======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 17, NUMBER 2 February 2017 ISSUE #157 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. It's been another busy week here behind the scenes at Fascination, but we wanted to throw a shout-out to THE BEATLES LOVE this month: they celebrateted their 5,000th performance on January 11, 2017! A video was created video to celebrate this momentous occasion; watch it here: < https://goo.gl/N7ege6 >. Last issue we mentioned that Alexey Turchenko, who was performing the cube act in Mystère, had left the show and was being replaced with a new mixed duo straps act by Stu McKenzie and Luba Kazantseva. Meet these two in a new video - "The Making of Duo Straps" - on Cirque's YouTube page: < https://youtu.be/KsxGKvEEX4g >. There's an article within this month's featured pieces in which Robin Leach interviews TORUK's Fabrice Lemiere. It's a great read, but, many of you have been wondering where TORUK's tour would be taking it after the United States. Well, at the end of that article Fabrice lets the cat out of the bag! “Toruk: The First Flight is in Wichita, Kansas, this weekend, followed by New Orleans, Guadalajara, Monterrey and Mexico City, Mexico, Cleveland, Philadelphia, Hartford, Connecticut, and Dayton, Ohio. After a brief vacation, the cast and crew embark on Asia. They begin in Taiwan in June, then it’s Japan, Australia and New Zealand.” * * * CIRQUE DU SOLEIL... QUARTZ? * * * A couple of weeks ago across its social media sphere, Cirque du Soleil highlighted a number of job postings and other openings they were looking to fill for projects all across their spectrum - from Cirque du Soleil at SEA to 45 Degrees events and much more. One such item caught my attention because it indicated a project I didn't know had even existed at that point - a project called QUARTZ. Furthermore, it appeared that whatever the project was to be, it was going to be another arena show. Well, a couple of hours after I saw the posting it was taken down, and the wording for each (Wardrobe Assistant, Tour Production Coordinator, Tour Accountant, Therapist, and Lighting Technician) were all scrubbed to remove the name QUARTZ from them. Kuriouser and Kuriouser as they'd say. Since then we've been somewhat enlightened to what QUARTZ is shaping up to be, but alas, I am under a gag order not to say what it is. I'll let Cirque du Soleil make that announcement, but I hope they do it soon! * * * SCALADA 2017 is STELLAR * * * The folks at 45 DEGREES are now hard at work to bring spectators in Andorra the final production in the SCALADA series - Scalada: STELLAR. In this latest edition, Cirque du Soleil invites you to discover a parallel world between the sky and the earth. It will lead you into the unknown, to touch the clouds and see beyond! "Is there any of us who hasn’t once stopped to watch the clouds for hours on end? Have you ever dreamed of touching them and passing through them? In STELAR, you will meet a dreamer, like many of us, who has always fantasized about what is hidden in the clouds. We have all imagined at one time or another that we could fly high enough into the sky to sit on them and see the world from another perspective. A journey into the beyond, where the unexpected will set the stage for the new Scalada: STELAR in Andorra show. Are you ready to unravel the mystery? Don’t wait to be told about it later on! o) WHERE: The event will be located in the public car park of Parc Central, in the centre of Andorra la Vella, and will have a capacity of 5.000 people per performance. As with the previous edition, THE SPACE WILL BE ENTIRELY UNDER COVER. There will be a catering area on-site where food and drinks can be bought. o) WHEN: STELAR will be perform on Tuesdays, Wednesdays, Thursdays, Fridays and Saturdays from 1st to 30th of July, 2017, with a final performance on Sunday 30th. Performances will be 60 minutes long, starting at 22:00 hours. There will also be a 30-minute animation presented before each show with the characters of Scalada: STELAR by Cirque du Soleil. o) HOW: There are three kinds of tickets to Cirque du Soleil in Andorra: 1) Free tickets will provide access to the area in front of the stage, where there is standing room only. 2) Paid tickets include a numbered seat in the stands. 3) If you prefer, you can choose a hotel pack that includes a one-night stay at the chosen hotel plus a seated ticket in the stands. Check out the visual and a video teaser for this upcoming show here: < http://www.cirquefascination.com/?p=9536 >. * * * PARAMOUR STILL CHUGGING ALONG * * * And last, but not least, we're still keeping an eye on Paramour's weekly grosses. And to be honest they're not doing that badly. Sure, the show could be grossing a lot more, but, it's doing fine. I do hope that we'll soon hear whether the show has found a new home in New York City, will go on a North American Tour, or whether it has a home somewhere in Europe in the coming weeks. Remember, the show has it's final performance on April 16, 2017. Week This Week Potential Difference Seats % Cap Ending Gross Grosses in Dollars Sold ------------------------------------------------------------------ 04-Dec $927,404.50 $1,805,456.00 -$151,130.50 10,356 68.28% 11-Dec $1,029,466.15 $1,805,456.00 $102,061.65 11,102 73.19% 18-Dec $1,039,208.90 $1,805,456.00 $9,742.75 11,230 74.04% 25-Dec $1,100,772.00 $1,805,456.00 $61,563.10 10,615 69.98% 01-Jan $1,908,018.00 $1,805,456.00 $807,246.95 15,125 99.72% 08-Jan $1,218,860.80 $1,805,456.00 -$689,158.15 14,491 95.54% 15-Jan $999,968.70 $1,805,456.00 -$218,892.10 11,683 88.03% 22-Jan $903,287.95 $1,805,456.00 -$96,680.75 11,528 76.00% 29-Jan $935,804.25 $1,805,456.00 $32,516.30 12,257 80.81% Well, that's all I have time for this month. Let's get to the rest! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | At CirqueCast: | | < http://www.cirquecast.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 & Highlights * Q&A –- Quick Chats & Press Interviews * CirqueTech –- The Technical Side of Cirque 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 * Webseries -- Official Online Featurettes * Videos -- Official Peeks & Noted Fan Finds o) Fascination! Features * "Dance Like Everybody’s Watching: Behind-the-Scenes of the Dancing With The Stars 'Cirque du Soleil Night'" Written By: Keith Johnson – Seattle, Washington (USA) * "'TORUK-The First Flight' Comes to Las Vegas" A Special to the Fascination! Newsletter * "Casting Q&A's - Meet an Artist, Part 6 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE -- General News & Highlights --------------------------------------------------- Cirque Tackles New Realities for New Year {Jan.08.2017} ------------------------------------------------------- One door closes and another one opens. No, really. It’s not a cheesy metaphor at Cirque du Soleil. Last year, Cirque closed “Zarkana,” only the second time it shuttered a Las Vegas title. But the first one, “Viva Elvis,” was in the same theater at Aria, making it hard to question the decision to make convention space out of a second-floor theater distanced from casino traffic. Still, it’s about as closed as a door can get. But at nearby New York-New York, people beat a new path through the casino to get to the new T-Mobile Arena and surrounding restaurants. “Where ‘Zumanity’ used to be at the back of the property, now there’s a main entrance out to The Park,” says Jerry Nadal, who oversees Cirque du Soleil’s resident shows in Las Vegas. “We actually had a really good year in 2016,” Nadal said. “We’ve seen an uptick across the board in all of our shows.” It figures: All the shows that closed helped out the ones that didn’t. Cirque is almost a self-contained world under its seven-show big top. After “Zarkana” closed in April, “we picked up, we figure, statistically about 50 percent of the people who were going (to ‘Zarkana’),” Nadal says. “They’ve flowed into our other shows, from what we can track. There’s definitely a redistribution going on.” Nadal goes back to those traffic patterns. Concert nights at the T-Mobile or Park Theater “tend to bring a crowd into that whole Park area. On concert nights, ‘Zumanity’ is full because there are people hanging out and looking for something to do,” he says. And if T-Mobile is full at the expense of the older MGM Grand Garden arena? Nadal says business has picked up for “Ka” there, because traffic on MGM’s