======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 11 November 2015 ISSUE #142 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Just before press time, the Cirque fandom was all a-twitter over a website found by fans that purported to show extended tours for Quidam, Corteo, OVO, Kooza, and many other Cirque du Soleil shows - including the newest: Cirque 2016. Many of us debated whether the site was legitimate or not, and therefore whether any of the info listed was good. Turns out the site, although by Cirque du Soleil's IT department, was a QA Testing site, testing out new layout ideas and the like, and was thus populated with some fictional information. One thing that wasn't fictional, however, was the use of Cirque2016's actual name within the site, which we won't name here. Those of you out there that know it - great! For those who don't yet know, don't despair. A media day, similar to the one Cirque held for TORUK-The First Flight, is scheduled to happen soon. In the meantime, by the time the next issue is out Cirque will have made their official announcement about the show, which will include the unveiling of the show's name. So we won't steal their thunder. Speaking of TORUK-The First Flight. On October 28th, Cirque unveiled the new arena show to the media in Bossier City, Louisiana, where the new show will make its soft-opening debut. Here Cirque will keep tooling the show for it's Montreal debut in December. A week before the Media Day the Shreveport Times went backstage to get a Behind the Scenes look at the show's development, the text of which we've included in this month's issue (see the Special Engagement section of our news section - Cirque Buzz - to see their backstage look). For those who might be interested: the Cirque du Soleil gift cards are back! The gift cards can be redeemed for show tickets anywhere in the U.S. and Canada, so use them to treat someone to an unforgettable experience at Cirque du Soleil today! The kicker is that the cards are only available as an eGift card, rather than a physical piece of plastic, but according to the cards' website, a physical card is coming soon. Check out details about the "new" card at their website: < https://www.cirquedusoleil.com/gift-cards >, which includes an extensive FAQ for those with questions. You can buy a card for as little as $25 USD and as much as $200 USD! In addition to the resurrection of the Cirque Gift Card, after months and months offline, just before TORUK's Media Day, Cirque du Soleil revamped and relaunched its online boutique! Finally, am I right?! The offerings are very slim right now, but we're assured that the selection will only get better in time. We've also heard that Cirque has taken over management of all its Las Vegas boutiques as well (it seems Cirque was losing revenue from the stores since MGM managed them - no longer), so it's possible we'll start seeing some of the selection usuall exclusively found there online as well. Meanwhile, check out the new store here: < eboutique.cirquedusoleil.com > or at < www.cirquestore.com >. And while this news is exciting, there's plenty more within, such as: Cirque is ready to begin updating LOVE for next year's 10th anniversary celebration. BELIEVE is also due for an upgrade. LA NOUBA is getting two new acts, and possibly replaced by 2018. A new "show" will pop up in Russia - JOEL - to celebrate the winter season. Cirque is now out of the night club business; BAZ will head to The Venetian. And much, much more! Last month we continued our exclusive interview with KURIOS drummer Kit Chatham, picking up with Kit's first Cirque experience, Corteo, and following him through his time with Viva Elvis, Mystere, and Zumanity. And now in part three, after being stolen away from Kooza by KURIOS director Michel Laprise, Kit discusses with us what he brought to the show. And more! We also continue with our look back at Guy Laliberte's Poetic Social Mission. In Part 1, "The Countdown Begins" we listened as Guy took us through his first steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and passed a few essential tests. Now we continue as he gets down into the nuts and bolts of his training, covering the month of July 2009. And last, but certainly not least, is a special article reprinted from Sarah Barmark from the Canadian Business Magazine - she takes a look at what she calls the astonishing second act of Cirque du Soleil - a Cirque that is no longer an independent company. Check it out! 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 * DidYaKnow? -- Facts About Cirque * Networking -- Posts on Facebook & Other o) Fascination! Features *) INTERVIEW /// "The Third Time: An Exclusive Interview w/ Christopher “Kit” Chatham, Kurios Drummer" (3 of 3) By: Keith Johnson - Seattle, Washington (USA) *) LOOK BACK: Guy Laliberte's Poetic Social Mission PART 3 of 8: "Getting My Hands Dirty" By: Ricky Russo - Atlanta, Georgia (USA) *) SPECIAL: "The Astonishing Second Act of Cirque du Soleil" By: Sarah Barmak, Canadian Business Magazine o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Cirque Debuts SPARK, Teambuilding Workshops for Groups {Oct.06.2015} ------------------------------------------------------- Cirque du Soleil is moving from the Big Top to the Boardroom: As of Oct. 1, the Québec-based performance group is offering “SPARK Sessions” for VIP groups in Las Vegas. Exclusive workshops custom-built for corporate groups, the sessions are designed to stimulate creativity, innovation, and synergy by harnessing Cirque du Soleil principles and best practices. “Our guests have always wanted to go behind the curtain at a Cirque du Soleil performance, and companies have been asking us for years how we manage to spark the creativity that you see on stage,” says James Guilford, SPARK program manager at Cirque du Soleil. “SPARK Sessions are our way to bring people into the Cirque world and create some of the most interactive and educational team-building experiences in the world right on stage. It’s our hope that SPARK Sessions ignite innovation, curiosity and creativity in everyone who participates.” Cirque du Soleil is offering two types of SPARK Sessions: Learning Sessions and Teambuilding Sessions. Learning Sessions illustrate the unique ways that Cirque du Soleil fuels innovation, maintains operational excellences and nurtures creativity in its employees. They include: Journey – a tailor-made tour providing exclusive insights and sneak peeks; Forum – an interactive panel discussion staffed by Cirque du Soleil experts; and Flare – a demonstration of the theatre’s amazing technical abilities. Teambuilding Sessions (“Soar”) challenge participants to build synergy by creating a cast of characters and building a performance with make-up, costuming, and props in a unique Cirque du Soleil space, leading to improved communication, collaboration, and trust. Sessions include: Formation – instruction in Cirque du Soleil arts by the company’s world- class artists and coaches; Exhibition – a live performance on stage by the participants and their group; and Flash – a professional photo with Cirque du Soleil characters in full costume and make-up. Both Learning and Teambuilding Sessions offer groups a view of the show from the best seats in the house (“Vista”). SPARK Sessions start at $550 per person and are available at all eight Cirque du Soleil productions that are currently residing on the Las Vegas Strip. Email corporate.sales@cirquedusoleil.com for more information. { SOURCE: Stressful Meetings | http://goo.gl/PN3I79 } La Nouba Celebrating 8,000th Shows with Changes? {Oct.08.2015} ----------------------------------------------------- According to multiple sources, La Nouba will undergo a few changes as it celebrates its 8,000th Performance... A couple of years ago, current artistic director Daniel Ross took the helm and immediately saw some changes he wanted to make to keep the show fresh. He added more appearances by the show’s comic relief-providing clowns, which brings a good break from the high-energy acts in between. And the clowns are downright funny, creative characters of their own, far more enjoyable than your average circus clown. They are able to engage with the audience in an honest way, never resorting to insulting anyone. It all feels appropriately innocent. Other changes on the horizon recently announced include replacing the show’s two opening acts, beginning in December. The somewhat long winded jump rope routine is being replaced with break-dancers. The high wire act will be changing to a different aerial act with a bamboo pole. Ross explains the frequent changes to the show: “When we have new people coming in, we try to let them influence the show and make it something else. As a result, La Nouba is still very fresh after 18 years. It’s a show that’s still alive, it’s still current, it’s still real, it’s still true to the moment. So it’s something that we really take pride in.” { SOURCE: CirqueSpotlight, Inside the Magic | http://goo.gl/ZS9NoH } Cirque du Soleil is Out of the Nightclub Business {Oct.09.2015} ----------------------------------------------------- Cirque du Soleil is accustomed to staging acrobatics, but this is impressive even for the famed artistic company. In one fell swoop, Cirque has shed its ownership interest in Light and Daylight at Mandalay Bay, while Hakkasan Group also has ended its management agreement to operate the entertainment venues on the Strip. Hakkasan, the preeminent nightclub company in Las Vegas, had previously been working in an operations agreement with Cirque at Light and Daylight. No more. The company issued a statement Tuesday afternoon announcing that it was finished running both clubs: “Hakkasan Group and the ownership group of Light and Daylight at Mandalay Bay have mutually agreed to terminate their management agreement for both venues, as well as end all litigation between the two parties. Both Hakkasan Group and ownership wish each other well in the future.” In June, the company MB BC Limited, a consortium of investors under the Cirque umbrella, sued Hakkasan. The group claimed that Hakkasan Group and CEO Neil Moffitt had gained a monopoly of Las Vegas nightclubs and had been diverting customers away from Light and Daylight (which, again, it was actually operating) and also had been luring DJs and promoters to work at Hakkasan clubs. That litigation has now been settled. Amid all this activity is the role Cirque had been playing as owner of the Mandalay Bay clubs. Word seeped out of the company in late August that Cirque had been bought out of its controlling interest in Light and Daylight by business partner The Yucaipa Companies (which, oddly enough, means that Light and Daylight are now owned by the same company who owns the Fresh & Easy Neighborhood Market chain). The fallout of the change in operations at Light has already been felt: The chief reason the highly regarded rock musical “For the Record: Baz” moved out of Light was because of the ownership change at the club; “Baz” was staged in Light specifically because it was a Cirque Theatrical production in a Cirque-owned club. Not anymore. Why would Cirque shed its nightclub interests? It’s a relatively slim profit margin for the amount of work and organization required to effectively operate a nightclub on the Strip, and it is a highly competitive, often cutthroat business. TPG Capital, which purchased controlling interest in Cirque in April, is said to have no interest in nightclub ownership. Today, Cirque officially announced that it is out of the nightclub business with a statement issued from its headquarters in Montreal: “Cirque du Soleil is now completely focused on its existing live entertainment/shows and creating new live shows. We have decided to pull out of all hospitality projects to ensure that we stay focused on that objective. We therefore have no more business and creative links to Light and Daylight. “We have concluded a very amicable agreement with Yucaipa. … Our priorities and initiatives in Las Vegas are targeted at focusing our marketing initiatives and priorities to reach more specific segments such as Millennials and other groups.” Expect, then, a major rebranding of Light and Daylight in coming months. What remains unknown is if Cirque’s divestment in nightlife entertainment might stray elsewhere. The company has been a partner in the Rock in Rio USA event, which returns in May 2017. If the event is to return, as expected, would Cirque still be willing to help stage a festival that lost tens of millions of dollars while trying to gain traction in its first year in the U.S.? And what of the little musical left without a home? For the Record has been trying to find a venue for “Baz,” but if that theater/showroom/nightclub is not an MGM Resorts property — and the likely scenario is for a non-MGM Resorts home for the show — Cirque will end its partnership. What remains obvious is that Cirque’s grand designs on operating a cool nightspot with the assistance of the city’s largest nightclub operator have reached last call. The party is over. { SOURCE: Las Vegas Sun | http://goo.gl/wYyCIj } ‘BAZ’ Heads to Venetian {Oct.09.2015} ----------------------------------------------------- It has been confirmed — but off the record — that “For the Record: Baz,” which opened and closed at Light, has found a new home at the Venetian, and it will get a new name, with all references to the “Baz” title changed. The show won rave reviews and growing audiences at Light before the recent executive shuffles and decision by Hakkasan Group to exit its ownership status. Venetian officials decided to re-title the show for its move there because “Baz,” named for Australian movie director Baz Luhrmann and known to the film crowd in Los Angeles, is basically unknown here on the Strip. The show was developed from its hit Los Angeles run by Cirque du Soleil’s new theatrical division, who has, since the changes at Light, relinquished their partnership. The arrival of the new-look, new-name show at the Venetian necessitates major entertainment changes there. Wicked Whispers & Racy Rumors are that Human Nature have been given notice, and the Aussie foursome will exit for a venue next door at Harrah’s. Also, two shows from the East Coast are rumored to take over the main Palazzo theater at the property where Bob Anderson will end his run of “Frank: The Man, The Music” Sinatra tribute on Nov. 28. { SOURCE: The Las Vegas Sun | http://goo.gl/zSHtuO } JOEL: Made of Snow! Made in Russia! {Oct.15.2015} ----------------------------------------------------- From out of the blue, Cirque du Soleil has announced it has created a special winter-themed show just for the Russian public - JOEL! Pronounced "yule", JOEL is inspired by the traditions of the Russian New Year and follows the Snow Maiden in a snow-shrouded, enchanting world where a myriad of cooler stars will point her way to finding love. Imagine a bustling metropolis a few hours before the New Year; the incessant hustle and bustle; glittering lights in windows; singing all over the city; pedestrians hurrying in all directions; and huge traffic jams holding everyone at bay. This is not a populace who believes in the miracle of winter any longer, these people are lost! And for many years they've seen Father Christmas as someone in the next room absently fiddling with a false beard, but not her... not the Snow Maiden. Fascinating beautiful, brave and stylish, this evening The Maiden hurries home and is resolutely rushing on the snowy street, when she stumbles on one of the inhabitants of the Kingdom of Snow. He stretches out his hand to this young beauty on this New Year’s Eve and opens the door to the incredible world of JOEL. The show is under the direction of Fernand Rainville and a team at 45 Degrees events. Fernand Rainville, you may remember, was also responsible for the artistic direction of the opening ceremonies of the Outgames at Montreal’s Olympic Stadium in 2006 (“Circle”), he was co-director for the opening ceremony of the Montreal 2005 – XI FINA World Championships (“Reflections in Blue”), Director of the Cirque du Soleil pre-game show at the 2007 Miami Superbowl (“One Day, One Game, One Dream”), as well as Director of Creation on both Wintuk and Amaluna. More details as they become available. In the meantime, check out a few concept pictures (< http://www.cirquefascination.com/? p=6595 > - it reminds us of Wintuk) and if you happen to be in Moscow, check out JOEL at the Barvikha Luxury Village Concert Hall from January 2nd through 10, 2016. There are two shows a day – 3:00pm and 7:00pm. { SOURCE: Cirque du Soleil RUS | http://www.cds-show.ru/joel } Cirque Officially Announces TOTEM Japanese Tour {Oct.15.2015} ----------------------------------------------------- Cirque du Soleil on Wednesday introduced its new production TOTEM at the headquarters of Fuji TV. The TOTEM Japan Tour starts in Tokyo on Feb 3, 2016, then moves on to Osaka, Nagoya, Fukuoka and Sendai. (Check out Pictures here: http://www.cirquefascination.com/?p=6606 ) TOTEM, an evolution-themed performance, has been staged in 30 cities in Australia, Canada, New Zealand, the Netherlands, the United Kingdom and the United States since 2010. It shows many aspects of humankind’s journey physically, intellectually and spiritually. The evolution theme also sees Cirque du Soleil adopt new technologies such as projection mapping and movable stages. At Wednesday’s press conference, two acts were demonstrated for the media — a pair of roller skaters and unicycles with bowls. Neelanthi Vadivel, artistic director of TOTEM, said the show would be very colorful and humorous, and that she hopes audiences will enjoy the journey through time and continents. Schedule: TOKYO, Odaiba Big Top Feb 3, 2016 – April 10, 2016 OSAKA, Nakanoshima Big Top July 14, 2016 – TBA NAGOYA, Nagoya Big Top Nov 10, 2016 – TBA FUKUOKA, Fukuoka Big Top February, 2017 – TBA SENDAI, Sendai Big Top April, 2017 – Tickets: Available at Fujitv Direct International Sales or call the information desk at 0570-020-520 to book your tickets. { SOURCE: Japan Today | http://goo.gl/moeiFz } Cirque Ready to Overhaul LOVE and BELIEVE in 2016 {Oct.20.2015} ----------------------------------------------------- At the recent One Drop Walk for Water at the Springs Preserve, Cirque du Soleil Senior Vice President Jerry Nadal put a timeline on some highly anticipated upgrades we’ve heard about recently… As earlier reported, “Love” is due for a major renovation in time for the show’s 10th anniversary in June. That effort should be underway in early 2016. “’Love’ will get an $8 million refresh and at the end of February, we’ll soft-open that again after taking it down for a couple of weeks, and then run that for a couple of months,” Nadal said. “Closer to the end of May, or in early June, we’ll do another red-carpet event, big event tied to the anniversary. Giles Martin will again design the music, having access to all of the material the Beatles recorded over the course of their entire career. “There will be technical changes. There will be choreographic changes. The sound is being changed out,” Nadal said. “It will be a big overhaul that will cover the show’s next 10 years.” * * * Criss Angel’s “Believe,” too, is set for a large-scale overhaul