueconcrètepeutavoir un caractère Steampunk. Ce qui m'aégalementinspiré, c'est de venirvoir les acrobates aux séances d'entraînement, de création, et d'être avec eux, de m'apercevoir de leur talent, de leur courage et de leurgrandehumanité. Je me suisditqu'ilfallait que j'essayecommeeux de faire des acrobaties musicales et que je prenneaussi le risque de composer "sans filet"...C'estavant tout unegrandeaventure collective et c'estcela qui est un souffleinspirant pour donner le meilleur de soi-même. Et puis, il y a cemagnifiquechapiteaujaune et bleu. Quand on entre dedans et que l'onvoit tout cequ'ils'ypasse, ildoit se produirequelque chose de magique, d'impalpable. Et comme a pu me dire Michel Laprise, "ilfautaussilaisser le spectacle venir à soi". “I believe that what inspired me is the fact that I liked everything I had read in the script and seen in the storyboards, illustrations, set and costumes, as well as colors and light ambiances. The Steampunk aesthetic was also something that I felt close to because I love to play around and create musical mechanisms. In a certain way, concrete music can have a Steampunk character. Another thing that inspired me was to see the acrobats in their training sessions and creation classes; to be with them and see how talented, courageous and human they were. I told myself I would have to try to do just like them by creating music in an acrobatic way and to take the risk of composing without a safety net. It is primarily a great collective adventure and that is what gives you the inspiring breath of fresh air to give the most of yourself. And then there was this beautiful yellow and blue Big Top. When you enter it you realise what really happens, that something magic is occurring, something impalpable. And like Michel Laprise told me, ‘We also have to let the show come to us.’” Q. Some Cirque composers will not write a note of music until they have seen the act it would accompany, some have melodies already in mind and adapt them to fit. Can you describe the process of writing the Kurios music? La composition s'estfaiteendeux phases principalement. La première était de composer des intentions musicales qui accompagneraientchaquenuméros, ils'agitd'unerecherched'émotions. Eneffet, initialement la musique ne s'attache pas à suivre les tensions/détentes ou les climax chorégraphiques, c'est justeune atmosphère musicale, commeune première esquissepicturale avec quelques traits et quelquescouleurs, maisl'idéeestlà et ilpeut se passer un certain temps avantqu'ellen'apparaisse... Ensuite, vient la seconde phase de développementoù la musiquecherche à s'adapter plus finement aux numéros et à leurcontenuchorégraphique et acrobatique. C'est un travail d'artisanat fait "d'allers et retours", de changements, d'essais et d'interactions avec tous les autresconcepteurs et acrobates qui fait que le spectacle est déjà très vivant duranttoutesapériode de gestation. “The composition happened in two different phases. The first was to compose musical intentions that would accompany each act, actually the research of emotions. Initially, the music does not follow the tension or mood or choreographic climax, it is a musical atmosphere. Like a first sketch or draft with a few lines and a few colors, but the idea is there even if it might take a while to really appear. Then comes the second phase of development where the music is trying to adapt to the acts and their acrobatic choreography and content in a more precise way. It is a craftsman's work made of give and take, changes, try outs, and interactions with all the different creators, designers and acrobats which make the show come alive in its gestation process.” Q. Some Cirque composers are very particular about their arrangements and want very little change. Others appreciate what musicians can do with their score. What is your process of working with the band? Encore unefois, il me semble que la richessevientavant tout de la miseencommun des compétences de chacunes et de chacuns, ce qui peutparfoisamener à rendre les choses que l'onpeutcroireimpossibles, possibles. C'estpourquoi, mêmesij'aiparfoisététrès attaché à certainsdétailscompositionnels et interprétatifs, j'aiaussiétéouvert aux idées que pouvaientapporterchaquemusicien du band. J'aitoujoursététrès admiratif de leur talent et puisc'esteux qui chaque jour jouent la musique et la font vivre. Le fait d'avoirpartagé des moments où nous jouions ensemble nous a permis de nous rencontrermusicalement et de mieux nous connaîtrehumainement. C'est encore une idée de partage et d'amour de la musique qui nous a amener à prendre beaucoup de plaisir ensemble et à concentrernosénergies pour que la musique de "Kurios-cabinet des curiosités" soitunemusique du coeur. “Once again, it feels like the richness comes first from the common input of everyone's competencies, which sometimes