casino floor doesn’t flow away from the “Ka” theater, toward the arena, on as many nights as it used to. Cirque attacked the new realities of marketing. Nadal says Cirque did “a lot of analytical work,” including “a whole strategic shift on how we’re going after consumers.” That included a study of how millennials consume entertainment. “They’re not necessarily pre-planners. They want to see something and they’re not price averse. They just haven’t made up their mind on what they want to do.” So Cirque put more focus on street teams working between 4:30 p.m. and showtime. “It’s been paying off for us.” { SOURCE: Mike Weatherford, LVRJ | https://goo.gl/86yNpY } See Avenged Sevenfold’s Cirque Production Come to Life {Jan.09.2017} ------------------------------------------------------- In December of last year, front man M. Shadows revealed that Avenged Sevenfold would be taking the name of their new album, The Stage, to the next level at upcoming shows—partnering with theatrics giant Cirque du Soleil for the production. Avenged Sevenfold unveiled that production for the first time this weekend at their Jan. 7 show in Dublin. “A lot of bands live, breathe and die the 2016 metal scene, but we just live in our own world and try to do things different than everyone else,” Shadows says to Metal Hammer. He continues, “The production that’s being built is different for us, different for anyone I’ve ever seen, the people we’ve hired don’t do tours, they do Cirque du Soleil. “This is gonna be drawn out into different types of touring, we’re not going on tour for six months, it’ll be two weeks on, two weeks off. It’ll be a longer cycle but we’re gonna roll with the punches.” According to The PRP, Avenged Sevenfold also debuted new songs from The Stage at their Dublin show, including “Paradigm,” “Angels,” “God Damn” and “Sunny Disposition.” Check out footage below. o) “PARADIGM” - https://youtu.be/v3mYd3ajGg0 - https://youtu.be/CZcWyAqCcOA o) “ANGELS” - https://youtu.be/gSxd-wMMSAY o) “GOD DAMN” - https://youtu.be/c2ul2KFUCrE - https://youtu.be/eLBMWmGKzfE o) “SUNNY DISPOSITION” - https://youtu.be/5NPUu_wknD0 Avenged Sevenfold are touring with Disturbed and In Flames in Europe and the UK. The Stage was surprise released on Oct. 28. On why they surprise-dropped the album, Shadows says to Rolling Stone, “Everyone else is dropping the breadcrumbs, having four or five singles before their record comes out. It completely takes away the mystique of the record; by the time it actually comes out, you’ve already done 50 interviews about what the record’s about and is going to sound like. It’s 2016; people’s attention spans are so short at this point, who has time for three months of lead-up?” The Stage — an AI-themed record — would go on to chart at No. 4. “We wanted to write about artificial intelligence, not really in a sci-fi way, not in a Terminator sort of way, but in more in, like, a scientific way. The album is talking about things that are right around the corner that could potentially be changing the world,” Shadows continues to Rolling Stone. “We have this yearning to know the answers to the big questions about space and why we’re here; we can’t evolve fast enough to figure these answers out on our own, but we can do it through artificial intelligence. But there’s also some very scary downsides that could come if we don’t put the right safety precautions in there.” Upcoming Avenged Sevenfold UK/European tour dates: o) Jan 10: Glasgow SSE Hydro, UK o) Jan 12: Newcastle Metro Radio Arena, UK o) Jan 13: Birmingham Genting Arena, UK o) Jan 15: Sheffield Arena, UK o) Jan 16: Manchester Arena, UK o) Jan 18: Nottingham Motorpoint Arena, UK o) Jan 19: Cardiff Motorpoint Arena, UK o) Jan 21: London O2 Arena, UK o) Jan 22: London O2 Arena, UK o) Feb 12: Frankfurt Festhalle, Germany o) Feb 13: Hamburg Sporthalle, Germany o) Feb 15: Berlin Arena, Germany o) Feb 16: Dusseldorf Mitsubishi Electric Halle, Germany o) Feb 18: Amsterdam Ziggo Dome, Netherlands o) Feb 20: Stuttgart Schleyerhalle, Germany o) Feb 21: Milan Forum, Italy o) Feb 23: Vienna Wiener Stadthalle, Austria o) Feb 25: Munich Zenith, Germany o) Feb 26: Zurich Halle 622, Austria o) Feb 28: Lille Zenith Arena, France o) Mar 01: Luxembourg Rockhal, Luxembourg o) Mar 02: Paris AccorHotels Arena, France o) Mar 04: Copenhagen Valby Hallen, Denmark o) Mar 07: Helsinki Hartwall Arena, Finland o) Mar 09: Stockholm Ericsson Globe, Sweden o) Mar 10: Oslo Telenor, Norway { SOURCE: Alt Press | https://goo.gl/L9BUpD } Residents of Jarretaderas Fear Being Forced from Homes {Jan.09.2017} ------------------------------------------------------- The construction of a theme park for Cirque du Soleil is underway in Nuevo Vallarta – a project in partnership with Vidanta Group and Mayan Palace, with an investment of $16 billion pesos – has the residents of Jarretaderas on high alert, who fear being forced to sell their homes or land or be evicted. The residents with a large population of Chiapas families, remember how the hotel group Vidanta seized entire streets in Nuevo Vallarta, located in a federal zone, and of lands bordering the Ameca River, which divides Jalisco and Nayarit. Residents claim that the land is being graded to create flooding into their neighborhoods by the Ameca River and forcing them to flee their homes. Stating Vidanta’s strategy is to surround the village and flood it to force its inhabitants to sell their houses and lands, and thus take over the area located in front of the Bay and the Ameca River, where the Island of Birds is located, which already has under its control. According to environmentalists, residents of Jarretaderas could experience what happened in the town of Corral del Risco, in Punta de Mita, where fishermen were evacuated and threatened by state agents over 20 years ago, forcing residents to flee for the development of Punta de Mita. Vidanta group is offering money to the owners of the farms and has already acquired some of strategic location, but the fear is that those who do not sell will be forced out by government or Vidanta’s plan to flood the community using the Ameca River. Last November, the governor of Nayarit, Roberto Sandoval Castañeda, announced the investment of $16 billion pesos in the theme park and predicted that it will generate between 5,000 and 10,000 thousand jobs. {SOURCE: Vallarta Daily | https://goo.gl/lmclJE } Russia: Send Out The Clowns! {Jan.11.2017} ------------------------------------------------------- The public council of the Ministry of Culture has proposed limiting the activity of foreign circuses operating in Russia, with a view to protecting the nation’s “unique” brand of big-top entertainment. Announcing the proposals, the chairman of the council, Pavel Pazhigailo asked why Russia “should protect gherkins and tomatoes but not culture” — a reference to agricultural measures taken by the Russian government in response to international sanctions against the country. “Our circus culture is highly professional, it hasn’t developed along the lines of light entertainment, objectively it is more precious,” he continued. Pozhigailo also noted that Russian circuses could not compete with the budgets of famous foreign brands like Cirque du Soleil. In 2008, the French company announced long-term investment in the Russian market, with its partner company Cirque du Soleil Rus now active in Russia, Ukraine, Kazakhstan and Azerbaijan. The proposals, which include a legal limit on the number of performances by foreign circus companies per year as well as stricter regulation of non-Russian performers, were submitted in December 2016 and set for ministerial consideration at the end of this month. { SOURCE: The Calvert Journal | https://goo.gl/fDFQO2 } “One Night” Inspired by a Lifetime of Nights {Jan.11.2017} ------------------------------------------------------- The scene is that of a little boy, gazing from the wings of an old vaudevillian theater. Through the lights descending on that stage, he watches in fascination as the ringmaster introduces an act in that night’s circus. For now, this act exists only in the memories of Nicky Dewhurst. But it will be performed for the masses soon enough at New York- New York’s Zumanity Theater on March 7 during the annual “One Night for One Drop” charity production. A segment of the show, its first costumed rehearsal, was unveiled Wednesday at NY-NY. “The idea is to go