possibly by January, provided the budget and resources for those upgrades can be finalized this year. It was expected “Believe” might be refreshened as early as November, around the show’s seventh anniversary on Halloween. But as Nadal said, “We’re looking at changes with Criss, sorting that all out, and I’d say probably January or February, hopefully, we can make some changes on that show with him.” The show will remain titled “Believe” and in its current format at least through the end of this year. “We’d like to make significant changes to it,” Nadal said. “There are three more years right now on that (10-year) contract, and we need a big refresh. Criss has an amazing fan base so you want to give them a reason to keep coming back again and again.” { SOURCE: The Las Vegas Sun | http://goo.gl/PCDC4C } PARAMOUR to Star Ruby Lewis {Oct.23.2015} ----------------------------------------------------- Cirque du Soleil has revealed one of the female leads of its first production created specifically for Broadway and, appropriately, she’s a self-described “thrill-seeker” who lists among her skills skydiving, improv and tae kwon do. Ruby Lewis, a native of Kentucky, will make her Broadway debut this spring in “Paramour” with a 38-member company that will build a show about a love triangle with some eye-popping acrobatics. Lewis said she is currently visiting with friends and family “before my whole life takes off at 50 mph.” She grew up a dancer and has always been intrigued by aerial artists and gymnasts. “Balancing and strength and grace, all combined into one, is so divine to watch so if I can hone in on those skills and fly around, I’ll be a happy lady,” she said. “Whatever skills I have, I’m ready to throw them in the ring. That’s what’s going to be so fun about it: We’re just going to play.” Previews for “Paramour” will begin April 16 at the Lyric Theatre with an opening set for May 25. The show is directed by French stage director and choreographer Philippe Decouflé. “We cast Ruby for her amazing vocal talent and acting and dancing. But the fact that she’s unafraid to get 30 feet up in the air in a harness above the stage is a bonus for us,” said Scott Zeiger, the president and managing director of Cirque du Soleil Theatrical. Lewis, a soprano, recently did her first aerial training at the Cirque’s home base of Montreal. “It felt very natural. I flew. I flipped. I did a couple of little stunts.” She also took a physicality test to prove she had the core strength to do the show. “I passed with flying colors. I’ve heard there are a lot of plans for magical moments.” Lewis was discovered while appearing in “For the Record: Baz,” a post-modern cabaret inspired by the films of director Baz Luhrmann. She has also appeared in the national touring companies of “Grease,” ”Jersey Boys” and “We Will Rock You.” Her TV credits include stints on “Girl Meets World,” ”Masters of Sex,” ”Desperate Housewives,” ”Rules of Engagement” and “Medium.” She graduated from Western Kentucky University and has worked with the improv comedy group the Upright Citizens Brigade. Zeiger was tasked in spring 2014 with transforming one part of the Cirque empire into a theater-ready medium by adding linear story-telling to what is often just an assorted group of acts. “If you’ve seen other Cirque du Soleil shows, they are primarily visual and extraordinary spectacles and while they do have a thin story, it really is a visual and emotional roller-coaster and you take away for it what you wish,” he said. “The creation of ‘Paramour’ gives is us this extraordinary opportunity to tell a story with a beginning, middle and end. We’ll be doing this in a very, very unique way, meaning we will use acrobatics and Cirque du Soleil theatricality for story- telling.” { SOURCE: http://goo.gl/N8YT57 } Criss Angel Cancels Shows; Son Ill {Oct.24.2015} ----------------------------------------------------- “Mindfreak” magician Criss Angel has canceled performances of his Cirque du Soleil show “Believe” at the Luxor as of tonight through Nov. 1 as he flies to Australia to be with his sick 20- month-old son. This is the first public confirmation of a long- known and often-rumored child. Little Johnny Crisstopher Sarantakos was diagnosed with Acute Lymphoblastic Leukemia when he returned with his mother to their homeland in Australia. “For many years, Criss has championed and raised money for various children’s charities here in Las Vegas, but he never thought it would hit this close to home,” said one of his Cirque colleagues this morning. “This is a very personal family crisis.” Criss has never missed a show in more than 3,000 performances of his Luxor shows. He would have marked seven years on the Strip this Halloween. Performances resume Wednesday, Nov. 4. The illusionist is said to have secretly married Johnny’s mother more than a year ago, but they broke up this summer. Criss made headlines in recent weeks being linked with former “Fantasy” topless dancer Chloe Crawford when she divorced her husband, magician Murray Sawchuck, who appears at Planet Hollywood’s Sin City Theater. Chloe recently won raves for her own magic performances in “Britain’s Got Talent,” and it’s rumored that she’ll join Criss’s “The Supernaturalists” touring show this winter. Our best wishes and prayers go to Criss on his last-minute travels. { SOURCE: Las Vegas Sun } NBC to Present THE MAKING OF THE WIZ LIVE, 11/25 {Oct.27.2015} ----------------------------------------------------- NBC will present THE MAKING OF THE WIZ LIVE on Wednesday, November 25 on NBC (8-9 p.m. ET). From NBC News’ Peacock Productions, this hour-long special will give viewers an exclusive behind-the-scenes look at the incredible teamwork it takes to create this holiday’s highly anticipated television event, THE WIZ LIVE! (Thursday, Dec. 3, 8 p.m.). From casting to costume design, “The Making of The Wiz Live!” is an all-access pass to The Land of Oz. { SOURCE: Broadway World | http://goo.gl/WePK7b } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Q&A w/Kooza’s Gordon White {Oct.21.2015} ----------------------------------------------------- Gordon White is a local Vancouver actor who plays the Featured Clown (‘The King’) in the touring production of Cirque du Soleil’s KOOZA. Vancity Buzz had the opportunity to sit down with White recently to ask him a few questions about his experience with Cirque and what it’s like to be back in his hometown. Q. What’s it like to be back in Vancouver? Oh, it’s always great. I’m born and raised here. It always feels like home. Q. Tell us a bit about KOOZA. The name, first of all, is derived from the Sanskrit word “koza” which means “treasure box” or “gift”. So the whole set design was built with that in mind. The story is about an innocent character and he starts out in a black and white world. Then, a trickster character arrives in a box and actually his entrance is quite spectacular. He rockets out of a giant Jack in the Box. Everything turns to colour. He leads the Innocent through this whole other world which the Trickster invents and totally controls. But, on the way the Innocents runs into all these colourful, extravagant acrobats, characters, and some funny clowns. Q. You play the character of ‘The King’ (featured clown) in KOOZA. What role does he play in the show? He’s the king of the world of KOOZA. The other two clowns are his footmen. So, they’re like the two bad kids. When I’m not looking they’re just totally doing other things but I’m in charge. I’m actually a bigger fool than they are. Q. Your background is in acting. How did you get into clowning? When I was a kid I was heavily influenced by physical comedy on TV. I was really drawn to the old films, Laurel and Hardy and Charlie Chaplin. I went to Studio 58, I had the classical acting training, but over the years I was drawn to comedy. It was just sort of something I leaned toward and then things just sort of branch out. I would always try something new, someone would offer a new job and I’d think, ‘Oh, I can do that.’ As far as clown in the circus goes, Cirque called me out of the blue one day. I had my own one man show I did in Vancouver and it got good reviews and someone referred me to Cirque casting when they were looking for a clown for Saltimbanco. I hadn’t done clowning in a circus before but of course I said, ‘Yah, I can do that.’ They offered me that and that was the start of my work with Cirque. Q. KOOZA is described as “a return to the origin of Cirque du Soleil” by combining the two element of acrobatics and clowning. How does the show marry these two elements? It’s barebones circus and in your face. The acts are in your face…This show getting back to the basics is the interaction between the acts, the characters, the clowns. It’s that total interaction with the audience. You’re not doing a show for them to just sit back and watch, the audience gets involved with the clowns. We get volunteers up, we call them ‘victims’. But even the acts do a lot with the audience, so it really crosses that line. It’s grassroots. Q. As you had the unique opportunity to be involved in the creation of KOOZA, what did the creative process look like? It was incredibly fun. David [Shiner writer, director and creator of KOOZA] wanted that theatricality and he knew that it was important to have the house troupe and the clowns, the acrobats, everyone needed to work together. There was about three days a week that we had a ‘jeau’ which is French for ‘game.’ Everybody would meet in the one big studio and all we did was play games. Everybody was an equal. The camaraderie just went through the roof from day one. Everybody knew each other, everybody trusted each other, everybody had a good time. The whole creation was total fun. Q. As this is your return to KOOZA after being with Varekai for six years, does it feel different a second time around? Just material wise. Since I left, the show has evolved, as all things do. Some acts come and go, they rotate out. Elements are different, although the basic structure is the same but it’s slightly different. It took some adjusting but now it’s just back to having fun again. While I’m doing the show, that’s my main thing, I’m in the moment. Q. What makes KOOZA unique from other Cirque du Soleil shows? I think the ‘in the face’ and ‘on the edge’ elements set it apart and that we really involve the audience. A lot of Cirque productions are poetic and smooth. The music of KOOZA as well is on the edge. It’s a unique blend. It’s not one style of music, it’s mixing Western pop and standard Indian music. There’s six musicians and two singers and the singers are amazing. The band leader plays six or seven instruments. Some of it has this Indian feel but it’s not Indian music. That’s getting back to the ‘koza’ Sanskrit which is a Euro-Indian sort of theme. { SOURCE: VanCity Buzz | http://goo.gl/77e6iY } Q&A w/Yannis Spierkel – KURIOS Company Manager {Oct.22.2015} ----------------------------------------------------- With the KURIOS’ sprawling blue and yellow striped big top at the OC Fairgrounds in Costa Mesa, the Amplify team got a glimpse into the crazy, steampunk-ified performance and caught up with Company Manager Yannick Spierkel to talk about what’s going on behind the scenes. Q. Can you give us an idea of the magnitude of the tent? The theater here has 2,600 seats. Even permanent venues in many cities don’t have that many seats. So we are very proud to be able to build this. It takes a day to build everything here. So it goes very fast. Yeah, and [once the tent is built] then the stage comes in. With the main company for the entire tour, we are traveling with 65 trucks that carry 2,000 tons of equipment. So we have not only equipment for the show itself, but all the concessions, the sales, and the box office. The back-up side, our shops, our kitchen, all this travels by trucks from point A to point B. We have our own food and beverage and merch counters, and a VIP area also. We are supported by around 160 people from the local staff here in Orange County that comes and helps us. Q. When people come to this show, there’s this archway they’ll walk through, giving them a kind of visual experience. Can you tell me a little more about this? The arch is marking the entrance way for everybody to get to. It’s part of something that we wanted to enhance the experience of the customer. In our case, we’re using this as a metaphor, and we are getting people to our world. When they leave, yes, they are coming out of it. This show is very, very uplifting. Some other shows may be dark for some people, but this one is very, very joyful. People come out with enthusiasm. Q. What are some of the VIP offerings you have? There are two things that can happen. In the VIP, you still have a very good experience. You are well-treated here. It’s Spectrum Catering that is doing the catering for us. Another offering is that I will personally host those people for longer evenings. They arrive before the show, and I bring them behind the scenes, backstage. They watch the show, they get the VIP experience, and then at the end of the night they meet with some artists, and we bring them backstage. That’s a new product that we’ve offered for the past year, which is very popular because it is quite limited. We sell 20 seats per week on that. That’s only on Friday nights. This costs between $400-$500. Q. This show started in Montreal in 2014 and Kurios is the 35th production of Cirque. How did you make this show different? Well, it was very important, at least for the director, Michel Laprise, to create a new momentum. We wanted this show to connect with the audience. The stage is much lower than any previous show. More than one million people have already seen the show in 18 months. While other shows left people to try to understand the story line, this is a little bit more specific. It’s humans on stage in a specific time period. Q. I always noticed that with Cirque shows; There is not necessarily a traditional story arc. Does this have more of a beginning-to-end type narrative? Obviously, we still leave people to their own imagination, but Michel Laprise, wrote more than 30 pages when he wrote the script. When we arrive in the city, our four masts that hold up the big top are antennas to reach out to a parallel world. There’s a scientist and he is trying to connect with that parallel world. The end of 1800s, early 1900s, it was a period of time where a lot of discoveries were made. Electricity was part of all this at that time period. So, that’s why the masts will help the scientist on stage to connect with that parallel world. Q. Cirque du Soleil has been around for a long time – is this a symbolic production for the creator Guy [Laliberté] up in Montreal? It is always exciting when a new show starts. Whether a show in Las Vegas, or a show on the road, it creates an energy at our production studios in Montreal that is incomparable. Thousands of people were there, behind the show, making sure that everything is needed for the day of opening in Montreal. There is always struggle, we always try to reinvent ourselves, and do something new. In this show, we have in one of the act, it’s called the Acro Net, and there’s a net that is stretched on four masts on which six performers are jumping in the air, up and down, but it’s only by their own propulsion that one is going up. So it’s not a trampoline. It’s only a net, and it’s all physics that make it go up and down. That’s totally new. One other thing that Guy strongly supported when we created this show is have more poetic moments. We still have all of the high acrobatic events during our shows, but there are moments that will be more poetic in which we bring people with hand puppetry on stage. These are moments that people are not used to, for Cirque du Soleil, but it mixed very well with this show. Q. How long has this show been on the road for? These shows tour for years, right? Absolutely. We are taking the show somewhere between 10 and 15 years around the world. We are in our 2nd year right now, and we expect to be in North America at least until the end of 2017, and then we will move on to other continents. Q. Will you always be in the big top? No. The show will be only in big top for at least ten years or twelve years. Then the last few years, we’ll see if it goes in arenas. { SOURCE: Amplify | http://goo.gl/egpqFv } A Conversation with Brandon Peredya {Oct.22.2015} ----------------------------------------------------- Brandon Pereyda is one of the world’s most brilliant & unique performers EVER! His ‘Chains’ act is breath taking and pushes the human physicality to its limits. Brandon brings fantasies to life. He flies and defies gravity on his chains. Dreams take flight as he soars through the air, performing daring feats of aerial athleticism choreography and strength. It is truly one of the most dramatic, impressive, moving and brilliant acts anywhere around the world! # # # Zumanity is one of my favorite shows on earth and here's why: it's sexy, it's fun, it's got a great comedian, it's got an emcee thats hysterical, and it's got these unique special acts that will blow your mind. And when I saw the show in May there was one man, and one man only I wanted to talk to, which is Brandon [Pereyda], who has this unique chain act where he dangles and twists himself and contorts, and he's here with us now... Q. How are you? Very good. How are you? Q. I am delicious but not as good as you because, let's face it, you've got one of the most unique brilliant acts on earth and I ask myself every time: how are you not dead? Well that's a good thing or I'd not be here! It's a lot of daily training and, to be honest, the act I do is scary as all hell, but it is truly inside of me, inside my soul, so I literally live it every night. Q. Let's explain. So there are chains and you dangle from them and you contort, and you do it over and over and over again to the point where we're begging you to come down for your own safety. You make it look so beautiful and clever but at the same time it must be incredibly stressful and physically demanding? [It's] extremely physically demanding and emotionally as well. I have a whole process that I go through by the time I come into work [through] until I go up and drop in, so to say, from the high grid. It's extremely mental. Everything has to be perfectly planned out. Some people would say it's superstitious but to me everything in the act is perfectly planned out, and has to be specific, so leading up to it has to be as well. Q. You're incredibly brave on two levels: one, the Act obviously is far more dangerous than anything I can even conceive of doing, but then the whole thing is so beautiful, and you were born to work for Cirque du Soleil really because they scour the world looking for people like you, unique performers who have dedicated their life to a specific craft. Did this choose you or I guess you must have chosen it? I definitely chose it. I actually wanted to be a doctor! I saw an aerial performance when I was about 17 years old; it's the first time I ever saw aerial. I was a gymnast; I grew up doing gymnastics, and decided to do this. So I started training [in aerial]. I always liked the extreme; I don't like anything that's the norm, so I've always - in my whole career - pushed doing different things. How would I do it, you know, as opposed to how somebody else does it? So I think I started doing the chains just because nobody else does it. It's not very common. And then with this apparatus... I created the apparatus... designed it myself... designed the act... and just kept pushing myself in creating new stuff because, for me, I don't like going down that same groove that everybody else does. Q. Let's be honest: you can actually fall off those chains? There is nothing holding you on, is there? I have no safety in the act. My act is named one of the most dangerous acts in the show - if not the most dangerous - because I'm flying over the audience multiple times. I only have my hand grip, as opposed to a lock or some type of a safety [wire] or [being] harnessed in, or anything like that. I'm not and it's literally just my hand strength that's holding me onto the bar, or to those chains itself. Q. The focus you must have during that set is extraordinary. I mean, every hand movement has to be specifically placed and you must be thinking about everything in sort of an autistic 1-2-3-4-5-6-7 order. You must have an incredible memory? It is literally one through one hundred. And each movement has one through one hundred, so my mind is doing so many things just to make sure that my body is going in the right positions, whether it's focusing on where I need to be at a certain time— and also it comes down to lighting and to music; those have effects. On the other side you're dealing with the costume, and then you're dealing with, on top of that, performing and actually making it a performance for the audience to enjoy as opposed to just going up there and doing some impressive tricks. Q. I would love to look like you and when I saw your body up there I thought yes, I'll look like that. I've been to buffets every day this week, just helping myself, in a three or four times a day and nothing has happened. How do I create this? To be honest with you my diet is very strict throughout the week and it's only because I'm practically naked every night on stage. The act definitely does help. Doing this act 10 times a week, as you can see, is very strenuous. In the morning I wake up and I feel like I'm 90 with arthritis. Every part of my body feels like I got hit by a bus, and then slowly throughout the day I wake up and get my body moving and it feels back to life again. Q. Talk me through your day. You wake up and eat what at what time, and how do we get to seven o'clock when you out in the show? Usually I wake up around 11 or 12 and have a protein shake for breakfast. [Then] I usually have a fitness class that I teach; I'll do a little nice quick workout - cardio. Come home and eat a prepped meal that have already made and then I'll go into work with a carbohydrate drink with amino acids. I come in usually right at 4:30, start my hair and makeup at five o'clock, and then at six o'clock I start stretching and warming up. That is when I take my other amino supplement that I have just to help with the breakdown of the muscle tissues that I do in the show. And then I don't eat anything until after the second show. I can't have any food from my in my system from 3:30 in the afternoon until after the show at 11:30 at night just because spinning, [being] upside down, and flying around with an extra two pounds of liquid or food in my stomach isn't gonna help. Q. I've been very lucky to interview the stars of Cirque du Soleil across the strip from KA to "O" to all of the shows, LOVE, here [Zumanity] many, many, times and I'm constantly amazed by the discipline you have. The ninety minute you spend on stage twice a day is nothing compared to what you do off. It's a lifestyle isn't it? This is not a job, this is your life? It truly is a lifestyle because if you go out one night and you decide to have a couple of drinks, you feel it the next day. And you know that it throws off and it pushes back your day. I can't just come in and sit down. I'm sixty feet in the air, flying through the air, so I really have to know what I'm doing at all times to make sure that the next day, and even the next couple of days, are going to be flawless and safe for me in the air. Q. And then when you see that poster with your face and body on it, is there any greater thrill than that? Because, I mean, that's your legacy that will live on forever. It is on the internet [where] anybody can find it. It's an extraordinary achievement. I guess this is the dream? It's crazy because when I was 17 years old I [wanted] to do Cirque du Soleil because [I saw} a Cirque artist performing, and I was like: I'm gonna be in Cirque du Soleil. I joined Zumanity when I was 23; it was like a fast-track road. To have an act in a Cirque du Soleil show is very rare. To have a solo [act] is even [rarer]. To have a solo [act] that is designed specifically by the actual person [is] even [rarer than that]. So to [have] that opportunity in the Cirque world was already a huge blessing. And then now this year to see all these billboard go up, and the posters of me in the ad that you see... it almost doesn't feel real because I look at it and I'm like "why do I see myself?" Q. Who's that guy? Exactly! Who is that? Who is that up there on the side of the wall? Everybody is always like "oh my god Brandon you're everywhere in Vegas!" and it came so fast, so quick, but like I worked so hard to get there and it's nice to see that it's there. It's nice. Q. And there's no getting away from being you. I mean, you've got extraordinary hair and you're so physically imposing. When you walk through the casino most people must know who you are. Does that ever become normal? I have had red hair and a red Mohawk for about 10 years. With long, bright, florescent red hair in a Mohawk with shaved sides, you stand out already. The people here in Las Vegas recognize me specifically if they've seen the show. Just a couple weeks ago I was at the grocery store by my house, which is a good 20 minutes away, and somebody came [over] and said "oh my god, you're that guy in Zumanity!" And I was like "I.. What?" because sometimes I forget! I get used to it now. It's funny because some of the cast members don't like to leave the theater with me if we're going out because if there are people still outside of the theater, they recognize me and then I end up having to do photo ops. Everybody just wants to go and have a cocktail after the show so it slows everybody down. I usually leave by myself and try and put a hat on or something to cover up. Q. If I could be you for one day... I've never seen people look up to a guy with such admiration. It's remarkable! And on a physical level, what you do is so brilliant; I hope you know how spectacular it is. These guys know how to make an amazing act look even more spectacular, and that's what they've done with you. It is so sexy and brilliant and unbelievable; what you do is remarkable. I hope I've said enough nice things it's all meant with truth. Great to talk to you, thank you for your time. And good luck with the two shows tonight! Thank you very much. It was a pleasure meeting you! # # # Listen to this interview here: LINK /// < https://www.youtube.com/watch?v=6S4fKRvQUVk > Transcribed by the Fascination! Newsletter. { SOURCE: Alex Belfield of Celebrity Radio } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- Check out the “Best of Vegas” Insider Access Tours! {Oct.12.2015} ----------------------------------------------------- Really get an inside look on how a Las Vegas show from Cirque du Soleil is executed each night with three exclusive tours available only at BestofVegas.com. A former Cirque du Soleil performer with years of experience performing in big Las Vegas shows will act as your tour guide, sharing all the best tidbits about his (or her) days in the troupe. Each tour will grant you a peek at what goes on behind the curtain. And depending on the day, you may even see performers rehearsing, some stage preparations, and more! Your Cirque Insider Access pass includes premium seating for the performance, front-of-line access to the concessions, and much more! Celebrities always get meet the cast when they see a Las Vegas show, so why shouldn’t everyone else get to experience the behind the scenes action at one of Cirque du Soleil’s Las Vegas shows? Starting at $249 per person, Cirque Insider Access is here! And you can get this special behind-the-scenes access at "O" at Bellagio, LOVE at The Mirage, and KA and MGM Grand! "O" AT BELLAGIO --- Beware, this Cirque Insider Access experience will engulf your senses and take you into a realm you may have never expected… inside “O”. Whether you’re the ultimate Cirque du Soleil fan or a first-timer, this tour is not one to be missed. This package offers you a performers’ perspective as you enter their world, behind the curtain, under the water. This tour is a BestofVegas.com Exclusive, so you won’t find this opportunity anywhere else. Your tour will take you behind the stage, under the stage and through the costume areas, allowing you to take in all the extravagance, the surreal, and the unimaginable pieces that make “O” such a breathtaking creation. Learn about the complexities of maintaining such an elaborate production, the importance of bubbles, yes, bubbles, and even take a moment to relax in the green room among the performers. Some may even be in costume, make up and all! After your tour, you may pinch yourself to remember that you weren’t dreaming; you did in fact face the unique props of “O” just moments ago. You did stand within mere feet of a famed Cirque du Soleil performer. And now the show is in full swing, everything you saw backstage comes to life on the “O” stage in one cohesive masterpiece. Enjoy your exclusive Best of Vegas premium seat, and experience the show differently with the insider knowledge you never knew before. LOVE AT THE MIRAGE --- Beatles fans, Cirque du Soleil fans, and newcomers to both are guaranteed to marvel at the spectacular production that is LOVE, but before being engulfed in an all too groovy and jaw-dropping performance, take an exclusive BestofVegas.com tour behind the scenes of LOVE to see how Cirque du Soleil is paying tribute to one greatest rock bands to date. Guided by a former Cirque du Soleil performer, you’ll be transported back to the 60s as you boogie your way through props and costumes behind the stage, under the stage, and even above the stage… 52 feet above the stage, to be exact. Marvel at all the levers and pulleys, nooks and crannies that push and pull, drag, and drop props – all bringing the show to life. Venture through the gym and green room where you’ll come face to face with some the performers. Some will be in costume and some will even have their make up on. Go on, it’s perfectly okay to stare. Learn about some of LOVE’s most interesting facts like the youngest performer in the show is 9 years old and played a Beatle. Their oldest performer was 76 and played Eleanor Rigby. Your once-in-a-lifetime experience doesn’t end when the tour ends; your Cirque Insider Access package includes a premium ticket to see the show and with the best seats in the house, you’ll have your breath taken away as all your newly found knowledge is put on display right in front of you. KA AT MGM GRAND --- This Cirque Insider Access package is now available for guests who are looking for the ultimate, in-depth experience of Cirque du Soleil and the world famous production "KA". Come witness one of Las Vegas' most popular shows with an exclusive and intimate backstage tour, premium center section seating, front-of-line access to the theater and concessions, exclusive Cirque du Soleil merchandise including the Exclusive Cirque Insider Access Program and much more! There is extremely limited availability for this package. The backstage tour experience takes place the afternoon before the performance. All guests must be in attendance prior to the tour to be included. Because of the nature of the production, artist training and stage preparation, tours may be modified or altered based on the date. The tour experience will include a full, behind-the-scenes tour with a very small group to observe the stages, cranes, show props and other surprises that will make this truly a once-in-a- lifetime experience. INSIDER ACCESS INCLUDES: o) Premium Cat 1 Ticket to "O" for select performances o) Insider Access Entrance Line o) Backstage Tour (approximately 1 hour) o) Exclusive Insider Access Lanyard o) Exclusive Cirque Insider Access Gift o) Exclusive Insider Access Program NOTE: Please be advised that the backstage tours are not wheelchair accessible. The tours require a fair amount of walking and portions may require that guests are able to walk up and down stairs. A Cirque Insider Access Tour Guide will be in front of the Box Office to greet you 30 minutes before the tour starts. You must be 14 or older to attend event and everyone must have a ticket to enter. Guests under the age of 18 must be accompanied by an adult. ALSO NOTE: For "O": Tickets will only be available for pickup between 2:00pm and 2:30pm on the day of the show. The tour begins at 2:30pm. For LOVE: Tickets will only be available for pickup between 4:30pm and 5:00pm on the day of the show. The tour begins at 5:00pm. For KA: Tickets will only be available for pickup between 3:30pm and 4:00pm on the day of the show. The tour begins at 4:00pm. Get more information (and to purchase your tickets) at Best of Vegas' website: < http://www.bestofvegas.com/Shows- Tickets/exclusive-access/ > The Shreveport Times Goes Behind the Scenes at TORUK {Oct.19.2015} ----------------------------------------------------- Run away to a dream world where time stands still, all magic is possible and you’re the star of the show. Tumble through the air and through clouds to land in the arms of 10-foot-tall blue people. Learn how to speak the native language of Na’vi. Then ride on the back of the Toruk Makto over the mountains of your new home, Pandora. Run away to this magical world with Cirque du Soleil as they tell the story of the first flight of the Toruk. Toruk: The First Flight is the newest in the Cirque du Soleil series. The production of acrobats, puppets, kites and music will debut Nov.12-14 at CenturyLink Center in Bossier City before continuing the international tour. Toruk is a prequel to James Cameron’s 2009 film Avatar and takes place in the fictional planet Pandora — home of the Na’vi people. The live production is set thousands of years before the events in Avatar. In Avatar, Jake Sully, a paraplegic Marine from Earth, is dispatched to Pandora disguised as a Na’vi person. He faces many challenges and must make tough decisions when humans threaten the Na’vi’s home. After a series of events, he becomes the sixth person to ever ride the Toruk Makto — the giant flying “dragonbird.” The live show follows the story of the first person to take flight on the ferocious bird-like creature. “You have to see it to believe it,” said Rob Laqui, Cirque du Soleil puppeteer. “All the work going into it is going to be unlike what anyone has experienced. If you’re a fan of Cirque or a fan of Avatar, this really is the show to see.” Toruk is an original story taking place long before the setting of Avatar, so Laqui said seeing Avatar isn’t required for understanding and enjoying the Cirque show. The show’s large cast and crew have been in Shreveport-Bossier City since Aug. 24 preparing for the November kickoff — and it’s been no small feat. Laqui, acrobat Lisanna Ohm and director of creation Neilson Vignola gave The Times a behind-the-scenes tour of Pandora telling the crew’s personal adventures of running away with the circus in the sun — and what it takes to survive in the world of Pandora and Cirque du Soleil. BUILDING A VILLAGE ------------------ One of the toughest challenges of joining the circus is being away from home for so long, Laqui said. “When you’re on the road for 10 to 12 months for years you don’t have the same structure in life as most people do.” It often means missing out on events and special occasions and missing friends and family while away from them. “You really are a nomad,” he said. “You have to be able to adjust to that life to do the work you want to do.” There are about 100 people on the Toruk tour including the 35 performers from the United States, Canada and other countries around the world. . To make it as comfortable and easy as possible for the workers during their months living in Louisiana, CenturyLink transformed into a village of sorts for the Cirque family. Rooms usually reserved for administration, offices and costume changes now are used for a wardrobe workshop and fitness center. Even the hallways normally for public access are covered with backdrops and props being worked on by touring and local crews. By the end of the show’s run, more than 650 locals will have worked in different behind-the-scene positions, such as runners or stagehands or in the wardrobe or carpentry departments. The cast and crew rehearse 10-to-12 hours, six days a week, only having one day off to explore their temporary Shreveport-Bossier City home. In that time, Laqui, Ohm and Vignola have visited Red River Revel, Marilynn’s Place for brunch and have hiked around Caddo Lake and Toledo Bend. During their international tour, they will explore many more places and have new adventures, but living on the road still comes with its hardships. “It’s a dream come true — that’s one side of it. The other side is you work hard. The sacrifices you need to make to do what you need to do is great,” Laqui said. “But what’s worth it is that you get to do this, and that’s the whole point.” LANDING THE DREAM JOB --------------------- Laqui dreamt of running away with Cirque for years before he was cast for his role as puppeteer in Toruk. Sometimes it’s even hard for Laqui to believe he’s part of the Cirque world since it took him more than a decade to be cast for a show. “It’s all been a dream come true,” he said. “I auditioned for Cirque 12 years ago as an actor and had been in their files. This is the project that came a decade or so later that I fit.” The wait was worth it. His background as a puppeteer was noticed and he was chosen as the first puppeteer to work with Cirque full-time. “It’s the first time Cirque has employed a puppet team because of the scale of the puppets and the way they are used,” Laqui said. The puppets are large enough for the puppeteers to fit inside to control movement. Those familiar with Avatar may recognize direhorses, the viperwolves and Toruk. There also will be new creatures introduced in the show. “They’re basically used throughout the entire show,” he said “If we’re doing our job right you won’t even know we’re there.” Puppeteers are unusual in Cirque du Soleil shows, Vignola said, but during the design creation process of Toruk he saw a need. “I put down all the names of the people I needed to handle the show and then I looked at my chart and said, ‘Wow, I’m using puppeteers all throughout the show.’” Vignola said. “I was hiring our acrobats to do the puppets, but I might as well hire real puppeteers. Why hire acrobats to learn to be puppeteers and not hire puppeteers right from the start?” Vignola also cast a kite