makes a thing that we believe to be impossible, become possible. This is why, even if I was sometimes very attached and holding on to certain compositional or interpretative details, I was also open to the ideas that each musician in the band were bringing. I always kept a great admiration for their talent because they are the ones playing the music and giving life to it every day. The fact that we were able to share some moments where we all played together allowed us to meet each other in a musical way and to know each other better in an human way. Once again it is the idea of sharing and love of music that brought us a lot of pleasure and fun, concentrating our energies for the music of Kurios, making music from the heart.” Q. Do you have a future project(s) we can look forward to? J'ai de nouveaux projetsen perspective dont je ne peux pas parlericimaisdont je pourraism'entretenir volontiers avec vousdèsqu'il serontrendus plus officiels. “I do have new projects that I can’t speak of right now but that I would love to talk about as soon as they become more official.” Merci pour toutesvos questions qui m'ontpermis de me replonger un temps danscette belle aventure... “Thank you for your questions that made me dive back into this beautiful adventure [if only] for a brief moment.” See more about Raphaël at www.raphaelbeau-compositeur.com. ------------------------------------------------------------ "Tales of the Forest: The NEW Story of Varekai" By: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- A couple of issues back, Keith Johnson (in his review of KURIOS under the Big Top and VAREKAI in Arena) mentioned the new-style programme book Varekai now has, praising the way it told the show's story and how the new "book" made updating it an easier process. After hearing about Keith’s description of Varekai’s new – and quite interesting – programme book, I was anxious to see a copy for myself. As luck would have it, the final leg of Varekai’s North American arena tour brought the show through the Atlanta area, setting up in the Gwinnett Center over in Duluth for a few days, which afforded me the opportunity to see for myself how different this book may be. And it’s certainly interesting to say the least, but that’s not a bad thing. While I have my own opinions about the new programme book style (it is bulky, though I mostly agree with Keith’s sentiment), as well as thoughts about the arena conversion of the show itself (some not so nice), my purpose here isn’t to dissect the conversion, speak ill of the show, or even denounce it as not being a worthy successor of its Big Top counterpart. With the show’s new tagline – “Tales of the Forest” – my purpose here today is to dive into the “new” storyline of the show as depicted in the new book. And I have to say… it’s different. While it's a bit difficult for us to share images of the new book (since we're a text-based newsletter), I can share the text used now to describe the story. “A dormant volcano, a mystical forest, and an ancient prophecy… The adventure of Icarus begins! Explore the world of Varekai,” it says on the back cover. “And follow the awesome adventures of Icarus with 20 double-sided storyboards and a bonus full-size poster.” An interesting quirk about the story within is that it’s narrated by Icarus himself: “My name is Icarus,” he begins. “The Lost Adventurer… This is the story of how my wandering soul learned to trust fate. Don’t get me wrong – fate can be scary. But surrendering to it is the most thrilling ride of all!” And he continues narrating his story at each beat of the show... THE FALL/THE FLIGHT OF ICARUS: It all begins with falling on broken wings… A flight of fancy, and a gamble in the sky. The thrill of flying was followed by the bitterness of my fall! I tried reaching for the sky again. But it’s no use. I’m stuck here in this forest. Wounded. And surrounded by these kaleidoscopic creatures that won’t let me go. Oh, to touch the heavens again! I’ll be the first to admit it – I flew too close to the sun. But it was awesome. At least until I started going down! What a ride! I don’t know how to get back. And I’m not sure I want to. Besides, a voice keeps urging me on – “Find the courage to wander. There is no destination.” THE BETHROTHED (ENCOUNTER/SEPARATION): A spellbinding figure emerged from the earth, and has captured my soul as securely as any net. My betrothed is destined to transform herself and the world. Afraid and fearless, vulnerable and infinitely powerful, she is the chosen one. And in her turn, must choose the fallen voyager as her mate. The entire forest waits in anticipation of this union of sky and earth. Her sensual beauty has ignited a fire within me. And love has given me new wings. The heart sees deeper than the eye. I won her trust for an instant. And then thunder and she was gone. ICARIAN GAMES: It’s as though the forest itself wants to fly. Continuing my stroll through the forest, I happened upon these cheerful creatures in a clearing. And laughed out loud! They were celebrating the union of two strangers. Flying and flipping through the air, they juggled one another as though they weighed nothing at all. “We need one another to survive…” TRAPEZE/HOOP: You only give when you love. Hovering among the treetops was a messenger from the future. In a prophetic cycle that’s as old as time, she too has been transformed by love. It seems every branch and creature must play its part. And it’s only a matter of time… THE SKYWATCHER: The Skywatcher is adrift in his own world. Thriving amid the chaos and collecting the world’s memories along the way, the Skywatcher is equal parts joker, astronomer and inventor. And seems to know what’s going to happen before it does! This itinerant castaway is stuck here just like me, but stays put even though he could build himself a balloon and fly away. THE ENGAGEMENT/ABDUCTION: He offered us a chance to float away, but she refused. I’m not yet ready, she said… Before they took her away, she grabbed my hand. “We’ll meet again when it’s time…” GEORGIAN DANCE: With pride and precision, these virile warriors conjured up benevolent spirits as a council of the wise looked on. They are the spirit guides along my journey. Every experience here seems to convey a message. And just as my spirits were flagging, their courage and confidence inspired mine. “Find the strength within…” SLIPPERY SURFACE: Like weightless creatures darting along the water’s surface, these whimsical sprites seemed to be celebrating – me! I’m starting to like it here. And this mysterious world inspires me. Joy is contagious! SOLO ON CRUTCHES: The friend within. I saw myself in this young man. As though summoned here, he too fell from the sky and into this world. But after his tumble, was too injured to play his part. He was aggressive towards me at first, but now wants to spare me his fate. “No one can break the soul,” he said. “Stand up. And never give up.” THE GUIDE: He is a grumpy visionary. Weathered by the sun of several centuries, everyone listens to the Guide. And why wouldn’t I? He keeps leading me through this mystical realm and straight into the arms of my beloved! At first his manner seemed hostile. But this tamer of shadows has a warm heart. He, too, once had wings. Now he’s got a lightbulb instead! And though it often needs replacing, it helps him forge a trail through the darkness. AERIAL STRAPS: They are beacons in the darkness. Marking the passageway of time, these heavenly warriors appear whenever I need them most. They are shadows of the sky and reflections of one another… “There’s a path even when you can’t see it.” JUGGLING: Deep in the forest, a jester appeared among the trees. And like a prophet, he can hold time in his hands. He seems able to bend and spin the very substance of nature. Absurd and extraordinary, the forest is buzzing with life; a spiral of perpetual life. METAMORPHOSIS/REUNION: My love descended from the sky, transformed by the eternal prophecy and by her devotion to this mystical place. And at long last, a hypnotic dance and a heavenly kiss… HANDBALANCING ON CANES: A delicate balancing act of love. Celebrating her own lyrical metamorphosis and the future that now opens before us, her dance was like nothing I’ve ever seen before. Like an emerging butterfly, her sinuous and sensual elegance took my breath away. SINGERS/CLOWNS: Harmonizing the world every step of the way, these forest minstrels were my steadfast companions. … And of course I kept bumping into these two. They’re hilarious, but who are they? RUSSIAN SWINGS: Fleeting moments of zero gravity. A new age has dawned for us all. And the entire forest vibrates with joy. Heroic acrobats lift our spirits even higher as we catapult towards the future. Without love, none of this would be possible. “Love makes every journey worthwhile…” CELEBRATION: Together we can do anything! The celebration lasted for days, and I was no longer alone. Submit to your destiny, and remember… Wherever the wind guides you, you are home. # # # And there you have it: Icarus’ new tale of the forest. It's certainly less sophisticated than, say, the storyline as told in the Veronica Vial picture book, but it is more than we normally see in a Cirque du Soleil programme book these days. If you happen to catch Varekai in arena here in North America or wherever the show may go and you happen to see one of these new "books" - give it a go! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 15, Number 8 (Issue #139) - August 2015 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2015 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. { Aug.07.2015 } =======================================================================