back into a vintage circus, and a lot of those memories are definitely from my childhood,” said Dewhurst, the son of circus-clown legend Brian Dewhurst, who at age 84 still performs regularly as the clown character in “Mystère” at TI. “One moment in the show, we have a little boy almost peeking through the curtains, looking out at the show. We are still figuring out how to achieve that image, but that was from my childhood, sitting on the stage, looking out at the world.” Brian Dewhurst joined his family’s circus troupe when he was 13. Nicky was even younger when he began hanging around the stage. He currently plays the smarmy co-host of “Zumanity” and has been summoned to co-direct the fifth annual “One Night For One Drop” show with his wife, Laetitia Dewhurst. The storyline follows an aged ringmaster, played by Brian Dewhurst himself, looking back on his life in the circus, along with his onstage assistant (played by Alan Silva of “Zumanity”). The elder Dewhurst was not onstage the segment of the show performed Wednesday, but he will be the lead performer on March 7. Thus, the “One Drop” show is a family endeavor, for Cirque (with dozens of performers from the Strip’s seven Cirque shows volunteering their time and talent) and also for the Dewhursts. Laetitia Dewhurst and the Dewhurst boys opened the show at New York-New York. Her brother, Perry Ray, plays “The Timekeeper” in the show, and Sally Dewhurst (daughter of Brian, sister of Nicky) is also on the “One Night For One Drop” events committee. Nicky and Laetitia also are developing an under-the-carriage look at circus acts for this production. “We’re trying to create some of the drama backstage that doesn’t come onstage,” Laetitia said. “We have a teeter-board act performed backstage, like a rehearsal, so it is more free. The guys are bantering, egging each other on, and that is beautiful to see.” Nicky, who has seen that act played out countless times, says of the co-directing partnership with Laetitia, “We have worked very well together.” { SOURCE: John Katsilometes, LVRJ | https://goo.gl/HvrdoW } Multi-Platinum Vocal Group The Tenors to Star in ONOD5 {Jan.12.2017} ------------------------------------------------------- On Friday, March 3, JUNO Award-winning vocal super-group and Canadian heartthrobs The Tenors will partner with One Drop to present the fifth anniversary of One Night for One Drop, an extraordinary, one-night-only experience supporting safe water access programs worldwide. Taking place exclusively in the Zumanity Theatre at New York-New York Hotel & Casino in Las Vegas, the event will feature a special performance of iconic rock songs by the award-winning trio, who will share the stage with the world-renowned artists of Cirque du Soleil. “It is an honour and a thrill to be working with One Drop in such a creative way,” said The Tenors. “The incredible imaginations of everyone involved are absolutely inspiring, and we’re looking forward to performing legendary rock music for this spectacular show.” Krista Monson, director of creation for the show, said, “With their unique style, unforgettable charm and outstanding vocal talent, we’re incredibly thankful to have them on board. Not only will they bring their sublime artistry and talent to the show, but the directors have given The Tenors roles that propel the story to add yet another level of meaning and powerful significance to their performance. With the added creativity of The Tenors, the result will be truly momentous.” Presented by MGM Resorts International, One Night for One Drop 2017 will focus on the concept of time, drawing inspiration from one pivotal phrase: ‘We are the first generation to feel the impact of climate change and the last generation to do something about it.’ Centering around the idea that time is running out for humanity to right its wrongs, the show will build on this concept through the journey of an ill-tempered circus Ringmaster and his loyal assistant. Nicky and Laetitia Dewhurst, writers and directors for the show, said, “We created the old Ringmaster to represent humanity and its treatment of Mother Earth. He is given the opportunity to travel back in time to witness his younger self at the center of a magnificent, vintage circus. Once there, he begins to realize his mistakes and, in a sensational twist of events, wishes to fix his feelings of regret. But is it too late? That’s the question we want to ask our audience.” Once back in time, the audience will be a part of a highly theatrical, comedic and daring spectacle, with breathtaking circus acts to propel the story. Elevated by the outstanding powerhouse vocals of The Tenors, the event will feature songs performed live by the trio, culminating in a dazzling finale. { SOURCE: VegasNews.com | https://goo.gl/ZvYlgJ } Cirque to Advise on Exporting Canadian Culture {Jan.13.2017} ------------------------------------------------------- Ottawa has convened an advisory group with representatives from media companies that have a significant presence in China as it seeks to develop a creative export strategy it will unveil some time in the coming year. Minister of Heritage Mélanie Joly says companies such as IMAX Corporation, Cirque du Soleil Inc., Minority Media Inc. and Toronto’s Sheridan College will meet with her department regularly to discuss how to support cultural businesses that want a piece of the growing market in China. “It’s indicative of our vision about the sector, which is linked to innovation and growth,” Joly said in an interview from Shanghai, where she is on a foreign visit. She said the federal government has invested $1.4 billion in arts and culture, but expects to see a return on that investment as Canadian companies produce content for foreign markets. China is particularly important to that endeavour. Consultancy McKinsey & Co. last year forecasted that Chinese consumers will increase spending by an average of 10 per cent per year to 2020, in line with rising incomes. While trade and currency numbers have fluctuated in recent years, consumer spending in that country has remained mostly stable, with the think tank Demand Institute forecasting that consumer spending could reach as high as US$6.4 trillion by 2025. In August, IMAX completed the biggest deal in its history through its Chinese subsidiary, in which it has a 68 per cent stake, to open 150 new theatres with Wanda Cinema Line, the country’s largest cinema operator. However, while China’s box office market grew 48.7 per cent to 44 billion yuan in 2015, following years of similar astronomical growth, 2016 saw a significant cooling in the market, which grew just 3.7 per cent to 45.7 billion yuan, or about US$6.6 billion. Joly said that having an ear to the ground in China will improve Canada’s competitive position. The minister did not say whether the advisory group approach will be used in other key markets, but is set to meet with global economic stakeholders next week when she becomes the first Heritage minister to attend the World Economic Forum in Davos, Switzerland. “We’ll be talking about the fact that we’re open for business,” Joly said of the trip. “I’m the first Minister of Canadian Heritage whose thinking is export first, and that’s because I think our creative ecosystem is mature and providing a lot of quality content.” Joly said Canada is the third biggest exporter of musical talent, the third biggest producer of video games and that Toronto is the third biggest television and film production centre in North America. “The reason we care about this is because tapping export markets will lead to really good, really well paying jobs,” she said. The minister acknowledged that the Trans Pacific Partnership Agreement, signed but not yet ratified by the 12 Pacific Rim countries including Canada and the United States, is in jeopardy with the incoming Trump administration having pledged to abandon the treaty. In particular, TPP’s failure would prevent Canada from gaining easier access to Japan, the world’s third-largest economy. However, she said new International Trade Minister François- Philippe Champagne will continue discussions with the other countries who signed the agreement last year. One issue that experts, including the University of Ottawa’s Michael Geist, said Canada would have to confront should TPP be ratified is a ban on limitations of consumer access to foreign video products. That would mean