choreographer for the same reason. The show will feature many birds who will become animated in the air, including the Toruk. “The kite act is so important to us so now I have a kite specialist who is a good mover and a bit of an acrobat too so he can do other stuff in the show,” Vignola said. Toruk is breaking many more Cirque du Soleil molds. Vignola hired a two-person team of professionals known for video directing to use 40 projectors to cast images on the arena, the set and, at times, the audience. The images along with the narrator will assist in storytelling. “It kind of goes to show that you have to really commit to these things and they’ll happen if you direct your career and your life in that direction,” Laqui said. “You never know. I had no idea they were doing this show before I was cast. When they were describing the contract to me it was a perfect fit. I couldn’t have asked for any different experience.” MAKING IT HAPPEN ---------------- For young audience members attending the show and imagining themselves twirling, spinning and flying with the other acrobats in Pandora, Laqui and Ohm said it takes time, dedication and strength to make it happen. In Toruk, Ohm will play the leader of the Tipani clan. Before joining the Cirque du Soleil company two years ago as an acrobat in the show “Light” in Las Vegas Ohm was a gymnast for 20 years. The technical experience helped to prepare her for Cirque, but she said the competitive nature of gymnastics is different from Cirque’s performance focus. Before being cast for Light, she trained in aerial arts and reached out to others who worked with Cirque to learn the ropes. Two years after Light, she finds transitioning from one Cirque show to the next can bring new learning experiences — Cirque shows are usually centered around acrobatics, but Toruk adds a deeper storyline requiring the performers to train in unexpected ways. “With Toruk we’ve done a lot of investigating within ourselves and what our Na’vi character would be, so it’s more theatrical and emotional in addition to the acrobats,” Ohm said. When not performing, Ohm is a freelance graphic designer. She encourages young performers to learn trades outside of the craft in order to have occupational options. “Stay in school but pursue your dreams as well. You can do both, but it’s important to have an education,” she said. It takes confidence, self-motivation and focus to make it in the performance world, Laqui said, and a lot of training. It also takes the strength to push through challenges and not get discouraged. Despite challenges, the performers and director said it’s all worth it to be able to share their talents and the show with people all over the world. Plus, the job does come with its many perks — such as wearing the blue Na’vi costumes complete with Mohawk yarn hair, pointy ears and long tails. “We have fun playing with our tails. It’s an interesting addition to our costumes — we trip over each other’s and our own,” Ohm said. “They get caught around the ropes and vines, but it’s been fun learning how to move with them and make them a part of ourselves.” CREATING A DREAM WORLD ---------------------- What’s made the Canadian production series Cirque du Soleil a hit since its official debut in 1984 is its unique spin on the traditional circus. Cirque began in big top circus style and continues to have similar-styled traveling shows. It’s also a longstanding entertainment staple in Las Vegas. But Cirque is different in that it’s centered more on the creative design and theatrics of the performers than many traditional circuses. “It’s theatrical. People are going to come in and be immersed into the world of Pandora,” Ohm said. “They’re really going to feel like they’re in a whole universe that’s different than earth — different plants, different wildlife and Na’vi who aren’t humans.” The show will be on the floor of the CenturyLink Center with the audience seating surrounding the setting. “What’s also great about this arena is there really isn’t a bad seat,” Laqui said. “It’s a great sense of intimacy for the audience to really interact with the space.” The initial rehearsals were for five weeks in Montreal, the home base for Cirque, but the company didn’t have the space needed to rehearse the entire show for the amount of time needed. They chose CenturyLink Center in Bossier City to layout the plans for the first run because of its technical and space offerings. “It’s a nice place to be. The possibility to be at CenturyLink Center is a huge plus,” Vignola said. “We have the chance to be in a place where we can install everything. It has all the space we need.” The creative team in Montreal trained the touring team before they hit the road to Bossier City with 26 semi-trucks full of the sets and enough supplies to stock a village. They will return to Montreal after a five-city test run for an official premiere Dec. 21. Toruk is the seventh show Vignola has worked with in his 15 years with Cirque du Soleil. The new show posed new challenges for him since he and the other designers had to find a perfect balance of telling the story of Toruk in a way representative of both James Cameron and Cirque du Soleil’s vision and style. “It’s a huge challenge. The expectation about Cirque is huge and (expectations of) Avatar are huge, so everyone’s waiting to see what we end up with,” he said. “Our goal is to make sure everyone who comes to see the show will be pleased whether they’re coming to see a Cirque show or an Avatar show.” An added challenge was making something new and exciting for the audiences. Vignola worked with the set designer and stage director to come up with the original design. Two years ago they presented the design to both parties. “The first time it took us an hour and a half to present our idea and at the end (James Cameron) just looked at us and said, ‘You know, it’s over my expectations. I didn’t know you would go that far with your storyline.’” Vignola said. “He loved it. And since then we improved the story and it’s even better than what he saw.” The Toruk team continues to work with Cameron and his production company, Lightstorm. After design approval, Vignola and other directors moved forward to hire a wardrobe team, music composer, prop masters and others key roles for the crew. Next, he led the casting process for the acrobats, musicians, puppeteers, dancers and singers who would perform on stage. Working with a group so diverse in talents, experience and backgrounds has been beneficial to Vignola — who can use the multi-faceted performers for various roles — and for Laqui who is taking this time to learn new skills. “Just to work with the caliber of people with this company and this show has been absolutely mind blowing,” Laqui said. “You have a group of people who are so passionate about their work and want to do the work to share this with so many people. It’s awe-inspiring and it drives me to be better — a better performer, better puppeteer.” To get to this point, Vignola said it takes determination, diligence and courage to live the Cirque life. “I started Cirque by touring. My family and I went on tour for two years and I had to sell my house and car and I wasn’t scared,” Vignola said. “I’m probably here today because I was ready to do it. I took chances because it was the right thing to do at the time. Just take chances sometimes and go for it.” { SOURCE: The Shreveport Times | http://goo.gl/sRhftm } Cirque Unveiled TORUK Today in Bossier City, LA {Oct.28.2015} ----------------------------------------------------- CIRQUE DU SOLEIL UNVEILS TORUK – The First Flight WRITTEN AND DIRECTED BY MICHEL LEMIEUX AND VICTOR PILON INSPIRED BY JAMES CAMERON’S AVATAR Cirque du Soleil unveiled today in Bossier City its new touring show inspired by James Cameron’s record-breaking movie AVATAR, TORUK – The First Flight. The show will be presented in arenas around the world starting in Bossier City as of November 12, 2015. Presented by Visa Signature in the United States, the show will premiere in Montreal on December 21. MEDIA DAY PERISCOPE VIDEOS -------------------------- To bridge the gap between traditional and social media, Cirque du Soleil broadcast its media day outing via Periscope. The following links to the videos in that broadcast: o) Part 1: https://www.periscope.tv/Cirque/1LyxBPyaAmEGN o) Part 2: https://www.periscope.tv/Cirque/1mrGmpYwVvnKy o) Part 3: https://www.periscope.tv/Cirque/1DXGywaRlgPxM o) Part 4: https://www.periscope.tv/Cirque/1OyJAwyDYNNKb o) Part 5: https://www.periscope.tv/Cirque/1MnGnBNpzNdGO o) Part 6: https://www.periscope.tv/Cirque/1djGXBOlAlzxZ THE SHOW -------- TORUK – The First Flight is a live immersive multimedia spectacle that brings to the stage the breathtaking world of James Cameron’s AVATAR like you have never seen it before. Through a riveting fusion of cutting-edge visuals, puppetry and stagecraft buoyed by a soaring cinematic score, Cirque du Soleil applies its unique signature style to James Cameron’s imaginary world and “makes the bond” between two kindred artistic visions that capture the imagination. This live immersive experience also bears the distinct signature of directors and multimedia innovators Michel Lemieux and Victor Pilon. It is a living ode to the Na’vi’s symbiotic coexistence with nature and their belief in the basic interconnectedness of all living things. Narrated by a “Na’vi Storyteller” and populated by unforgettable characters, TORUK – The First Flight is a mythical tale set thousands of years before the events depicted in the film AVATAR, and before any humans ever set foot on Pandora. When a natural catastrophe threatens to destroy the sacred Tree of Souls, Ralu and Entu, two Omaticaya boys on the brink of adulthood, fearlessly decide to take matters into their own hands. Upon learning that Toruk can help them save the Tree of Souls, they set out, together with their newfound friend Tsyal, on a quest high up in the Floating Mountains to find the mighty red and orange predator that rules the Pandoran sky. Prophecy is fulfilled when a pure soul rises among the clans to ride Toruk for the first time and save the Na’vi from a terrible fate. CREATIVE TEAM ------------- TORUK – The First Flight comprises 13 creators under the artistic guidance of Guy Laliberté (Guide) and Jean-François Bouchard (Creative Guide) for Cirque du Soleil, and James Cameron, Jon Landau, Kathy Franklin and Richie Baneham for Lightstorm Entertainment: Michel Lemieux Show Writer and Director Victor Pilon Show Writer and Director Neilson Vignola Director of Creation Carl Fillion Set and Props Designer Kym Barrett Costume and Makeup Designer Tuan Le and Tan Loc Choreographers Bob & Bill Composers & Musial Directors Jacques Boucher Sound Designer Alain Lortie Lighting Designer Patrick Martel Puppet Designer Germain Guillemot Acrobatic Performance Designer Pierre Masse Rigging and Acrobatic Equipment Designer TICKET INFORMATION ------------------ TORUK – The First Flight will have a soft opening on November 12 in Bossier City, Louisiana. The world premiere will be held on December 21 in Montreal, Canada. For the full list of cities and to purchase tickets visit https://www.cirquedusoleil.com/toruk. Follow TORUK on Facebook: https://www.facebook.com/ torukthefirstflight. Find TORUK on Twitter with #TORUK. SPONSORS AND PARTNERS --------------------- TORUK – The First Flight is presented by Visa Signature. Xerox, DHL, and ACTIVEON Action Camera are the official sponsors. The show is being created through a licensing arrangement with 20th Century Fox. In an effort to bring audience members involvement to a whole new level, Cirque du Soleil will be launching an app for TORUK – The First Flight. Working with technology partner SAP, the app will enhance the overall show experience and enable audience members to be a part of the action! James Cameron has partnered with celebrity charity-fundraising digital platform Prizeo.com to raise awareness and funds for One Drop. Those who contribute will be entered to win the ultimate Avatar fan experience: a VIP trip to the World Premiere of TORUK – The First Flight and lunch with the Academy Award-winning director. Fans can participate by visiting: http://www.prizeo.com/jamescameron. { SOURCE: Cirque du Soleil Press Room | https://goo.gl/Ozl2yM } ======================================================================= 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: Paris, FR -- Nov 5, 2015 to Jan 3, 2016 London, UK -- Jan 16, 2016 to Feb 14, 2016 Amsterdam, NL -- Mar 17, 2016 to May 1, 2016 Frankfurt, DE -- May 11, 2016 to Jun 12, 2016 Knokke-Heist, BE -- Jul 14, 2016 to TBA Corteo: Quito, EC -- Nov 19, 2015 to Dec 13, 2015 ** FINAL SHOW: December 13, 2015 ** Koozå: Vancouver, BC -- Oct 29, 2015 to Dec 27, 2015 Kurios: 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 Boston, MA -- May 26, 2016 to TBA Washington, DC -- Jul 21, 2016 to TBA Cirque 2016 Montreal, QC -- Apr 22, 2016 to Jul 10, 2016 Totem: Singapore, SG -- Oct 28, 2015 to Dec 13, 2015 Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016 Osaka, JP –- Jul 14, 2016 to TBA Nagoya, JP –- Nov 10, 2016 to TBA Fukuoka, JP –- Feb 2017 to TBA Sendai, JP -– Apr 2017 to TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Quidam: Seoul, SK -- Sep 10, 2015 to Nov 8, 2015 Canberra, AU -- Dec 10, 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 Aucland, NZ -- Feb 5, 2016 to Feb 14, 2016 Christchurch, NZ -- Feb 17, 2016 to Feb 26, 2016 ** FINAL SHOW: February 26, 2016 ** Varekai: 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 Antwerp, BE -- Mar 2, 2016 to Mar 6, 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 Moscow, RU -- Apr 14, 2016 to Apr 24, 2016 St Petersburg, RU -- Apr 27, 2016 to May 8, 2016 Kazan, RU -- May 11, 2016 to May 15, 2016 Chelyabinsk, RU -- May 18, 2016 to May 22, 2016 Togliatti, RU -- May 25, 2016 to May 29, 2016 Sochi, RU -- Jun 2, 2016 to Jun 5, 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: Bossier City, LA -- 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 Allentown, PA -- Dec 4, 2015 to Dec 6, 2015 Worcester, MA -- Dec 11, 2015 to Dec 13, 2015 Montreal, QC -- Dec 21, 2015 to Jan 3, 2016 Toronto, ON -- Jan 7, 2016 to Jan 10, 2016 Auburn Hills, MI -- Jan 22, 2016 to Jan 24, 2016 Houston, TX -- Feb 11, 2016 to Feb 14, 2016 North Little Rock, AR -- Feb 17, 2016 to Feb 21, 2016 North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016 Sunrise, FL -- Mar 3, 2016 to Mar 6, 2016 Miami, FL -- Mar 10, 2016 to Mar 13, 2016 Tampa, FL -- Mar 17, 2016 to Mar 20, 2016 Tulsa, OK -- Mar 24, 2016 to Mar 27, 2016 Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016 Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016 Louisville, KY -- Apr 28, 2016 to May 1, 2016 Cincinnati, OH -- May 4, 2016 to May 8, 2016 Columbus, OH -- May 11, 2016 to May 15, 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 Duluth, GA -- Jun 15, 2016 to Jun 19, 2016 Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016 Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016 Denver, CO -- Jul 21, 2016 to Jul 24, 2016 Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016 Chicago, IL -- Aug 3, 2016 to Aug 7, 2016 OVO: Rumored to begin touring in Arenas... June 28, 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 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 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 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 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 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 November 9 – 17 o December 14 – 22 Added Performances in 2015: o December 29 ZARKANA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2015 Dark Dates: 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 December 15 Added performances in 2015: 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 o) DidYaKnow? -- Facts About Cirque o) Networking -- Posts on Facebook, G+, & YouTube --------------------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------------------- KURIOS About... Episode 2: The Big Top {Oct.07.2015} ----------------------------------------------------- 3 tents, 8 masts, 1200 stakes, 2000 tons of equipment, 65 trailers… It takes, 1 week of marking, followed by 6 days of set-up for KURIOS to be ready to perform. Get a sneak peak at the logistics of setting up our iconic Blue and Yellow Big Top in every city we visit. VIDEO [2:32] /// < https://youtu.be/B2mvWykpBFY > Transcript: Yannick Spierkel, Company Manager: “Every city, when we arrive, we need five days to set up. We have 2,000 tons of equipment to install. Not only the permanent crew is building the site but we are supported by 150 technicians that are hired locally to help us.” Guy Rossignol, Head of Tent: “Physically here we have three tents held by 1,200 stakes. The week before we arrive we have marking teams come marking everything. Then the first day we build the artistic tent. After that we'll put the big top masts in place. Next morning we're ready to raise the masts and bring the canvas out. […] After all those years we're still pushing all those poles by hand. It's really impressive when you have all those guys aligned and you yell for the 2-3 push... it's really amazing. Takes about five to ten minutes and everything is up!” { SOURCE: YouTube } KURIOS About... Episode 3: The Creators Minds {Oct.21.2015} ----------------------------------------------------- In this new episode, discover the various steps behind the conceptualization of KURIOS by Cirque du Soleil and how the creative team brought their ideas to life. It takes about 2 years of work and creation before we present a new Big Top show to the audience, Michel Laprise, writer and director of KURIOS tells us how it was for him and the 17 designers who worked on this show. VIDEO [4:25] /// < https://youtu.be/__lh-P9_mas > Transcript: Michel Laprise, Kurios Director: To me it was a big dream to do a big top show at Cirque du Soleil, so I decided I wanted to celebrate the big top and I spent a lot of time around the Chapiteau looking at it. And it appeared to me... it's like an antenna of steel that captates the energy of the invisible and that energy goes into the stage and it manifests into the bodies of the characters, the set elements and stuff. So I decided to dream about the story of Kurios, thinking of, ok there's this scientific man who has invented a machine. This is why you have, what we call, the portal. He's using the electricity energy to go through the portal to another dimension where all the dreams that are waiting until someone dreams them on planet Earth. Mysterious energy for this machine would be electricity. So I started to research electricity and I found out that it was invented in the nineteenth century. I was in love with that era because a lot of things were invented to bring people together, to connect them. It's similar to our era with the Internet and mobile phone. The designer at Cirque said why don't we go with steampunk, but as usual at Cirque du Soleil we invent our own stuff, so our steampunk is like no other steampunk in the world. This is the Cirque du Soleil thing: we don't do documentaries - it has to be wild, it has to be more free. Costuming is a huge part of our show. Most of them are like old couture and handmade; you don't see many machines. You can feel that. It's like every day at Cirque du Soleil is Fashion Week. And the same thing with make-up. It takes two hours to apply the make-up. It’s a transformation that's almost like a meditation. Each of the parts of these props comes with its own history. Usually we have a prop, we have a mould, and we have to make sure that for fifteen years we can reproduce exactly the prop, in the way it is. IN this case we wanted to have something authentic, so this is built with existing things that are recycled. Kurios has more props than any Cirque du Soleil touring show in the whole history. So this is something I've never seen - the "Plan B's" - what happens if someone is sick. So now he's working with Gabriel, our juggler, on a back-up act. We don't sit down and say "oh, we have a good show". We love our show and we want to keep it alive. Gabriel I knew would fit in the show very well and the show benefits from his talent very much. He is beyond juggling. I've auditioned jugglers for years and I never saw someone who can act like that; he's a real, real artist. This show is very joyful. I'm like the audience members: I'm excited! We wanted to do a show that was very optimistic and would uplift the audience. I see the attachment that the audience has for Cirque du Soleil and I say that with a bit of emotion because we're so privileged to work here. To create in this environment, to continue this relationship with the audience... there's something magical in that. { SOURCE: YouTube } Halloween Makeup Ideas from Amaluna {Oct.27.2015} ----------------------------------------------------- Searching for Halloween easy makeup ideas? Get inspired by Amaluna’s characters: Goddess, Amazon, Clown and Reptilian Humanoid! Why you’ll love these styles: They’re versatile enough to pair up with any costume, plus they’re suitable for women, men and children! So dare to transform yourself into a princess, a sorcerer, a warrior or even a doll! Makeup artist Eleni Uranis, who designed Amaluna’s looks, shows you how to achieve these makeovers at home with MAC cosmetics. Happy Halloween! * * * Moon Goddess: Mystical and Luminous EYES: Apply BLACKTRACK FLUIDLINE gel liner around eyes and blend along the eyelid with BLUE CALM eyeshadow. Apply MOON’S REFLECTION eyeshadow next and blend up to the brows. Apply WHITE FROST eyeshadow on the inner corner of your eyes. Apply false lashes 7 LASH. EYEBROWS: Shape eyebrows with Chromagraphic Pencil HI DEF CYAN and blend to contour the side of the nose. Apply BLUE CALM eyeshadow over. LIPS: Apply CHATTERBOX lipstick then line with Chromagraphic Pencil HI DEF CYAN. DETAILS: Draw swirls on forehead with white eye khol FASCINATING and then with blue Chromagraphic Pencil HI DEF CYAN. Set with INVISIBLE powder to prevent smudging. Expert Tip: For extra sparkle, apply Swarovsky crystals using DUO Glue. Your MAC essentials checklist: o) BLACKTRACK FLUIDLINE gel liner o) BLUE CALM, MOON’S REFLECTION, WHITE FROST eyeshadows o) False lashes 7 LASH o) Chromagraphic Pencil HI DEF CYAN o) CHATTERBOX lipstick o) FASCINATING eye khol o) INVISIBLE set powder * * * Amazon: Strong and Fearless Lines EYES: Draw a thick line along lash line with BLACKTRACK FLUIDLINE gel liner. Repeat under the eye, and before the gel dries out blend with SMUT. Apply NYLON eyeshadow to highlight the inner corners of the eye. On the outer corner of the eye draw several fine lines with BLACKTRACK FLUIDLINE. Apply false lashes 44 LASH. EYEBROWS: Draw a sharp line at the top of the eyebrows and fill in half way with COFFE eye pencil. Apply SMUT eyeshadow, blend and extend the line down the side of the nose with a fine brush for a soft line. LIPS: Draw and fill in the top lip with CURRANT lip pencil and the bottom lip with RUSSIAN RED lipstick. Expert Tip: For longer lipstick wear, press some INVISIBLE set powder on the lips and then brush it off. Your MAC essentials checklist o) BLACKTRACK FLUIDLINE gel liner o) SMUT, NYLON eyeshadow o) False lashes 44 LASH o) COFFE eye pencil o) URRANT lip pencil o) RUSSIAN RED lipstick o) INVISIBLE set powder * * * Cali: Whimsical and Playful COLOR SHAPES ON HEAD: Draw shapes on head and face – you can even draw on your body – starting with BASIC RED paint stick and a brush. Then apply LANDSCAPE GREEN paint stick and finish with PRIMARY YELLOW using a latex sponge. With a lip brush, fill in top lip with red. For the bottom lip, fill in with green and a touch of yellow. Set with INVISIBLE powder using a powder puff. EYES: Apply BLACKTRACK FLUIDLINE gel liner around the eyes using a small brush and blend out with MYSTERY eyeshadow to create a smoky effect. EYEBROWS: Draw the shape of the brows and fill in with COSTA RICHE eye kohl. Apply MYSTERY eyeshadow over. Expert Tip: For perfectly blended cream products, use a latex sponge and dab the product moving in and out from one color to the other. If you want: Complete your half-lizard half-man look with vibrant colored contact lenses! Your MAC essentials checklist o) BASIC RED, LANDSCAPE GREEN, PRIMARY YELLOW paint sticks o) BLACKTRACK FLUIDLINE gel liner o) MYSTERY eyeshadow o) COSTA RICHE eye kohl o) INVISIBLE set powder * * * Miranda’s Nurse: Quirky, Funny and Eccentric Clown EYES: Build up rounded shape over eyelid crease with REDD lip pencil and fill in. Apply WELL-BEHAVED eyeshadow over. Under the eye, draw a line with BLACKTRACK FLUIDLINE gel liner to make eye appear larger. The upper and lower lines should almost meet in a continous shape. Add the VIBRANT GRAPE eyeshadow in the outer corner and blend for more contrast. Highlight inner corner of the eye with PHLOOF eyeshadow. Apply false eyelashes. EYEBROWS: With a small pointy brush, outline and fill in eyebrows with BLACKTRACK FLUIDLINE gel liner, creating extended feathery lines. LIPS: Line your lips with REDD lip pencil and fill in. Dab WELL- BEHAVED eyeshadow to set. DETAILS: Dots – use a cotton swab dipped in BLACKTRACK FLUIDLINE gel liner and press on the face. Expert Tip: Use a brush dipped in water with any eyeshadow to get an instant eyeliner! Your MAC essentials checklist o) REDD lip pencil o) WELL-BEHAVED, VIBRANT GRAPE, PHLOOF eyeshadows o) BLACKTRACK FLUIDLINE gel liner See these fantastic make-up routines here: LINK /// < http://www.cirquefascination.com/?p=6678 > { SOURCE: CirqueClub } --------------------------------------- DIDYAKNOW?: Facts About Cirque --------------------------------------- o) Did you know: The creation of the Gold Frame in BELIEVE involved the talents of 30 sculptors, mold makers, and painters over a period of three months. o) Did you know: The giant aerial frame in "O" was created by Cirque du Soleil specialists to facilitate choreography and gymnastics in an aerial space between the sky and the water. o) Did you know: Most of the shoes you see in Cirque's shows are actually hand-made at Cirque HQ. They make between 3,000 and 5,000 pairs of shoes per year! --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ AMALUNA ]--- {Oct.07} Out and about in London... FOTO /// < https://goo.gl/Qg1ycW > {Oct.11} A little jamming session before the show? FOTO /// < hhttps://goo.gl/S8KkLZ > {Oct.24} Goodbye Brussels and see you next year in Knokke! VIDEO /// < https://goo.gl/36bS0M > ---[ CIRQUE DU SOLEIL ]--- {Oct.07} Game On! Cirque Shoots, Cirque Scores - since 1984 FOTO /// < https://goo.gl/LVrTJr > {Oct.13} Our Quidam artists double-up for a thrilling trick from two different perspectives. VIDEO /// < https://goo.gl/vaXnEe > {Oct.15} Artists from The Beatles LOVE and Michael Jackson ONE came together for The Dance Awards to inspire a group of young, talented dancers. VIDEO /// < https://goo.gl/28TXfF > {Oct.16} Extreme makeover! See how our baton-twirlers get gorgeous. VIDEO /// < https://goo.gl/VbcCIt > {Oct.17} Bright Minds: fashion designer Denis Gagnon shares his tips with Cirque Du Soleil employees on the creative process, finding inspiration and following your dreams. VIDEO /// < https://goo.gl/qLno2f > {Oct.21} We’re shining a spotlight on Klara from KURIOS. See what it takes to get into the role in the video below. VIDEO /// < https://goo.gl/1Rn1hh > {Oct.24} our TORUK Na’vi strike a pose and show us what they’ve got! FOTO /// < https://goo.gl/Zp28Jx > {Oct.28} Kylie from @circus.artist.cirque is taking over our Instagram account for TORUK Media Day in Bossier City. Follow along: http://cirk.me/1Hb3xPt VIDEO /// < https://goo.gl/ScHxp2 > {Oct.29} This high-flying shot is from our early years! FOTO /// < https://goo.gl/5WLs36 > {Oct.30} TGIF! We’re celebrating the night before Halloween with a Flashback Friday Michael Jackson ONE Thriller video from this year's Dance Awards. VIDEO /// < https://goo.gl/8106fc > ---[ CORTEO ]--- {Oct.01} The Balloons of valentyna are almost ready for the show! LINK /// < https://goo.gl/c1cmYU > {Oct.05} Enjoying the last weekend in the city of Mexico. LINK /// < https://goo.gl/Xg1l3y > {Oct.09} Last 3 days before we go... If you haven't seen corteo in Mexico, this is your last chance! LINK /// < https://goo.gl/e3ks1l > {Oct.11} Thank you very much for your warmth! Really enjoyed our visit in Mexico, we're going to miss you. We're heading to the final destination of corteo in Quito, Ecuador! LINK /// < https://goo.gl/Z9ha09 > {Oct.18} Behind the scenes of Corteo. LINK /// < https://goo.gl/VUifdB > {Oct.24} How many artists can turn on the monkey bars at the same time? More than you think. LINK /// < https://goo.gl/bgiE1X > {Oct.28} Artists waiting their turn to shine on the stage. LINK /// < https://goo.gl/EXCmhc > ---[ KA ]--- {Oct.16} Behind the Blockbuster: 5,000 speakers. 3,000 lighting instruments. One phenomenal production. VIDEO /// < https://goo.gl/ri3eCt > {Oct.22} Game day gear is packed and ready to go! Stay tuned! ou'll get a "kick" out of our UCLA Football versus Cal Bears halftime performance! FOTO /// < https://goo.gl/Ws6vh0 > {Oct.22} It's field goal fury from KÀ at the UCLA Football vs. Cal Bears game! VIDEO /// < https://goo.gl/ANXioj > ---[ KOOZA ]--- {Oct.09} Thank you ATX! We had an amazing time here! FOTO /// < https://goo.gl/OIBME9 > {Oct.29} Putting the final touches on our costumes! FOTO /// < https://goo.gl/23VYzg > {Oct.29} Body painting tonight at our Premiere in Vancouver! FOTO /// < https://goo.gl/gcqg0s > {Oct.31} From all of us at KOOZA... Have a Spooktacular Halloween! FOTO /// < https://goo.gl/bXeCLR > ---[ KURIOS ]--- {Oct.15} Thank YOU Costa Mesa for the warm welcome! You guys sure warmed our hearts! FOTO /// < https://goo.gl/hq5WlZ > {Oct.30} Yesterday our characters were visiting Orange County! See the pictures published in tomorrow's OC Register! LINK /// < http://goo.gl/cLsjVy > ---[ "O" ]--- {Oct.14} Plunge into the abyss of your fears with wings outstretched. VIDEO /// < https://goo.gl/DwZzaU > ---[ QUIDAM ]--- {Oct.01} Quidam is everyone's BFF. He's the best listener and never talks back! FOTO /// < https://goo.gl/562JFW > {Oct.14} Today the Seoul Street Team took Jeongdong by surprise at lunch time. It was so much fun meeting people and perform in front of the Spring Seoul Sculpture, around and in Cheonggyecheon and at Seoul City Hall Plaza. FOTO /// < https://goo.gl/cpyHvf > {Oct.17} Check us out taking over Seoul at lunch time! VIDEO /// < https://goo.gl/os1wD4 > {Oct.25} Fall has officially arrived at Backstage Quidam! FOTO /// < https://goo.gl/XlO6Fg > {Oct.27} How many acrobats can you fit on one Backstage Cirque photo? FOTO /// < https://goo.gl/4MvNcD > {Oct.31} This Halloween, Quidam got groovy in true Studio 54 fashion! FOTO /// < https://goo.gl/4ufmnd > ---[ TORUK ]--- Many of the posts this month were introductions to clans, items, characters, and other items from the World of Pandora that TORUK aims to express. We've covered these in the past in a post titled "Exploring the World of Pandora", which you can find and read here: < http://www.cirquefascination.com/?p=6100 > and one on the show's characters, here: < http://www.cirquefascination.com/?p=6555 >. {Oct.01} Na'vi bow training. Getting ready to take the stage in just 6 weeks. LINK /// < https://goo.gl/4Kwo4U > {Oct.03} TORUK artists taking a break in between trainings LINK /// < https://goo.gl/Z3XPhs > {Oct.05} See the otherworldly yet familiar fauna of Pandora leap to life. LINK /// < https://goo.gl/hTyc2e > {Oct.06} By focusing on every detail, we make ordinary extraordinary. LINK /// < https://goo.gl/TIQSdC > {Oct.07} Where will we land next? PANDORA. LINK /// < https://goo.gl/oXiu4e > {Oct.08} TORUK?-ification. LINK /// < https://goo.gl/b880V7 > {Oct.14} Zip it! Nothing like teamwork. LINK /// < https://goo.gl/z0lIC9 > {Oct.16} We must use time wisely, they say. LINK /// < https://goo.gl/8u0obq > {Oct.20} Backstage at the CenturyLink Center, an endless collection of roadcases and racks. LINK /// < https://goo.gl/1Cydsl > {Oct.21} Jump into action! LINK /// < https://goo.gl/GbdMMg > {Oct.21} Take our quiz for your chance to win a TORUK? souvenir program! ? LINK /// < https://goo.gl/dngKJQ > {Oct.22} Austrapedes may look friendly but personalities can change in the blink of an eye! LINK /// < https://goo.gl/54t8r2 > {Oct.27} We could get used to all this pampering... LINK /// < https://goo.gl/gGND7v > {Oct.28} Spend a day in the world of TORUK - The First Flight for a $5 donation to One Drop. Enter Now: LINK /// < http://cirk.me/1MjcUOm > {Oct.29} Share with us your tips for great Halloween makeovers! LINK /// < https://goo.gl/vXBvJQ > {Oct.29} We have a brand new visual! LINK /// < https://goo.gl/8WAul1 > {Oct.30} Trick or Viperwolf. Happy Halloween from TORUK! LINK /// < https://goo.gl/ui2YCD > {Oct.31} Taking a break from being Na'vi to channel our inner cat! Happy Halloween to all! LINK /// < https://goo.gl/Q1sjTd > ---[ TOTEM ]--- {Oct.04} While we are moving the Big Top to Singapore, some of our performers are getting ready for a special performance in Tokyo next week! Stay tuned for more details... LINK /// < https://goo.gl/g1ztGL > {Oct.12} Rehearsal time! We are now in Tokyo for a few days of media activities for 2016-2017 Japanese tour! LINK /// < https://goo.gl/TkVpfK > {Oct.12} We just did our first live performance on Japanese TV on Mezamashi TV! LINK /// < https://goo.gl/F1rjPO > {Oct.13} Our Japanese frog Umi-san applying his make-up before our Tokyo Press Conference!! TOTEM will be coming to Japan in February 2016!! LINK /// < https://goo.gl/B5DFvM > {Oct.14} And it's a wrap!! We introduced today our Roller Skates and Unicycles acts to Japanese media! Thank you to our special supporters Happiness, Mr. Ogura and Sandwich Man! see you soon Japan, we will start our tour in Tokyo in February 2016!! http://totem-jp.com LINK /// < https://goo.gl/CoQnhz > {Oct.16} Busy day for us in Singapore! As the crew is working hard on getting the Big Top up, our Unicycle girls are rehearsing on set for their appearance on President Star Charity tomorrow night! LINK /// < https://goo.gl/FjFXIS > {Oct.17} Ever wondered what our elite cast members were doing prior to stepping on a Cirque du Soleil stage? Hoop Dancer Eric Hernandez interviewed our artists and has the answer. LINK /// < https://www.youtube.com/watch?v=5zitIAdVJmo > {Oct.18} Our technicians are still working hard getting our site ready in Singapore next to Marina Bay Sands! Rehearsals will start soon in preparation for our October 28 Premiere!! LINK /// < https://goo.gl/VPV7nL > {Oct.20} One week left until our Singapore Premiere! Meet Rings Trio artist Alevtyna Titarenko for a sneak peek of what to expect from this upbeat high-flying performance! LINK /// < https://goo.gl/QiF15q > {Oct.22} Only a few days left until our October 28 Premiere in Singapore! Umi Miya shares the secrets of the jaw-dropping opening act of TOTEM: High Bars (Carapace)! LINK /// < https://goo.gl/AkFaYN > {Oct.28} It's been 10 years since the last time our Big Top visited Singapore and it still feels like yesterday. A huge thank YOU! LINK /// < https://goo.gl/il9BQq > ---[ VAREKAI ]--- {Oct.11} Today, Varekai received a very special gift.... Our own Buddy bear! Thank you Mercedes-Benz Arena for a fantastic start of the European tour. Now ready for our next stop: Leipzig. LINK /// < https://goo.gl/WodzDX > {Oct.21} Opening night Selfie! Icarus and the Promise are wishing everyone a good show! LINK /// < https://goo.gl/XXGPhA > {Oct.28} Last minute preparations before this character makes her appearance on stage. LINK /// < https://goo.gl/KXl4Qs > {Oct.30} Check out these stunning photos of our Premiere night in Mannheim. If you could describe Varekai in one word, what would it be? LINK /// < http://goo.gl/AVm7Aw > {Oct.31} Happy Halloween from Varekai! LINK /// < https://goo.gl/TcDaVe > {Oct.31} On Friday night, our lead male vocal known as The Patriarch performed its 5000th show with Varekai. Through time, he accumulated many memories including this one: he was invited to sing at the Festival de Cirque de Demain in Monaco by the silk performer on Quidam. It was the first time a singer was invited to sing live during this event. What a moment it was! Join us to congratulate him and we wish him many more shows. Cheers! LINK /// < https://goo.gl/i4QVQG > ======================================================================= FASCINATION! FEATURES ======================================================================= o) INTERVIEW /// "The Third Time: An Exclusive Interview with Christopher “Kit” Chatham, Kurios drummer" (Part 3 of 3) By: Keith Johnson - Seattle, Washington (USA) o) LOOK BACK: Guy Laliberte's Poetic Social Mission PART 3 of 8: "Getting My Hands Dirty" By: Ricky Russo - Atlanta, Georgia (USA) o) SPECIAL: "The Astonishing Second Act of Cirque du Soleil" By: Sarah Barmak, Canadian Business Magazine ------------------------------------------------------------ INTERVIEW /// "The Third Time: An Exclusive Interview with Christopher “Kit” Chatham, Kurios drummer" (Part 3 of 3) By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------------ This month, we conclude our exclusive interview with Kurios drummer Kit Chatham. But before we get back into it, we asked Kit to help fill in a few details we overlooked originally that would have been mentioned in Parts One and Two. First, we wanted to know how Kit got his job with Blast! (See Part One). Looking for a job wasn’t the first thing on his mind when he was close to graduating from college. “Right before finishing up my Bachelor’s degree at the University of Georgia, my roommate, who was also a percussionist, told me that the show Blast! was hiring to do a big national tour. As soon as I heard that I decided to send in my Graduate school audition video to Blast!” “At the time I was deciding between going to the University of Miami or the University of North Texas to get my Masters in Percussion Performance. When I got the gig I told both schools that I was going to do Blast!, as I figured school would always be there. My roommate also passed the audition and made it into the show.” “When we got deep into rehearsals for Blast! they told me they wanted me to be one of the featured performers for the show. So I started to work and develop a Snare Drum solo I would perform alone on stage nightly in front of thousands of people.” Viva Elvis (See Part Two) was Kit’s resident show creation process. Was the creation schedule