Ottawa could not impose a tax on services like Netflix. A Privy Council report from November revealed that the federal government last year conducted surveys testing the appetite of Canadians for a potential tax on foreign content providers, and that there was some support for making domestic telecoms and foreign companies contribute to support Canadian content production. However, Joly affirmed her previously stated position against a foreign levy. “We’ve already said we’re against a Netflix tax,” she said. “At the same time we are studying all the potential economic scenarios that were submitted by stakeholders in the public consultations we held last year.” { SOURCE: Calgary Herald | https://goo.gl/pzwMz2 } KURIOS Hand-Puppet Artist Entertains Deaf Youngsters {Jan.14.2017} ----------------------------------------------------- Nico Baixas of Spain, a hand-puppet artist who performs nightly in Cirque du Soleil’s KURIOS at Hard Rock Stadium, brought his “handiwork” to Gulfstream Elementary School on Thursday. Baixas, who is the KURIOS accordion man, entertained deaf and hard-of- hearing students at the school. VIDEO /// < https://goo.gl/rGh6nz > After his performance, Baixas taught the kids how to use their hands to express themselves and challenged them to create stories using hand-puppetry. “I was captivated by the dancing scene with the two hands,” said third-grader Michael Horvath, who is now inspired to learn how to pantomime. Baixas’ routine consisted of pantomiming with his hands on top of a table, where he re-created different dance routines, from tango to hip-hop, as well as exhibiting different storylines to the kids by making different shapes with his hands. “I want to show the kids that using your hands can be a way to express our feelings and intelligence,” said Baixas, who performs with KURIOS at Hard Rock Stadium until Jan. 29. The students responded well to the show, attentively watching Baixas’ hand movements and mimicking them as he performed. Gulfstream Elementary School is one of the few schools in Miami- Dade County with a deaf and hard-of-hearing program. “I am always looking for different activities to keep the kids engaged,” principal Yubeda Miah said. Check out pictures here: LINK /// < http://www.cirquefascination.com/?p=9514 > { SOURCE: Miami Herald} PARAMOUR Stars Will Be Headliners at BROADWAY AT W {Jan.16.2017} ----------------------------------------------------- This Sunday, January 22nd, Broadway at W kicks off the 2017 Season with the high-flying return of Broadway’s Cirque du Soleil Paramour. 42 Seven Productions, W Times Square and IndieFork welcome Ruby Lewis, Ryan Vona and cast members of Paramour for the 10th installment of the hit Sunday night acoustic experience “Broadway at W,” featuring Broadway’s hottest shows and their talented casts in a raw, up-close, and acoustic environment in the exquisite Living Room of W Hotel. Ruby Lewis currently stars as Indigo, the leading lady in the Cirque du Soleil production. Joining Ruby Lewis are Co-stars Ryan Vona (Once) starring as Joey, Bret Shuford (Amazing Grace) starring as Robbie, Sarah Meahl as Gina, Hannah Florence (Gigi) as Lili, and Blakely Slaybaugh. Special guests for the evening will be Marcus Paul James (In the Heights, Rent) and the cast of Disney Royals. Guest host will be Colin Cunliffe (Pippin, Finding Neverland). Alex Ortega serves as guitarist/music director and Martin King on cajon/percussion. Show starts at 7:30pm. Doors open at 7:00pm. Following the show at 9pm the After Party begins with live DJ until close. Reserved seating can be purchased online only at www.broadwayatthew.com. VIP Ticket/Bottle packages available. Standing room is FREE. 42 Seven Productions is comprised of Mekia Cox (“Secrets and Lies,” “Chicago Med”, Michael Jackson’s “This is It”), Mike Evariste (Tony Award Winning “Book of Mormon”, Tony Nominated “Disgraced”, Tony Award Winning “South Pacific”), Tiffany Evariste (“Aladdin”, “Motown the Musical”, “Tony Award Winning “Memphis”), Victor Hawks (Tony Award Winning “Urinetown”, Tony Award Winning “South Pacific”, “Les Miserables”), Detra Hicks (“Once Familiar”), Vivian Nixon, Associate Artistic Director of Debbie AllenDance Academy, and Daniel J. Watts (Tony Award Winning “Hamilton”). This is the team behind the hit series BROADWAY AT W at W Times Square, which has featured the Broadway casts of “Hamilton”, “Waitress”, “Aladdin”, “On Your Feet”, “Jersey Boys”, “Holiday Inn”, “Something Rotten”, “Motown”, and “Kinky Boots”. In Los Angeles they have produced the yearly hit BROADWAY MAINSTAGE SHOW at the Loft at W Hollywood, and the continuous BROADWAY UNPLUGGED series at W Hollywood. Beginning this month they will begin programming The Handy Liquor Bar on Broome Street, alongside the Live In The Living Room Series on Mondays at W Times Square. For more information, visit www.42sevenproductions.com. { SOURCE: Broadway World | https://goo.gl/jWJEaD } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Engineering student performs at Cirque in Las Vegas {Jan.15.2017} ----------------------------------------------------- Running off to the circus might be considered a unique choice to some. However, for University of Calgary Schulich School of Engineering student Jason Chen-Leung, the decision was an easy one to make when it came to his audition with Cirque du Soleil. “I practise Wushu; it’s a type of performance martial arts,” says Chen-Leung, who trained at the Calgary Tai Chi and Martial Arts College. “I went to a performance at a very young age with my mom. She saw that I was excited and she suggested enrolling in a class.” Chen-Leung immediately liked the flips, choreography and tumbling of Wushu. It is also an excellent way to stay physically fit. “It is very energetic,” he says. “It’s almost like halfway between gymnastics and karate. In Wushu we emphasize fluidity and power.” Athletics and artistry combine in gravity-defying Las Vegas Production. Years of training and competitions lead to an audition for KÀ by Cirque du Soleil. The elite performance entertainment organization has delighted more than 155 million spectators worldwide. KÀ is a gravity-defying production featuring an innovative blend of acrobatic feats, Capoeira, puppetry, projections and martial arts. “I play an officer and a spearman, performing 10 times a week: two shows a day, five times a week,” explains Chen-Leung. “I would say there is a certain amount of pressure on stage. You have to be at your best but everyone is super helpful and we cheer each other on.” KÀ tells the coming-of-age story of a young man and a young woman through their encounters with love, conflict and the duality of KÀ, the fire that can unite or separate, destroy or illuminate. Student centre and associate dean provide support for student success in all its forms Chen-Leung is taking time off from his third year of mechanical engineering studies to perform in Las Vegas. He started with Cirque du Soleil in August and continues to perform weekly. “The school has been very supportive,” he says. “Engineering is very structured and I thought I would fall through the cracks, but I received help to plan out my courses.” The Engineering Student Centre and Marjan Eggermont, associate dean (student affairs) offered guidance in course planning and support to allow Chen-Leung to take advantage of this incredible opportunity. “We try to support student success in all its forms at the Schulich School,” says Eggermont. Cirque experience opens Chen-Leun’s eyes to a myriad of engineering possibilities Chen-Leung has always made time for both martial arts and engineering; however, performing on the heavily engineered set of KÀ has broadened his perspective on the possibilities of engineering. The set features a sand cliff deck, moving platforms, cranes and five stage lifts used to move props and artists during the show. In addition, a post-and-beam structure extends from the stage area into the audience, to create a continuous performance space that defies traditional theatres. “This experience has opened my eyes up a bit,” Chen-Leung says. “Engineering is so much more than I thought. There’s a ton of opportunities available in the entertainment industry, from the rotating stage construction, the need for specialized equipment, and creating industrial pieces like the wheel of death.” Jason Chen-Leung performs in KÀ by Cirque du Soleil at MGM