or process much different from the Grand Chapiteau shows he had been part of? “The creation processes for Corteo and Kurios were both very similar and the timeframes from my arrival in Montréal to the premiere were almost identical. For both I arrived in Montréal in January and the premieres were in late April. So the creation and integration was quite a bit shorter than that of Viva Elvis. [In addition] we started at the IHQ in the rehearsal facilities and in early March we moved to the Grand Chapiteau at the Old Port. Of course there were slight differences as you would expect working with different directors, composers and personnel.” “The creation process for Viva Elvis was quite different given that it was to be a resident show in Las Vegas. For the band, we spent only 5 weeks in Montréal (including a weekend trip to Memphis and Graceland) and then went to Vegas to finish the process. We spent 4 months doing creation in the theatre at Aria before Previews and then we had a few more weeks of changes before the premiere in February of 2010. This process was quite long, but there were many more technical issues since we were working with a complex stage and scenery that was a big part of the show.” “The best part of the creation process was all the jamming with the band. Viva Elvis was definitely a special band and we had so much fun jamming on the musical arrangements of (composer/arranger) Erich Létourneau (also known as Erich Van Tourneau).” Being a music-centric show, the musicians worked quite closely with the Musical Director. The variety of instruments Kit was to play allowed him a degree of, as he called it, “"controlled freedom.” Throughout the process I would suggest parts, Erich would listen and we’d build from there. Erich had a great percussive sense and at times knew exactly what he wanted. It’s great working with someone who has a strong percussive sense, and even more so with composers who are completely open to and encouraging of suggestions.” And now Part Three of our profile. After being stolen away from Kooza by Kurios director Michel Laprise, Kit discusses what he brought to the show. BRINGING IT ----------- Every artist or musician brings something unique to a show or project. Their experience, emotions, technique, outlook. Kit plays the drums for the show, obviously. But where might we hear his touch in the music of the show? “There are a lot of little bitty things that I had the freedom to do. I had more freedom with the raw feel stuff [for Kurios] because Raphaël [Beau, composer] isn't a drummer. [But] one of the Bob & Bill composing team, Marc (Lessard), is a drummer. Working with a drummer can sometimes be a weird dynamic, but it was super cool. He was like, okay, go to town. And I was like, really? All right – cool!” “Even though I'm only on drum set, we have some songs that are old- school 40’s and 50’s sounding Gene Krupa-type stuff, and we have more rocking stuff. The book is very varied and that's partly from me.” “And what was great about Corteo and even a little bit [with Kurios] was that I got to come up with a lot of my parts. The composer comes up with the main theme and melody and everything, but rhythmically they usually don't have an idea and they're really open. So I will try different things. With Corteo especially, that whole percussion “world” was like my ideal setup. (See images of his various drum setups, including the one for Corteo, at < http://www.kitchatham.com /gear.html >) I had my drums and my world percussion all around me. I wouldn't say it was the hardest or toughest score to play but it was one of the more involved for sure.” “The thing that I try to bring to a show is that I have a lot of experience. Usually a lot of times it's also my versatility in what I can play, like in terms of grooves. My whole thing is about being consistent and trying to make my shows sound the same night after night. But not always be exactly the same; I might play different fills, I might play different nuances here and there but still make it feel like I do every show.” “I've been really fortunate to work with Daniele (Finzi Pasca-Corteo Director) and Michel (Laprise, Kurios director), both super great human directors who work with you one-on-one. It's not where you feel like there's a distance between you, they'll come and talk to you and they're very personable. They're not distant or hard to approach at all.” Part of the first act set piece, “Juggling Chaos,” involves Kit and show percussionist Christa Mercey (.com) playing and banging on tables and suitcases. “The original concept for the table thing was a duo that did drumming on various objects; I don't remember the name of the group. In November we [were] exploring and talking about the show and Cirque wanted something like that. I said, “Do we want to do stuff that's already been done? I don't feel we should copy, I think we should come up with something new.” So even the little bit that we do on the table we’re not trying to be stoic, I wanted it to be aggressive.” “When we got to doing explorations I was on YouTube quite a bit. And we already knew that [our characters] were travelers because we had luggage. So I brought up an old Fred Astaire bit. (I grew up with Fred Astaire and Bing Crosby and “White Christmas,” my mom was a big fan.) I remembered a YouTube clip of Astaire playing drums but it's all with his feet, kicking and stuff. (From the film “A Damsel in Distress” from 1937, the scene can be found at < https://www.youtube.com/watch? v=yTH9VwACh7o >.) And I thought that would be really cool to do with the luggage. It didn’t really work because it wasn't loud enough. But that got us into the whole concept of playing on the suitcases.” “[Playing on] the table happened because they knew I did a lot of tricks from Blast!. So they said, “Okay, why not do your bit on the table.” So the very first thing we do on the table I do some of my more Blast! things. I'll do the tongue trick or something like that. I'm getting too old to do a lot of that stuff, though. I need to be able to play through the rest of the show; I can't get injured on the first act.” (Laughs) While Kit is onstage during the first scene, drums are keeping tempo in the background. But isn’t Kit the drummer? “It's a track. That's the only song where we actually have a drum track that plays. It's our one number that's more like a Broadway-style number, which is choreographed to a “T.”. It's a minimal drum track, which is great because it creates more space, so when I play on the table it allows you to hear what we're doing.” Kit is also the “Assistant Bandleader” – what does that entail? “I basically call the show when [Marc Sohier, bass player and Bandleader] is out. That's pretty much the main role, if the bandleader’s out I can take over calling the show without a hitch. And I'm in a rotation to make sure, every week I'll call a show or two.” “I'm actually drumming as I call the show. And I have pre-recorded samples of me calling, because in a lot of cases I'm playing, and if you opened up the microphone you’d just get a world of noise. So that we don’t have everyone hearing drums every time I turn on my callback I have a lot of that stuff prerecorded so I can just trigger it, and it goes, “three-four.” I can trigger it anywhere during the program. It's a pretty technical program, and when I trigger “three-four” it will go to the next section. Other bandleaders will verbally count “three-four” and then trigger the next section.” THIRD TIMES THE CHARM --------------------- For Kit’s first Cirque creation, Corteo, the CD production was outsourced so didn’t include the creation musicians (except the aforementioned Mr. Bisson). It also took 18 months to be released. Though the lag time was reduced to 10 months for the Viva Elvis CD, the music for the CD again did not include him. Not using creation musicians and re-arranging the music so it sounds different than the show had gone on for awhile though, all the way back to the “EDM- influenced” CD of Varekai. “I remember buying the Varekai CD; I haven’t listened to it in years. You watch the show and it has a very nice groove to it, yet the CD is all electronic. It was one of those things where it wasn't the show and it was disappointing. Even to me as a musician, it was like, “Aww man, I really wanted that song and it's not on here.” Or it is but it's like a remixed version of it.” Since Alain Vinet has been Cirque’s Musical Director the CDs have begun sounding like the show, with most of the music from the show and creation musicians playing the music. “I can't remember if it was with Zed, or what show it started with. That's great, you know. If I go to a show, I want to hear the closest thing to the shows music. I mean a studio-quality album version.” For its part the Kurios CD was recorded, “…the day after the Cirque 30th anniversary party, Tue & Wed June 17 and 18, 2014 - just those two days. It felt a little rushed but we got it done.” With the music being well received by all at Cirque and a high demand for the CD, recording was quickly completed with the CD hitting Chapiteau shelves just 7 months after Kurios’ gala. “They did some things where there were some re-arrangements; not like a medley, but taking two songs and kind of combining them. I don't know the name of the songs on the CD; they are still the show song names for me. I look at the CD and I'm like, “What's that?” When we were doing the little drumming videos for the website I was like, “Which is this? Oh yeah, Fearsome Flight - Rola Bola.” (He has quite the selection of videos at < https://www.youtube.com/user/ KitChathamPercussion >.) CHALLENGES ---------- Having had experience with many Cirque scores, which was the most challenging to play? “There was one song in Corteo where I was playing drum kit and then I would have to play darbuka and tabla (middle- eastern drums) and go back to drum kit. It was the Roue Cyr act [“Anneaux” on the CD], that was probably one of the most difficult things to play.” (That act was also the first, and last, time he felt tempted to learn a circus art. As he explained in a recent interview with 303 Magazine (available here < http://goo.gl/uznis0 >), “When I first joined Cirque over 10 years ago with the creation of Corteo, I was amazed at the act Roue Cyr. It’s basically just a human sized ring that you can manipulate and spin while doing acrobatic moves on. I started working on it with one of the artists for a while and after an unfortunate incident involving my fingers and the big circular pole rolling over them I decided to retire from my roue cyr career.”) “[Kurios] is great because I get to go back to my roots playing drum set. And I get to work on it practicing and developing. There are a few songs [that are favorites], “Rola Bola” (“Fearsome Flight” on the CD) for instance, that's one of my favorite songs to play. It's very simple but it's a nice hard rocking song, so for me energy-wise it's a lot of fun. “Banquine” (“Wat U No Wen” on the CD) is also a lot of fun because it's all over the place. All the drum heavy songs in this show I like to play.” There are some rather unique occupational hazards to being a professional musician, especially one that holds a drumstick in their hand for a living. But Kit says he doesn’t really suffer from a common malady of those that use their hands for repetitive tasks, such as typing or drumming, carpal tunnel syndrome. (Symptoms include numbness, tingling or weakness in the hand.) “No I don't, and it has a lot to do with the way I play. I’ve been very fortunate. When I played marching band music I was very poor about it; they really want you to be tight. I'm a drum nerd geek and I'm always trying to find the best way [to play]. I never try and hold the stick with tension in my body. If there's tension in your body there will be tension in the way you play. It's like driving your car with the emergency brake on. So I try to not have any tension in my playing; still being controlled, but without tension.” But he can’t say the same about tinnitus, the persistent ringing in the ears most often caused by prolonged exposure to loud sounds, such as those of – drums! “I do a little bit, but a lot of that stems from marching band. When you're in a snare line with 10 snare drummers, which is a really high-pitched drum, and you're cranking shots, which are the loudest stroke on the drum, it's crazy. There were times when we were marching and the guy next to me would do a loud shot and it would trigger my ear to ring. I can remember walking off the field and throwing down my drum and freaking out. So I think most of my damage was done there.” “I'm really smart about it now; I get my ears checked every year. Last time I was in Montréal I got my ears checked and the tester said that for a drummer I have super good hearing. He said I have the ears of a 10-year-old. I don't know where to go with that, is that a good thing or a bad thing? Don't tell my wife, she thinks I'm deaf.” (Laughs) As we were winding down our time together we got to some of our “life & philosophy” questions. What gives him his greatest satisfaction? “It depends. Of course there's my life, my wife and my two little rats, my dogs. And I've been very blessed to do this.” But that has to be complicated by his wife, home, and two “rats” being in Las Vegas, and him traveling the world with the show, doesn’t it? “It's tough; it sucks most of the time. We make it work; she understands that my passion and one of my big loves is to play, and she's very understanding. She comes from a musical background - her mom and dad are both musicians - so it's somewhat easier that way. But we make it work; we try to only go a certain amount of time without seeing each other, usually no more than four or five weeks. I think our longest has been 10 weeks.” WHERE PREPARATION MEETS OPPORTUNITY ----------------------------------- Kit could be considered to be lucky to have had the opportunities with Cirque that he has had. But the opportunities have come because he has been prepared. He’s applied himself to his craft, the result being technical excellence. “I have, yeah. But you know, I work hard, and I always try to put myself in a position where I can do this, but I've been very, very fortunate.” “And I learned from an early age to be humble. I'm definitely not the best at it but I still strive to be the best. Whatever I can do to help me elevate to that level or above I still do. I always try to better myself not only in music but everything.” “I’m 38 years old and I'm still in my apartment here in Redmond practicing. [For example] today I was watching House Of Cards season three (which I finished today). And while I was watching I was practicing, working on my feet. Being a percussionist my hands are usually fine, but I work on my weak things. I'm always practicing things because I want to be versatile. I don't want to be considered a jack of all trades and master of none. I don't like that; I want to be a jack of all trades and I want to master them all. That's one thing I always try to bring to the table, the versatility of what I play. And having that versatility helps the musical score, like in Corteo especially.” And what suggestions does he have for a young person who may be interested in pursuing a career in music? “Nowadays I'd walk away from social media, get away from the computer. I think social media is great, but there's a point at which you see a lot of kids are into so many things that they're not putting in the practice.” “When I was in high school we moved out of Atlanta and there wasn't that much to do, so when I came home I practiced. I would put on my Rush CDs and I would practice to Neil Peart. I would put on rock 'n roll or Led Zeppelin, and I would sit there and I would practice. There were no video games, no distractions - just practice.” “So the biggest thing I tell even people my age is to step back, and if you really want to elevate to that level you have to put in the time. And if there are distractions you need to figure out a way. [For example,] I don't own a videogame system anymore. Because when I was in college I didn't practice at all, I would just play video games. Now I don't.” “My advice is practice, you have to put in the time, it's not going to come to you naturally. And just keep working. Don't think that you're already at that level, keep trying to grow. And be humble. Especially in work; when you're working with other people you’ve gotta be workable and you’ve gotta be humble, or you're not going to get jobs. You could be the greatest drummer in the world, but if you're not a very friendly or nice person you're not going to get hired.” # # # Kit can be found at: Website (very complete): www.kitchatham.com Facebook: https://www.facebook.com/kitchatham You Tube: https://www.youtube.com/user/KitChathamPercussion Sorry folks, No Twitter. My sincere thanks go to: Mr. Chatham for so graciously spending time with us, Amélie Robitaille, Kurios Publicist, Chantal Côte, Corporate PR Manager, and my patient wife LouAnna, who sat in on this interview and puts up with my sometimes obsessive hobby. ------------------------------------------------------------ LOOK BACK: Guy Laliberte's Poetic Social Mission PART 3 of 8: "Getting My Hands Dirty" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ Six years ago, on September 30, 2009, a civilian became a spaceflight participant aboard Soyuz TMA-16, a manned flight from the Baikonur Cosmodrome in Kazakhstan to and from the International Space Station (ISS). Joining two members of the Expedition 21 crew - Russian cosmonaut Maksim Surayev (Commander, from the Russian Federal Space Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer) – was Guy Laliberté, who paid approximately $35 million USD for his seat through the American firm Space Adventures, becoming the first Canadian space tourist in the process. Besides fulfilling a life-long dream, Laliberté’s spaceflight was dedicated to raising awareness on water issues facing humankind on planet Earth, making his spaceflight the first – in his words – “poetic social mission” in space. And much of this experience was captured on film and recently spun into a feature-length documentary entitled TOUCH THE SKY. While the documentary is a compelling visual look into the experience, the adventure was also captured by Laliberté himself in the form of an online journal. At the time these events were originally taking place, we here at Fascination were more concerned with the happenings here on Earth – with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL – so we didn’t give much thought to this endeavor. However, thanks to the recently discovered documentary (the aforementioned TOUCH THE SKY), we recently re-discovered a text-copy of this journal in our archives, which allows us to explore this extraordinary time in Cirque du Soleil’s history in more detail. Thus in this series we’ll be taking a look back at Guy’s Poetic Social Mission through his eyes, from the journal, in monthly installments, taking you through the initial steps Guy undertook all the way through to the launch and landing. In Part 1, "The Countdown Begins" we listened as Guy took us through his first steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and passed a few essential tests. Now we continue as he gets down into the nuts and bolts of his training, covering the month of July 2009. * * * POST 20 | DAY 101 - July 07, 2009 STILL SURVIVING! Last week, June 29 to July 3, my training mostly revolved around the Life Support System (sanitary aspects, oxygen, decompression, the space suit, etc.). All week, the weather outside was pretty depressing—cold and rainy. Now I’m getting ready for the big exam next week. I’m studying a lot and not getting much sleep (just 3–4 hours per night). . . so a little sunshine would do me a world of good! I’ve also had some excellent work sessions with the Poetic Social Mission’s creative team; the project is making good progress and becoming more and more finely honed. Time is passing quickly, and the project requires a lot of time and effort—but everyone is enthusiastic and that gives me a great boost. I’m happy. I spent the weekend in Moscow, where I met with the Cirque du Soleil partner in Russia. It rained harder than ever; in fact, in terms of weather, those were the worst days I’d experienced since arriving in Russia. So I took the opportunity to watch some movies, work out, go to the spa and just relax. On Saturday (July 4), I had dinner with some old friends, who wanted to drag me out to a nightclub afterwards. But by midnight I was exhausted and I returned to the peace and quiet of my hotel room! On Sunday, I found out that one of my favourite restaurants, Nobu, had opened a branch in Moscow—so I couldn’t resist the chance to go gorge myself on sushi! I arrived back in Star City very early Monday morning, ready to take on another week of intense study! * * * POST 21 | DAY 102 - July 08, 2009 WE PASSED! Barbara and I had a big exam on the life system support. The test took place right in front of the teachers. We expected really tough questions, but it seems that all the nights we spent studying paid off because it went very well. We got out of there feeling very proud of ourselves, with a few more stars in our notebooks (before seeing the real stars up close)! * * * POST 22 | DAY 103 - July 09, 2009 IN CASE OF EMERGENCY... Today, we studied the emergency recovery/rescue system, which explains the various systems and safety measures to be taken in the event of any malfunctions (from 30 minutes before launch until our return to earth). For example, the parachute system, the various parts that are detaching themselves after launch and the leak systems. This class made me realize two things: That there are potentially hazardous situations at many stages of this adventure. I already knew this, but seeing them in more detail increased my awareness of the risk. On the other hand, their systems have already saved many lives. It’s very reassuring to know that they have analyzed all the steps to be prepared for anything that comes up. So, yes, it’s very useful to be aware of the potential hazards and it’s also comforting to know what to do in such situations! The Russians have been launching rockets for all these years with the same down-to-the-second accuracy. * * * POST 23 | DAY 105 - July 11, 2009 Finally I Can Get My Hands Dirty! Last week was very busy and I didn’t have a chance to sleep more than the week before. We learned a lot of new things, including an introduction to the Russian part of the International Space Station, with explanations of its internal components and systems. Of course, I have continued my Russian classes, which is definitely the hardest part of my training! It’s not going as fast as I’d like, so I’m really concentrating on the basics, which will allow me to be as independent as possible. Sometimes I wish it could work like in the “Matrix” movies, so that I could learn Russian in 30 seconds just by plugging a connection into my skull! A large part of our training concerned our spacesuits aboard the mockup. I like the simulations a lot, because they really give the impression that you’re experiencing the real situation, assimilating theory and putting it into practice. Since I’m action-oriented, I find that this concretizes my learning and makes me realize that things are going to happen... very fast! As I put on the spacesuit, I’m becoming increasingly comfortable inside it: This isn’t a Halloween costume, but something I’ll be wearing every day in space! It was cold and rainy all week. The sun toyed with us and timidly poked its nose out just to give us hope. Apparently the weather is similar in the rest of Europe and in Montreal, which reassures me a little. I tell myself that at least I’m not the only one who’s freezing! Too bad: We haven’t seen anything yet in our courses to counter this kind of problem! Maybe that’s why we’re going through all these hours of training: It keeps us from getting depressed! Like they say here: We’re experiencing the Russian summer/winter! My evenings are still devoted to study and meetings with my gang in Montreal. Let’s say that all these subjects give our brains a real workout! I’d really like to see whether my brain has expanded or developed new synapses since my medical tests in May... ;-) We have also made a lot of progress on the creative aspects of the project. And we’ve had some good news... which we’ll announce to you at the appropriate time! LOL ;-) * * * POST 24 | DAY 108 - July 14, 2009 A Very Special Space Show! On Friday, July 10, I flew out to Paris with my team to watch a U2 concert. I was excited all week at the thought of this little getaway and meeting up with my good friends Garou, Gilles Ste-Croix and many others! I had many meetings with my team, but Saturday night was dedicated to the U2 concert at the Stade de France along with no fewer than 95,000 people! I really loved the show—despite the enormous stadium, you could really feel that rock band atmosphere U2 is so good at creating. And I got a big surprise during the show, when Bono announced that I was in the crowd, saying that he had a friend who was training for a space mission and that he would be the first clown/fire-eater to launch into space! And he said this during the part of the show where, in addition to the music, you see a video projection of astronauts on the International Space Station who are in contact with them. I found it really heart-warming, because it’s good to have your friends’ support, even for your wildest ideas. After the show, there was a small party where I saw friends I had not seen for ages. It was a welcome (and much deserved!) break where I could relax and enjoy myself. All in all, it was a wonderful evening. Once again, however, poor weather followed me to Paris and the sun only made an appearance 15 minutes before we left, so really... And to think there are places in the world that wish for just the opposite and beg for rain for their crops. It would be really great if we could even out Mother Nature’s gifts so that every region on the planet had its fair share of water and sun... * * * POST 25 | DAY 111 - July 17, 2009 Training in Slow Motion... In the end, after a little rain on Monday morning, the sun poked its nose out and stayed with us for the whole week. It was great to see Star City from a different perspective: people fishing and swimming in the little lake, sun umbrellas and strollers... finally, some life! Everyone came out of hiding: the sun was like a big piece of cheese and we were the little mice! My week of training seemed strange compared with the intense two weeks we had just had. It’s as though everything was in slow motion... Maybe I felt like that because the focus was more on understanding the flight stages than on mastering particular tasks. Our training concerned flight plans, including launching, docking, undocking, etc. We had a big exam on Tuesday where we had to show our understanding of the layout and design of the Soyuz, and we passed with flying colours (more stars)! We also learned more about the Russian cabin in the International Space Station (ISS). For example: where the electrical sockets are; the emergency controls; how to switch on the lights; how to read emergency information on the computer; the communication system (which is not the “10/4, Roger” system used on the airwaves!). * * * POST 26 | DAY 112 - July 18, 2009 MY CHILDREN GET THEIR TURN IN THE CANDY STORE! My week was also marked by an important event: my partner, my three oldest children and my goddaughter came to visit. They arrived in Star City on Wednesday, and these three days with them have really brightened up my week. The children found my small apartment and my little bicycle very funny! They were also fascinated by all the stages of my training and took the opportunity to visit the premises while they were in Star City. We had some nice moments together as a family, including a spaghetti dinner at the cottage where my documentary crew is staying. Yesterday, we arranged with our teacher for a simulation, in which we had to put on our fastened-up spacesuits. The children thought we looked like the Michelin man, which they found very amusing! They even sat in the Soyuz, and they just couldn’t take it all in! * * * POST 27 | DAY 115 - July 21, 2009 ONE SMALL STEP FOR GUY... ONE GIANT STEP FOR THE MISSION Last Friday (July 17), we left for Ibiza in late afternoon. I took advantage of the beautiful location (better than the inside of the Star City gym!) to catch up on my exercise. Once again, I also made the most of this opportunity to take the boat out for a few short trips (water is like a magnet for me) and to enjoy dining with friends. As always, time flew by like a Soyuz! Yesterday, I left for Houston with my documentary crew. My schedule over there will be really heavy, and apart from my training, the trip is important to me because I hope to brief NASA on my project: one small step for Guy, one small step for the project! Stay tuned. . . The weeks are just whizzing by—I’m already halfway through my preparation. This is a good sign, because it means there’s not enough time to get bored! * * * POST 28 | DAY 116 - July 22, 2009 IN HOUSTON FOR THE 40TH ANNIVERSARY OF THE MOON LANDING We arrived in Houston late in the evening on Sunday and Monday, I had to wake up early. With my back-to-back schedule, I would have to get up at 5:00 the next morning to get some workout time in! My timing couldn’t be better, though. What with the 40th anniversary of the moon landing, Julie Payette’s mission and Saltimbanco playing at the Toyota Center from July 22 to 26, this week, Houston is the place to be! * * * POST 29 | DAY 118 - July 24, 2009 RANGE OF TRAININGS AT THE INTERNATIONAL SPACE STATION The last few days have been really interesting; in terms of the range of things we’ve learned: safety training; an introduction to the American part of the International Space Station (ISS); distress, emergency and communication protocols; and so on. It was also really good to see that our schedule on the ISS is organized based on our mission goals (i.e. time for sleeping, eating and other activities). With all this information, I’ll be ready to be a good space-travel companion! We also took a tour of the NASA facilities, including mock-ups, simulators and mission control centres. We had a lot of fun on some of the simulators, even though that wasn’t strictly part of our training! You could say it brightened up my week. . . The weather was stifling all week—over 35°C with thunderstorms and intermittent rain. But, thanks to the air conditioning running at full blast, it was freezing-cold inside the buildings. Well, at least it keeps you awake! Of course, I followed the mission of my friend Julie on the NASA website! I even had the unexpected thrill of getting a phone call from her and Bob Thirsk — I was so excited! * * * POST 30 | DAY 119 - July 25, 2009 CATCHING UP WITH MY ASTRONAUT FRIENDS I left Houston yesterday afternoon with my head stuffed full of information and the feeling that I had spent a week that was both enriching and important to my overall preparation. One thing that made this week so important for me was the series of meetings I had with NASA people about my mission. I’m very happy with the feedback I got and pleased that my goals were well received. I also had the great pleasure of getting together with my crew a few times—at the press conference, meetings at the JSC, and a barbecue hosted by Jeffrey and his wife. As this was our first chance to spend time together, I took the opportunity to ask them what they were expecting of me during our training in August. Jeffrey showed us some pictures he had taken from space, which just made me looking forward to it even more! I also got to catch up with some of my astronaut friends, including Chris Hadfield and Mark Kelly (my friend Scott’s twin brother). Barbara and I took the opportunity to get some insights about travelling into space, training and so on from those who had been through it before. My only regret is that my tight schedule didn’t allow me to see all my friends in Houston, nor to enjoy Saltimbanco :( * * * POST 31 | DAY 121 - July 27, 2009 BACK TO STAR CITY WITH A DOUBLE DOSE OF ENERGY I arrived in Ibiza for a short 36-hour stay with my kids, my love and my friends, including my old buddy Gilles Ste-Croix. Like each time I come here on weekends to recharge my batteries, I enjoyed everything: the good company, my Chef’s good food and the good weather. I returned to Star City with a double dose of energy—and luckily too, since this week’s schedule, like the previous weeks, is jam-packed! I was happy to find out though that we’ll be learning all sorts of new things… which I’ll tell you about next week! * * * POST 32 | DAY 122 - July 28, 2009 DISCOVER MY FOUNDATION WEBSITE Thank you for reading me so faithfully. It touches me to see that you’re curious about my mission in space. And while you’re here, I hope that you also take the time every so often to look at my foundation website to discover all the many ongoing projects—and all those that we’ve accomplished so far. You’re an integral part of the process: one drop at a time… and we create a wave. * * * POST 33 | DAY 123 - July 29, 2009 ALMOST 3 MONTHS IN STAR CITY Since our arrival in Star City close to 3 months ago, we’ve met quite a few people and a true sense of camaraderie has taken over. Given the serious nature of what we’re doing, the entertainer in me is working hard at keeping the atmosphere light, so a good fit of the giggles is always welcome! I have to say that I’ve found a fine partner in Barbara. This week’s anecdote: Barbara and I had our bikes stolen! We were in our ham radio class and had left our bikes outside, unlocked. During a short break, Barbara went outside, and when she came back, she said: “It’s funny but two young boys are looking at our bikes as if they wanted to take them!” We didn’t think much of it but she was right, since that’s exactly what happened. This brings to 3 the number of bikes stolen, since Geneviève, my coordinator, also ended up “bikeless”! However, that very same evening, our friends from Space Adventures in Russia brought us 2 new bikes. And so the training continues! Let’s call it “Adapting the body’s position to a new terrestrial bike!” * * * POST 34 | DAY 124 - July 30, 2009 MY HEAD IS SPINNING In terms of “real” training this week, I did a lot of vestibular training (rotating chair) and, honestly, it doesn’t beat the “Tasses Magiques” ride at the La Ronde amusement park with its rotating cups! Earlier on this week, I failed to break my record by 2 minutes, so they tested a medication on me to help me reach my goal (which is 10 minutes!). I therefore took the little pills one hour before my next vestibular training and showed up all happy and light-hearted! Was it the effect of the pills or the fact that it was Friday afternoon and that I was seeing my love that night? To make a long story short, I found myself acting the clown on the rotating chair! All that was missing was the Styrofoam clown nose? which would, of course, have flown right off after only half a turn! When I asked the doctor what this medication was, he told me it was a tranquillizer. This puzzled me since the effect on me was rather exhilarating! Or could it be simply because I’m usually a tad restless? Hmmmm… * * * POST 35 | DAY 125 - July 31, 2009 BELIEVE IN MY DREAM The weather was gorgeous all week. As I’ve mentioned before, good weather brings lots of life to Star City but I had forgotten to tell you what other quiet charms it offers: babies crying in their strollers, planes flying above our heads all day long, construction work starting with a pickaxe at 6:00 a.m. and ending with a jig-saw at 9:00 p.m., partygoers bellowing their lewd songs throughout the night accompanied by the backup vocals of barking dogs… And then, when all becomes still, we’re kept awake by the lovely buzz of mosquitoes in our ears—the little buggers absolutely insist on keeping us company! Ah, it just makes me feel so much at home! A warm hello to all my friends who read me every week. I’m thinking of you! And to all those who have started following my adventures: welcome to my universe! I hope you also take this occasion to send the link to your friends and family since one of the goals of my blog is to arouse people’s interest in the cause and invite them to follow the event I’m aiming to create around my (OUR) Poetic Social Mission. Many of you have written to us to enquire about products related to the mission (T-shirts, badges, pins, etc.). Your request has been passed on to ONE DROP. Without a doubt, this will be a fine way for the Foundation to continue its fund-raising activities while leaving you with a souvenir of this unforgettable adventure! Thank you for your support and thank you for believing in my slightly crazy but attainable dream: Water for all, all for water. # # # TO BE CONTINUED... Next month we’ll continue with “From Training to Reality” (August 2009), “T-30 Days and Counting! (September 2009, Pt 1), “Departure for Baikonur” (September 2009, Pt 2), “Moving Stars and Earth for Water” (On Orbit), and finishing up with “Back on Earth – Mission Success!” Stay tuned! ------------------------------------------------------------ SPECIAL: "The Astonishing Second Act of Cirque du Soleil" By: Sarah Barmak, Canadian Business Magazine SOURCE: http://goo.gl/NwDTWR ------------------------------------------------------------ Up high in the air inside the Cirque du Soleil headquarters, trained staff step gingerly on taut metal wires. “Each cord can support 2,000 pounds,” says technical whiz David Charbonneau, reassuringly, but numbers are little comfort. Standing up here is enough to make your stomach lurch—nothing but a grid of thin cables, spaced a fist’s width apart, lie between your feet and the polished concrete more than five storeys below. “You have to make sure nothing is in your pockets,” says Charbonneau, Cirque’s chief of technical services for creative spaces. “If just a coin fell, it could really hurt someone.” It is not the acrobats, however, who walk these wires, but the unseen riggers who operate the pulleys and ropes that hoist Cirque performers up into the air, swinging them high above the crowd. The wire lattice “floor” gives them a clear view of every complex move in the show. They practice here, in the hangar-like Studio A/B in the Cirque du Soleil International