Grand in Las Vegas. { SOURCE: Lisha Hassanali, Schulich School of Engineering } Meet Varekai’s Emily McCarthy and Sam Sturt {Feb.02.2017} ----------------------------------------------------- The age-old adage of running off to join the circus rang true for two British gymnasts who are now touring the world in a globally popular show. Emily McCarthy and Sam Sturt are two of the stars in Cirque du Soleil’s Varekai, which reaches the Metro Radio Arena in Newcastle from February 15 to 19. I caught up with the pair in Paris after watching the spectacular, high-flying show, and, yes, it really was a case of running off to join that circus! In fact, Emily, who grew up in Wakefield, joined the show at the age of 16, straight from school, while Sam joined Cirque at the age of 18 after taking two years out from gymnastics. “Two months after finishing high school I went into Cirque,” explains Emily, who recently turned 21. “My parents knew I always wanted to go there but I didn’t expect it to happen so young. “The guy I worked with in competition was going to retire as he was going to join Franco Dragone (founder and artistic director of Dragone, and also known for his work with Cirque du Soleil and Celine Dion) so it was a case of `you’re leaving, what am I going to do?’ so I was going to wait in the gym but Cirque called at the same time he left. “This opportunity doesn’t just fall out of the sky, I had to take it. It was hard for my parents but they wouldn’t and couldn’t have stopped me. “I actually haven’t had a break since I was six.” That’s about to change for Emily though, as the Glasgow dates on the final leg of the UK tour of Varekai will be her last with the show. “There’s nothing set in stone as of yet, I would like to stay with Cirque, with the company, in a different show and setting, not an arena tour, maybe a resident show,” she tells me. “I’ll probably go home for a little bit. I’m just taking it as it comes. This is my first ever job.” Emily is one of the Slippery Surface Flyers in Varekai, while Sam, 24, is part of the Russian Swing Flyers – and their performances are astounding, as is the show as a whole. Deep within a forest, at the summit of a volcano, exists an extraordinary world – a world where something else is possible. A world called Varekai. Having caught the show in December in Paris I would recommend it to all. It has everything you would expect from a Cirque spectacle, and then some. Varekai itself involves a cast and crew of 95 and it takes 22 trucks to transport the show from venue to venue. Once at each venue, it then takes 12 hours to assemble the stage, which includes a forest of 330 trees – eight of which are climbable. Varekai boasts an international cast, including our two performers from the UK and all put in hours of practice each day to keep their bodies and muscles in shape for their performances. “I finished competing in gymnastics and took two years out, aged 16,” says Sam. “I needed a break. I had started gymnastics at nine and I started to not enjoy my sport and started to not have fun and dreaded going to training. “But I was bored and didn’t know what to do and mum suggested going back into gymnastics and go and join the show, so it was down to her. “I started training again, teaching myself again, then I sent a video to a company and that’s how it all started. “I’ll always try and do a workout in the middle of the day – specific to my act or whatever I want to improve on, my handstands or posture. Then I’ll do a stretch to really loosen up my muscles. By the time it comes round to the show, rather than just immediately stretching the muscles and going straight on stage, I don’t really like that too much, I like to have a bit of time to adjust. “By the time of the show I’ll do a bit of cardio to get the blood flowing and because I’ve already done my big stretch I’ll just do a few limbering up exercises to make sure the muscles are ready to go. In the middle of the show we have time on the swings backstage to practice our skills before we go on so it’s fresh in your mind. “With new routines, you have to be confident in yourself and in the people pushing you and catching you. You have to be completely aware of what you’re doing.” { SOURCE: Chronicle Live | https://goo.gl/X82Pho } --------------------------------------------------- CirqueTech -- The Technical Side of Cirque --------------------------------------------------- Cirque and Felix & Paul Studios Launch “DREAMS OF ‘O'” {Jan.09.2017} ------------------------------------------------------- DREAMS OF “O” explores the many facets of the breathtaking aquatic masterpiece, “O” by Cirque du Soleil. The 12-minute 360°, 3D experience submerges the user into a virtual reality universe comprised of aerial acrobatics, daring dives, fire and surreal amphibious characters. DREAMS OF “O” is the first-ever VR experience to combine simultaneous underwater and slow-motion shooting, which required significant technical advancement to accomplish using Felix & Paul Studios’ proprietary camera technology. As part of the studio’s continued creative expansion, Felix & Paul Studios again tapped filmmaker François Blouin to co-direct this piece, following a successful collaboration on KÀ The Battle Within. DREAMS OF “O” is now available on Samsung Gear VR powered by Oculus, the leading mobile VR solution enabling an incredible VR viewing experience. Viewers can download DREAMS OF “O” in the Oculus Store, or watch a 360 video of the experience at the following link: http://cirk.me/2hSKkPr. “I’m delighted to be here in one of the entertainment capitals of the world to see firsthand this incredible content partnership between two of the best that Canada have to offer – Felix & Paul Studios and Cirque du Soleil,” said The Honourable Navdeep Bains, Minister of Innovation, Science and Economic Development for Canada who is speaking at CES. “Together with the global reach of Samsung, this partnership takes interactive digital content and virtual reality to new heights, and serves as a brilliant example of Canadian innovation in action.” This is the third collaboration between Cirque du Soleil and Felix & Paul Studios. The companies previously produced the critically acclaimed Inside the Box of Kurios, which won a 2016 Emmy Award in the Outstanding Interactive Media – Original Daytime Program or Series category. In October 2016, KÀ The Battle Within was introduced at the Oculus Connect 3 conference in San Jose, California and was featured at the Toronto International Film Festival as part of the official selection of the festival’s Cutting Edge POP VR line-up. “Cirque du Soleil’s ‘O’ is one of the world’s most innovative theatrical productions inspired by the infinity and elegance of water’s pure form and delivered by world-class acrobats, synchronized swimmers and divers,” said Sebastian Sylwan, Chief Technology Officer at Felix & Paul Studios. “To immerse viewers in the same ethereal, dreamlike mood in an original VR experience, we combined simultaneous underwater and slow-motion shooting—a feat that required us to significantly modify our proprietary camera technology, merging the two techniques to more poignantly evoke the artistry, surrealism and theatrical romance of ‘O’”. “(VR) is a format to enhance the audience experience – whether they’ve seen the show or not. It presents the shows in a whole new light and gives our fans, as well as new audiences, access to unique views of the acts that the live show experiences feature,” says Sébastien Ouimet, senior manager content, partnerships and distribution for Cirque du Soleil, to realscreen. “It is important to Cirque to maintain its position on the cutting edge, and we need to ensure we are targeting new audiences with the use of new technologies. (They’ve) been a great promotional tool for our shows. All Cirque VR experiences, including Dreams of O, are also available as free downloads on the Occulus store. There are plans to transform one of Cirque’s newer touring productions, Luzia, into a VR experience by this spring. “To immerse viewers in the same ethereal, dream-like mood in an original VR experience, we combined simultaneous underwater and slow-motion shooting — a feat that required us to significantly modify our proprietary camera technology, merging the two techniques to more poignantly evoke the artistry, surrealism and theatrical romance of O,” said Sebastian Sylwan, chief technology officer at Felix & Paul in a statement. “We’re proud to release DREAMS OF ‘O’ to celebrate the success of one of our most popular shows in Vegas,” said Jerry Nadal, Senior VP of Cirque du Soleil’s Resident Shows Division. “Our partnership with Felix & Paul Studios highlights Cirque’s leadership in pushing the boundaries of creating outstanding immersive experiences. Virtual reality allows us to explore state-of-the-art platforms to complement our live show experiences.” CES attendees and the general public can experience KÀ The Battle Within in the MGM Grand hotel lobby January 2 through January 12. DREAMS OF “O” will be on view in the Bellagio hotel lobby from January 4 through January 8. { SOURCE: Felix & Paul, Cirque du Soleil } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia & Totem} o) ARENA - In Stadium-like venues {Varekai, TORUK, OVO & Séptimo Día} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, MJ ONE, JOYÀ & Paramour} 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/ >, or for a more comprehensive tour listing, visit our Itinéraire section online at: < http://www.cirquefascination.com/?page_id=6898 >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna: London, UK -- Jan 12, 2017 to Feb 26, 2017 Vienna, AT -- Mar 9, 2017 to Apr 17, 2017 Rome, IT -- Apr 30, 2017 to May 28, 2017 Koozå: Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017 Perth, AU -- Apr 13, 2017 to May 7, 2017 Manila, PH -- Jun 25, 2017 to Jul 30, 2017 Kurios: Dallas, TX -- Feb 17, 2017 to Mar 26, 2017 Houston, TX -- Apr 6, 2017 to May 21, 2017 Winnipeg, MB — Jun 2, 2017 to Jun 25, 2017 Portland, OR — Aug 28, 2017 to Oct 8, 2017 Vancouver, BC — Oct 19, 2017 to Dec 31, 2017 Luzia: San Jose, CA -- Feb 9, 2017 to Mar 19, 2017 Seattle, WA -- Mar 30, 2017 to May 21, 2017 Denver, CO -- Jun 1, 2017 to Jul 9, 2017 Chicago, IL -- Jul 21, 2017 to Aug 20, 2017 Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017 Totem: Fukuoka, JP –- Feb 3, 2017 to Mar 19, 2017 Sendai, JP -– Apr 6, 2017 to May 21, 2017 Sochi, RU -- Jul 1, 2017 to Jul 30, 2017 Brussels, BE -- Aug 31, 2017 to Oct 29, 2017 Paris, FR -- Nov 2017 VOLTA: Montreal, QC -- Apr 20, 2017 to Jun 11, 2017 Gatineau, QC (Ottawa, ON) -- Aug 3, 2017 to Aug 27, 2017 Toronto, ON -- Sep 7, 2017 to Nov 26, 2017 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017 Dublin, IR -- Feb 8, 2017 to Feb 12, 2017 Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017 Leeds, UK -- Feb 22, 2017 to Feb 26, 2017 Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017 Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017 Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017 Copenhagen, DK -- Mar 23, 2017 to Mar 26, 2017 Lyon, FR -- Apr 13, 2017 to Apr 16, 2017 Amsterdam, NL -- Apr 20, 2017 to Apr 23, 2017 Bratislava, SK -- Apr 27, 2017 to Apr 30, 2017 Bucharest, RO -- May 3, 2017 to May 7, 2017 Budapest, HU -- May 12, 2017 to May 14, 2017 Prague, CZ -- May 19, 2017 to May 21, 2017 Sofia, BG -- May 26, 2017 to May 28, 2017 Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017 Vilnius, LT -- Jun 8, 2017 to Jun 10, 2017 Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017 TORUK - The First Flight: New Orleans, LA -- Feb 1, 2017 to Feb 5, 2017 Guadalajara, MX -- Feb 10, 2017 to Feb 12, 2017 Mexico City, MX -- Feb 16, 2017 to Feb 19, 2017 Monterrey, MX -- Feb 23, 2017 to Feb 25, 2017 Cleveland, OH -- Mar 3, 2017 to Mar 5, 2017 Philadelphia, PA -- Mar 8, 2017 to Mar 12, 2017 Hartford, CT -- Mar 15, 2017 to Mar 19, 2017 Dayton, OH -- Mar 22, 2017 to Mar 26, 2017 Taiwan — June 2017 Japan — TBA 2017 Australia — TBA 2017 New Zealand — TBA 2017 OVO: Spokane, WA -- Feb 16, 2017 to Feb 19, 2017 West Valley City, UT -- Feb 22, 2017 to Feb 26, 2017 Rio Rancho, NM -- Mar 1, 2017 to Mar 5, 2017 Lubbock, TX -- Mar 8, 2017 to Mar 12, 2017 Cedar Park, TX -- Mar 15, 2017 to Mar 19, 2017 Laredo, TX -- Mar 22, 2017 to Mar 26, 2017 Corpus Christi, TX -- Mar 29, 2017 to Apr 2, 2017 Oklahoma City, OK -- Apr 6, 2017 to Apr 9, 2017 El Paso, TX -- Apr 12, 2017 to Apr 16, 2017 Tuscon, AZ -- Apr 17, 2017 to Apr 23, 2017 Cincinnati, OH — May 11, 2017 to May 14, 2017 Columbus, OH — May 17, 2017 to May 21, 2017 Pittsburgh, PA — May 24, 2017 to May 28, 2017 Toledo, OH — May 31, 2017 to Jun 4, 2017 Hamilton, ON — Jun 7, 2017 to Jun 11, 2017 London, ON — Jun 14, 2017 to Jun 18, 2017 Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017 Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017 Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017 Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017 Berlin, DE -- Nov 8, 2017 to Nov 12, 2017 Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017 Cologne, DE -- Nov 22, 2017 to Nov 26, 2017 Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017 Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017 Munich, DE -- Dec 13, 2017 to Dec 17, 2017 SÉPTIMO DÍA – NO DESCANSARÉ: Buenos Aires, AR -- Mar 9, 2017 to May 14, 2017 Cordoba, AR -- May 25, 2017 to May 31, 2017 Lima, PE -- Jun 17, 2017 to Jun 24, 2017 Santiago, CL -- Jul 19, 2017 to Aug 6, 2017 Bogota, CO -- Sep 3, 2017 to Sep 23, 2017 Mexico City, MX -- October 2017 Guadalajara, MX -- November 2017 Monterrey, MX -- December 2017 Select US Cities -- 2018 --------------------------------- 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 2017 Dark Dates: o January 7 - 19 o February 5 o March 8 o May 6 - 10 o July 12 o September 9 - 13 o November 8 Special Performance Dates: o Fri, Dec 30, 2016 o Fri, Jan 20, 2017 | Dress Rehearsal 7:00 pm o Thu, Apr 6, 2017 o Thu, Aug 17, 2017 o Fri, Nov 24, 2017 o Fri, Dec 29, 2017 o Sun, Dec 31, 2017 | 4:30pm & 7:00pm 2017 Single Performance Dates: o Fri, Jan 20 | 9:30 pm o Sun, Jan 29 | 7:00 pm o Fri, Mar 03 | 9:30 pm o Sat, Mar 11 | 7:00 pm o Sun, Mar 26 | 7:00 pm o Sun, Apr 02 | 7:00 pm o Sun, Apr 09 | 7:00 pm o Sun, Apr 16 | 7:00 pm o Sat, Jun 17 | 7:00 pm o Sun, Aug 13 | 7:00 pm o Sun, Oct 01 | 7:00 pm o Fri, Oct 20 | 7:00 pm o Sun, Oct 22 | 7:00 pm o Fri, Dec 08 | 7:00 pm "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015) 2017 Dark Dates: o February 5 o April 5 - 9 o June 11 o August 2 - 6 o October 8 o November 29 - December 12 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 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 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) PARAMOUR: Location: Lyric Theater, Broadway, New York City Performs: Wednesday through Monday, Dark: Tuesday *** CLOSING APRIL 17, 2017 *** One/Two Shows Daily: 2:00pm (Wednesday) 7:30pm (Thursday & Monday) 8:00pm (Friday) 2:00pm & 8:00pm (Saturday) 2:00pm & 7:00pm (Sunday) ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) VOLTA - "FREEDOM MOMENTS" "Freedom Moments" is a new series about how the artists from Cirque du Soleil's NEW 2017 Big Top show, VOLTA, found their free. VOLTA is a story about the FREEDOM to choose and the thrill of blazing your own trail. Get up close and personal with VOLTA's artists, discover their "Freedom Moments” and share yours with #FindYourFree! o) EPISODE 1: ELENA - BALLERINA January 6, 2017 Freedom = dance for VOLTA's s ballerina Elena, who says being onstage is “the best feeling in the world”. LINK /// < https://youtu.be/23DBoIQU6cI > o) EPISODE 2: DINA - TIGHTWIRE January 13, 2017 In this week’s “Freedom Moment” meet Dina, a tightwire artist. He finds freedom in the middle of nature, back home in Cambodia. o) EPISODE 3: RIKKI - FREE RUNNER January 27, 2017 In this week’s “Freedom Moment” we meet Rikki, a free runner. He finds freedom by escaping the 9 to 5 and hitting the road, traveling wherever his heart takes him. LINK /// < https://goo.gl/NpU2IL > o) EPISODE 4: PAOLA - ROLLER SKATER February 3, 2017 In this week’s “Freedom Moment” we meet artistic roller skater, Paola! She expresses what she does to feel connected with herself. LINK /// < https://goo.gl/ikvrm6 > *) LUZIASELF - THE WEBSERIES o) EPISODE 2: CYR WHEEL January 18, 2017 In episode 2, LUZIAself with our Cyr Wheel artists from Los Angeles and New York! Get to know those 2 ladies who turn their life around! LINK /// < https://youtu.be/X5QuVpsdXU0 > o) EPISODE 3: CONTORTION February 1, 2017 In episode 3, LUZIAself with our contortionist Aleksei Goloborodko! Get to know how he became the most flexible human in the world! LINK /// < https://youtu.be/OO1afRLMNgc > *) AMALUNA – OUR ISLAND AT THE ROYAL ALBERT HALL