Headquarters in Montreal, a space big enough to accommodate the entire stage of the company’s trademark blue and yellow Grand Chapiteau. Performers run through each death-defying trick knowing everything will be exactly in the same place on opening night. It’s here, in an out-of-the-way borough a 40-minute drive from downtown Montreal, that one of Canada’s greatest companies makes its magic. Before shows can be unveiled in front of audiences in Tokyo, Las Vegas and the Mayan Riviera, every gasp-inducing trick and routine is scripted and practiced in this sprawling complex, which president and CEO Daniel Lamarre calls Cirque’s “secret weapon.” The company itself has rebounded since a couple of years ago, when some wondered whether Cirque’s days of world domination were numbered. Unchecked expansion and failed experiments, such as its 2009 vaudeville foray Banana Shpeel, resulted in poor reviews, early closures and falling profits. The horrific death of one of its aerialists on stage in June 2013—its first ever—marked a nadir for a company that values its people above all. After 400 layoffs in January 2013 and some soul-searching, a leaner, more sober Cirque has emerged. In July, Guy Laliberté, the company co- founder who remained its majority shareholder, sold a reported 60% stake to U.S. private equity investor TPG Capital and 20% to Shanghai- based Fosun Capital Group. The move gives Cirque not just money, but new toeholds in Silicon Valley and the entertainment market in China, respectively. The last new touring show, 2014’s steampunk-inflected Kurios, has sold more than a million tickets to date, breaking sales records and winning the most enthusiastic reviews in years. All that could be the prelude to its new arena show, scheduled for unveiling this December in Montreal. Toruk: The First Flight, based on James Cameron’s Avatar universe, will literally be huge—the first arena show to use almost the entire surface of a hockey rink rather than just one end. It will feature flying aliens and large-scale digital projections from the roof onto the set below. In this case, Cirque’s cavernous rehearsal spaces in Montreal were too small; Toruk had to rehearse partly on-site in Bossier City, Louisiana, where it will be showing previews. For 31 years, Cirque du Soleil has been that unlikely thing: a Canadian company that takes genuine risks. Missteps or no, it remains a roughly billion-dollar business, selling 15 million tickets in 2014. In an age glutted with digital entertainment, Cirque enjoys an advantage—a live spectacle can’t be pirated. But each trick that bedazzles the crowd only heightens the pressure to keep innovating. “Show after show, the expectation is getting higher and higher,” says the short and barrel-chested Lamarre during a tour of the studio. Cirque also works hard to maintain its je ne sais quoi. Just as a Pixar movie is always recognizable as Pixar, Cirque du Soleil must remain consistent in its otherworldliness, from the challenge of tossing blue aliens through the treetops in Toruk to the comedy and pathos of a clown chasing an elusive spotlight across the stage in the 13-year-old Varekai. “When the theatre door closes, when the tent doors are laced, we have to make sure the audience is transported to another place,” says Diane Quinn, senior vice president of creative and artistic operations. “If we haven’t done that, we haven’t done our job. Even if it’s [a performer’s] 400th show that year, we still have to provide that freshness.” Lamarre says his job is ultimately that: finding yet a new way to make the world say, “Oh my God, they got me again.” * * * The Cirque du Soleil headquarters stand on the site of a former quarry-turned-landfill in Montreal’s Saint-Michel area which, when the building opened in 1997, was among the city’s poorest neighbourhoods. The enormous grey building could be anything—until you notice the sculpture of a leathery, old hobo clown shoe at the entrance, which hearkens back to Cirque’s roots in small-town Quebec street theatre. In the early 1980s, Laliberté, along with Gilles Ste-Croix and others who would become the company’s leaders, was working as a busker in the small artist town of Baie-Saint-Paul. There, the group founded Le Club des Talons Hauts (The High Heels Club), a non-profit that promoted stilt-walking, fire-breathing, juggling and accordions—and dreamed of founding a touring circus. Even then, Laliberté was tenacious in gaining leverage for the group. Cirque du Soleil first gained government funding not through arts subsidies but through job-creation programs. The story goes that when they failed to get funding from the minister of cultural affairs at the time, Laliberté went to the capital and personally convinced Premier René Lévesque to give the group a grant. Cirque first toured outside of Canada in 1987, and kept expanding. Needing a central home and rehearsal space, it built its headquarters in 1997, then doubled its size in 2001 to bring its costume-makers under the same roof. The building is home to its creative studios (“the Studio” to staff)—a creativity factory where costumed clowns and acrobats walk the halls. Its workshops produce the 16,000 hats, wigs, shoes, costumes and props needed for its shows. For several weeks this summer, the Studio’s 1,200 staff became accustomed to seeing performers from the new Avatar-themed show wander the halls wearing long, blue tails. Their coaches made the artists wear the appendages until they felt natural, a precaution to reduce the chance of becoming tangled in mid-air. The Studio is also where the company’s finance magicians and logistics wizards crunch numbers to ensure the Cirque’s 18 concurrent shows around the world go on—on time and on budget. Because the clowns and the suits eat lunch in the same cafeteria, neither forgets the other exists—a dual emphasis that helps the company maintain the delicate balance between unbridled creativity and down-to-earth business sense. The people employed here could staff the United Nations, representing more than 50 countries. Publicist Marie-Noëlle Caron, a 13-year Cirque veteran, met her husband here—not an unusual story, she says. But as fun and feel-good as it can be working at Cirque, it’s not for those uncomfortable with having their job reinvented daily. “You need to stay on your toes,” she says. “Some people love it, some don’t.” The company employs about 4,000 staff, down from a high of 5,000 in 2009. Keeping the company under a single roof helps Cirque control once-ballooning costs as it performs market research for new shows. “People here understand that in order to have the luxury of creating the best shows, we need to do it in a financial environment that makes sense,” says Lamarre.?While the sale this year touched off concerns about Quebec losing the brand—and calls from politicians to keep ownership in the province—Lamarre says the Studio isn’t going anywhere. The area isn’t expensive, and Cirque benefits from Montreal’s unique creative economy. Moreover, the new owners are private equity groups, not Disney. They have no interest in messing with Cirque’s vision. “One thing I said to the new owners of this organization: We don’t touch the creative and the production people,” says Lamarre. “They’re the people who are going to continue to make us successful.” * * * Down the hall from the largest, football field–sized training rooms is the more modest Studio E. While a song by the Black Keys blares on the speakers, acrobats in shorts and T-shirts get in position around a curved contraption called a Russian swing. Serving as the machine’s engine is a six-foot-five, muscular guy with tattoos—the “pusher”—who pulls the long, suspended platform back over his head, gives it a heave, then hops on one end. He works the swing like a see-saw, using his weight to pump it higher. His smaller, lithe partner—the “flyer”— slips a safety harness on over his Pirates of the Caribbean T-shirt and hops onto the free end. Once the swing reaches its height, he leaps off, flipping into a triple somersault and landing hands-first on a mattress. The pair quickly get back into place and do it all over again. It’s just another day at a company that demands near-perfection. Bad reviews of recent years underscored what happens when it attempts too much spectacle too fast. What Cirque does can’t be punched out on a clock; it takes the time that it takes. So the flyer, British gymnast Sam Sturt, must get airborne like this hundreds of times in Studio E before his trick is ready for the stage, where there will be neither mattress nor safety harness. They must get it right nine times out of 10, he says—hands landing exactly in place—before the act can appear in the multi-acrobat flying climax of the touring show Varekai. Even then, a team of artistic directors will critique each performance every single night. Sturt is here to get back in shape after breaking his tibia during practice six months ago. Despite stringent safety measures, injuries are common (the company says they’re less rampant than in most pro sports). The company doesn’t pressure performers to rehab quickly. With a constant stream of fungible performers and a few irreplaceable “names,” its artists can afford to take time to heal. Cirque’s casting department is proactive, keeping files on stars in competitive sports everywhere, from gymnastics to synchronized swimming. When the still- young athletes’ careers begin to wane, Cirque reps approach them through coaches and athletic federations. Sturt, who is just 23 years old, is already on his second career, having competed internationally as a gymnast. Others are destined for Cirque early. “I saw a Cirque show when I was 13 on television and fell in love…full chills on the arms,” says Elizabeth Ann Williams, a 25-year-old acrobat from upstate New York with the flowing hair and perfect face of a Disney princess—and bulging biceps that look as though they could crush steel. A gymnast from age four, she studied ballet and modern dance so she could add grace to her moves in the hopes of one day trying out for Cirque. “We don’t necessarily go for gold medallists in the Olympics,” explains Caron. “It’s not enough to do their tricks perfectly. They need to have an artistic side.” The stiff finishing pose of an Olympic routine would land like a thud in a Cirque show. It would lack emotion. To find athletes with artists’ souls, the casting department asks auditioning acrobats to do something odd: sing a song. If they hit the notes—cool, a singing acrobat. But even if they can’t carry a tune, the fact they gave it a shot shows self-confidence and a willingness to adapt. A refusal is a red flag. More challenging than attracting artists is moving them across borders. Cirque has a 10-person immigration department that processes a jaw-dropping 4,000–5,000 work visas each year. Getting artists to Montreal is the easy part, says head of immigration Tim Morson. With most shows spending only one-eighth of their time in Canada, the hard part is cranking out multiple visas for Cirque artists—who may be Polish, Russian, Chinese or French—as they tour. When the performers do land in Montreal, Cirque puts them up in a dorm-like training residence across the street. The Cirque artists are a little like X-Men, and the Studio is like Professor Xavier’s academy. The training facilities boast extreme toys that allow genetically gifted specimens to safely practice their craft, while welcome teams assist foreign artists by explaining the vagaries of Montreal transit and Canadian ATMs. They have physiotherapists, nutritionists, Pilates instructors and sports psychologists on call. There’s even a program to help aging acrobats transition to less- punishing roles such as clowns or coaches. Their oldest employee is an 83-year-old clown in the Las Vegas show Mystère. Performers learn to apply their own makeup—and they have their heads 3-D scanned. Cirque keeps eerily perfect replicas of its active artists’ craniums so they can be fitted for hats, masks and wigs from afar. A well-fitting costume is a safe costume. In mid-air, a bodysuit that rides up or falls over the eyes could mean disaster. * * * The heads reside in unsettling rows deep in the Workshops, a self- contained factory employing 300 staff. There are no assembly-line methods. In the hat and wig department, an artisan sits at a table, inserting one hair at a time into a mesh cap. The technique takes time, but the care sends a signal to the artists that excellence is valued. These days, the costume department is busy putting final touches on the characters for Toruk and the big, bright room is filled with mannequins stretched with blue, skin-tight Avatar costumes with macramé loincloths. Toruk promises to be a smart addition to the Cirque program. The company has successfully revivified its brand with partnerships in existing properties like Michael Jackson and the Beatles. But rather than trot out a live version of James Cameron’s 2009 blockbuster, Toruk’s narrative takes place 5,000 years before the events in the movie. “Jim is going to launch three new Avatar movies in the next four years,” says Lamarre. “Our show can tour for the next four years and be timeless.” And since Avatar was one of China’s top-grossing films ever, Cirque hopes Toruk will help it crack into the country of 1.35 billion when it tours there in 2017, building the audience for a permanent show by 2018. Inside a little side room of the Workshops is the cramped, glittering Matériauthèque—the costume inspiration zone. Hung in rows is a library of thousands of fabric swatches that glow in the dark, that have polka dots, that are brocade, velvet, see-through. There are shelves of feathers, bristles, tentacles. A 3D printer spits out costume prototypes—one shelf is littered with chain mail. Someone has made a hat out of zip ties. In his third-floor office, above the worker elves who are making sure a squillion things are just so, Daniel Lamarre has just returned from a week touring China. Recent panic about the country’s flagging economy hasn’t fazed him. The country has a moneyed middle class of some 300 million, he says, and it’s a more fertile place for entertainment than it was in 2012, when Cirque prematurely closed its show Zaia in Macau. “What I’m hearing now in China is that live entertainment is going to become in two or three years what the movie business has become [there],” says Lamarre. Cirque has chosen Hangzhou, with its reputation as a cultural hub, as the site of a new theatre and its first permanent Chinese show. “When you visit a ‘second-tier city,’ as they call it, it’s three times the size of Montreal….I would be disappointed if, in five years, I don’t have three more permanent shows in China.” He believes there are about 10 Chinese cities where Cirque could tour, adding an additional year of touring to all his productions. He says all this will help raise operating earnings to $350 million a year by 2019, which would be double what it was in 2014. Fosun, which bought a minority stake, will provide deeper access to Chinese hotels, real estate and lifestyle partners. Cirque will work to incorporate local cultural angles to its shows, an effort that will involve far more than translating dialogue into Chinese. Yet with nearly 20% of Cirque’s artists already hailing from China, Lamarre doesn’t see it as a foreign culture. Whatever new voice the company finds will be deeply inflected with a French-Canadian accent. Quebec businessman Mitch Garber is chair of Cirque’s new board of directors. Another board member is Christian Dubé of the pension-fund manager Caisse de dépôt et placement du Québec, which bought a 10% share of Cirque. Small stakes from TPG’s share were acquired by 21 Cirque executives, including Lamarre—a strategy, he says, designed to make sure everyone’s interests align. A former TV exec, Lamarre joined Cirque in 2000 as its president and chief operating officer before becoming CEO. He represents the business side of Cirque, the left brain that balances its right brain. Laliberté still serves as the creative lobe, retaining not only 10% of the company but also an advisory role. Alongside him is the flamboyant Jean-François Bouchard, Cirque’s rising creative guru. Known at the company for his keen visual intelligence, teenage excitement about new ideas and taste in shoes, Bouchard has attracted a new coterie of young staff over the past three years. Among them is Melissa Thompson, a soft-spoken young woman with silver sneakers and a background in visual arts. She is on a team of five responsible for incubating new shows. It’s an art grad’s dream job: attend exhibits, watch new shows and think up the thematic and emotional core ideas that could undergird the next arena blockbuster. With all the pressure on Cirque to innovate, the creatives in the company work hard, but are cushioned from major bottom-line anxiety. “I get to work in that magical time before budgets,” she says. Older shows, too, are getting updates, adding more hip-hop and quickening their pace to ensure they feel current for the YouTube generation. How will Cirque maintain its high-wire balance between creative freedom and profit under foreign ownership? “The famous line from Guy was, ‘We’re a private company. That gives us the freedom to grow, as we didn’t have pressure to make quarterly earnings.’ I think that’s kind of gone now,” says Robert David, professor of strategic management at McGill, who has followed the company from its early days. “They’ve got hard-nosed investors who are going to want a return.” The company will still enjoy geographic growth, he says, but it won’t be driven by wild product innovation of the sort seen in O, its underwater show—it will be driven by exporting and tweaking existing ideas. Yet Cirque has always used existing ideas, says Benoit Mathieu, vice- president of costumes and creative spaces. Like Apple, it borrows and improves. Cirque didn’t invent the famed Wheel of Death, which shocked audiences in Kooza, he says—but it was hung from wires rather than anchored to the ground, making it look more dangerous. Back down in Studio E, Williams grips a pair of aerial rings above her, presses up and rotates seamlessly into a handstand. Two weeks ago, she had never even touched the rings. Now, she’s spending an hour and a half a day training to replace someone on the touring show Totem, which is currently halfway around the world in Australia. She’ll be there in two weeks, and she’ll be ready. Cirque will make sure of it. It’s also updating her role to spotlight her dance talents. That’s one of the mottos at Cirque: “The show is alive.” New artists are expected to not just fill old roles—but to leave their fingerprints on them. In a third-floor boardroom wallpapered with drawings, a model of a stage sits in the corner, a huge sun-like circle in the centre. It’s Cirque’s new big top show for 2016, its name still under wraps. Whether it will break box office records, no one knows. But like everything else about Cirque du Soleil, it’s going to evolve. ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 15, Number 11 (Issue #142) - November 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. { Nov.06.2015 } =======================================================================