o) EPISODE 1: NEW SURPRISES FEBRUARY 1, 2017 Discover “Our Island at the Royal Albert Hall” and get an insider look at our London adventure! < https://www.facebook.com/Amaluna/videos/1422978034430158/ > --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- *) CIRQUECAST CirqueCast is a Vodcast (that’s video podcast) for Cirque fans by Cirque fans – featuring artist interviews, Cirque headlines, and the inside scoop to your favorite Cirque du Soleil shows! Join your hosts José Pérez (TheChapiteau), Richard “Richasi” Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and Dario Shame (a big 'ol fan), as we bring you a behind-the-scenes look into Cirque du Soleil, complete with discussions and the latest Cirque news. o) EPISODE 12 - Special Fan Episode w/ Surprise Guest RJ Owens January 14, 2017 On this very special episode of CirqueCast, four Cirque du Soleil fans join us as we go over Cirque du Soleil media news, Paramour's closing at the Lyric Theatre, and the new Big Top show VOLTA. And to top it all off, RJ Owens, Baby François in Mystere, makes a very special and unexpected appearance to answer some of our guest hosts' questions! LINK /// < https://youtu.be/r_t2Kup1yVQ > o) EPISODE 13 - Interview with Daniel Crispin January 28, 2017 Daniel Crispin (Crispy) is an Australian artist currently performing the principal role of "Entu" in Cirque du Soleil's Toruk - The First Flight. Join us this episode as Crispy gives us an insight into what it is to be part of this spectacular Cirque du Soleil show, including his experience of auditioning for a role he later found out would be a principal character. LINK /// < https://youtu.be/UJnELB2WTvA > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "Dance Like Everybody’s Watching: Behind-the-Scenes of the Dancing With The Stars 'Cirque du Soleil Night'" Written By: Keith Johnson – Seattle, Washington (USA) o) "'TORUK-The First Flight' Comes to Las Vegas" A Special to the Fascination! Newsletter o) "Casting Q&A's - Meet an Artist, Part 6 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "Dance Like Everybody’s Watching: Behind-the-Scenes of the Dancing With The Stars 'Cirque du Soleil Night'" Written By: Keith Johnson – Seattle, Washington (USA) ------------------------------------------------------------ When we previously reviewed the Monday, October 3, 2016 broadcast of the ABC TV show, “Dancing With The Stars,” (DWTS) encompassing a first-ever Cirque du Soleil “theme” night (our review can be read here < http://www.cirquefascination.com/?p=9141 >, highlights from the broadcast can be found here < https://goo.gl/7GYRGd >), we marveled on how much work and negotiation from both the DWTS and Cirque sides must have occurred to bring this collaboration forward. Which made us curious to know more, since a show of this scope and scale must have required much more coordination than an appearance on a late-night talk show or local morning television. So we reached out to Ann Paladie, PR Director, Resident Shows Division, Cirque du Soleil to provide some insight. Ms. Paladie enlightened us to the history of Cirque/DWTS collaborations, how this one came about, and what it took to make it happen. FOXTROT ------- Cirque du Soleil’s relationship with Dancing With The Stars began years ago. “We've had a relationship with Dancing With the Stars for years,” Ms. Paladie explained. “We did a special appearance with dancers from Viva Elvis (May 4, 2010). And there was a special performance from Michael Jackson THE IMMORTAL World Tour (November 14, 2011).” But it was back in August of 2014 that a producer from DWTS first contacted Jerry Nadal, Senior Vice-President of Resident Shows in Las Vegas, and asked if they could do a Cirque du Soleil-themed night in the way they did their Disney-themed nights. “We started having the conversation in 2014 and were trying to figure out how to make it work. And it just didn't come to fruition at that point. When we had the opportunity in November, 2015, to have the collaboration with The Beatles LOVE and their dancers (for the November 9 broadcast), that really solidified the concept of how we could work together and collaborate, incorporating our show elements with their dancers.” It was in August, 2016 that the decision was made to proceed with the collaboration, taking the experience with LOVE and applying it to an entire broadcast centered around Cirque shows and content. It was then given to Ms. Paladie to be the point person on Cirque’s end, which she was prepared for. “I've been with Cirque for 15 years. We've done a number of TV appearances but I don't think I've ever done anything to this extent. ” TANGO ----- The first step was to present producers at DWTS with the smorgasbord of Cirque shows and content that might fit. “We had their team come to Las Vegas, a couple of executive producers, and they watched all of the shows they could in a weekend. And they put together a wish list of what they wanted to use, what they were interested in in terms of content or elements, or performers or characters, or set pieces and like that.” “Then they had to listen to all of the soundtracks and select music based on the type of dance style that they needed to use. So that was a process on their end. And then they came back with what songs they wanted to use and the different styles associated with each number.” The selected songs musical charts were then provided by Cirque and were arranged by DWTS’s Musical Director, Ray Chew. The live performances by Ray Chew Live during the show were in many cases eerily close to the actual Cirque band sound, an impressive feat. Once the “wish list” was in hand, it fell to Cirque to determine what was possible. “At that point we met with our two Senior Artistic Directors who oversee all of the shows. We also had our head of Technical Show Support (who oversees the technical aspects of all the shows) in that meeting. Once [DWTS] determined which acts they wanted to use we had to get Rigging involved. We have a Technical Manager at our office here at the Resident Shows Division who oversees Rigging, and we have a Technical Manager that oversees Automation. So I sent the Head of Rigging to do a site visit (to the DWTS set at CBS Television City in Hollywood, CA) to see where they could put the winches and hang the points and all of the technical aspects, and he worked directly with their production team to determine all of that. And of course [we] worked with all of the production managers at the different shows that had aerial involved in the performances. We also made sure that technical specs would work for each of the individual acts.” But the scheduling and rehearsal requirements of a television show broadcast live on Monday afternoon (5pm Los Angeles time for an 8pm Eastern Time slot) meant not everything could be accommodated. “Because their show rehearsal and camera blocking is on Sunday, and all of our shows perform on Sunday, we were somewhat limited with the things and people that we could send without having a huge impact on the shows that need to be performed that night. So we did some negotiation that way like, ‘Can we send three artists? No but we can send two.’ Those types of conversations.” A total of 15 artists, including acrobatic/circus arts performers and characters, were involved on-camera. And there were show props used throughout the show, such as the tricycle train from LOVE. “Again, there were things that they wanted that we didn't have spares of that we couldn't send because we needed them for the show. But there were things that we could spare. It was those conversations, ‘Well, we can do this but we can't do that.’ And, ‘We can send you this but we don't have that.’ Things like that.” QUICKSTEP --------- From August 2016, when Cirque committed to the collaboration, to show air date, Monday, October 3, was just three months, a compressed amount of time. “Absolutely, and honestly it came down to that last week, because it's a competition show. They didn't know who the 11 contestants were going to be until after the elimination on Tuesday (September 27).” The Cirque shows to be represented, music, artists and set pieces had already been negotiated. And DWTS had some idea of what shows would be right for their cast, such as using Olympic swimmer Ryan Lochte in a number from the water-inspired “O”, and Olympic gymnast Laurie Hernandez in a number inspired by her hero Michael Jackson. “Exactly. And I think they had that in mind but just couldn't share that information with me early on. Another piece of the puzzle was that their contestants have other projects going on, they couldn't all travel to our theaters, to have that experience. They were only able to send a couple of their people.” Partner Val Chmerkovskiy (with eventual champion Laurie Hernandez (via FaceTime)) went to Michael Jackson ONE, Ryan Lochte (with partner Cheryl Burke) went to “O”, actress/singer Jana Kramer (with partner Gleb Savchenko) went to LOVE, and race car driver and eventual runner-up James Hinchcliffe (with partner Shauna Burgess) went to Paramour in New York City. The week of the show was a flurry of activity. “We found out Tuesday night who the 11 stars were going to be. And we knew we wanted to host Laurie Hernandez and her partner Val at Michael Jackson ONE. The only time that they could come to the theater to meet with the cast and to see the number that they were going to be doing was after the results show on Tuesday. So Val came to Las Vegas to visit the Michael Jackson ONE Theater and met with the team, and talked to the Artistic Director and Dance Master and the two performers that were going to be part of the number. Lori was on via FaceTime. So that happened right away Tuesday night.” “So we did that shoot, and I want to say it was Wednesday or Thursday that [James and Shauna] went to Paramour. Thursday [Jana and Gleb] came to LOVE; Friday [Ryan and Cheryl] came to “O”. So all of those arrangements were made pretty quickly. I mean we had an idea of what dates they were going to be coming, but then finalized them on Tuesday night and Wednesday.” “And it was Friday that we loaded up a truck with all of the props, and we ended up needing a second truck. Two trucks full of props and equipment and everything were driven out to LA. Some of the team flew in on Saturday and some on Sunday. We did the rehearsals on Sunday, and then Monday was dress rehearsal and the [broadcast]. They got everything loaded out right after the show on Monday night and drove the trucks back on Tuesday. And we all flew back on Tuesday.” “It was actually a fairly small group that was there on-site. In addition to the performers we had a very small support staff. But a lot of people were involved leading up to it for sure.” VIENNESE WALTZ -------------- The result of this whirlwind of work was a broadcast that several times powerfully invoked the Cirque ethos. “And I really give the Dancing With The Stars team credit for that. They were so respectful of our brand and really made us look great.” It was a collaboration that greatly benefited both sides. “We were just happy to have the exposure; to be able to showcase the individual shows in the way that we did. It's such a well-produced show, and it's got such a huge following. Plus the social media exposure; the show tends to trend most nights it's on, so just to have all the chatter and exposure was really key for us.” Something we wondered about in our original review was why there was no ad buy from Cirque that could make the point that the shows represented were all different, and that the various Cirque elements could all be seen live in context on tour and in resident theaters. This was an intentional decision. “Usually when we do major national TV appearances we look at doing an ad buy, but I think the consensus was that this was basically a two-hour commercial, so having that additional exposure wasn't entirely necessary.” And the impact was significant. “I know that our ticket agents were getting more calls from people, and I want to say our sales were a bit higher on that Tuesday than they normally were.” In a show that was essentially two hours of pure “Cirque!” Ms. Paladie did have some highlights. “In my opinion, the highlight for me was the intro, where all of our individual logos came up on the screen behind the contestants. There was that recognition and that pairing. That was really a true highlight for me.” As for a favorite performance, “It's hard for me to say. I feel the way they used the projections and the screen content from KÀ, it really made you feel like you were there, that was really strong. I thought the Paramour number was really strong. I loved the aerial act in the La Nouba number, that act is just jaw-dropping. The aerial act in Kurios was great. Gosh, it's really hard to say.” For such a special show, which we don’t think has even been done to this extent before, big kudos go out to all involved and to Ms. Paladie for being the producer. An effort for which she is still enthusiastic. “I just want to do it again next year! So hopefully there will be a Cirque night next fall.” Not that she’s giving us a scoop. “No. It was so much hard work, but it was so worthwhile that the minute it was over it was like, ‘let's do it again.’ (Laughs.) It truly was a really amazing opportunity for us. It came together so beautifully and we were just thrilled with the outcome.” The show was the 21st most popular show in the US the week of its airing, garnering 10.73 million viewers. It would take all of Cirque du Soleil’s shows - resident, big top and arena - playing two shows a night, seven days a week, at 100% capacity for four months to get the same number of impressions from that one two-hour broadcast. “Now when you put it like that that is amazing. I love it!” ------------------------------------------------------------ "'TORUK-The First Flight' Comes to Las Vegas" A Special to the Fascination! Newsletter ------------------------------------------------------------ The following are a collection of articles published in the Las Vegas Review-Journal when TORUK-The First Flight appeared in Las Vegas. Avatar is Coming to Las Vegas ----------------------------- For one week only to start off the New Year, Cirque du Soleil will present an eighth spectacular on the Strip, and for the first time the circus entertainment company will take over T-Mobile Arena for the production. “Toruk: The First Flight” transports audiences as depicted in the movie to the world of Pandora in a visually stunning setting. The experience becomes a storytelling odyssey through a new world of imagination and discovery. This immersive experience bears the signature of directors and multimedia innovators Michel Lemieux and Victor Pilon. It is a living ode to the Na’vi symbiotic coexistence with nature and belief in the interconnectedness of living things. Narrated by a Na’vi storyteller and populated by characters, “Toruk: The First Flight” is a mythical tale set thousands of years before the events depicted in “Avatar” and before humans set foot on Pandora. The production is a fusion of visuals, puppetry and stagecraft buoyed by a cinematic score. Cirque applies its signature style to James’ imaginary world and makes the bond between kindred artistic visions that capture the imagination. When a natural catastrophe threatens to destroy the sacred Tree of Souls, Ralu and Entu, two Omatikaya boys on the brink of adulthood, 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 up the Floating Mountains to find Toruk, a red-and-orange predator who 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. The creative team for “Toruk: The First Flight” comprised 13 creators under the artistic guidance of Cirque founder Guy Laliberte and Jean- François Bouchard for Cirque du Soleil and James, Jon Landau, Kathy Franklin and Richie Baneham for film producers Lightstorm Entertainment. “Avatar” dates back to 1994 when writer, director and producer James wrote an 80-page treatment for the film to follow in 2007 his shooting schedule for “Titanic.” The director delayed developing the fictional universe until 2006, saying necessary technology wasn’t yet available. Hollywood insider reports said the budget was about $240 million. No budget figure has been released for the Cirque touring theatrical version, but insiders whisper that it’s close to the $200 million “Ka” at MGM Grand. “Avatar” had its world premiere in England in December 2009 and on Dec. 16 in the United States and Canada. It broke box office records and became the highest-grossing film of all time surpassing “Titanic,” which held the record for 12 years. “Avatar” was the first film to gross more than $2 billion and was the top film of 2010. It was nominated for nine Academy Awards and won three. To date, its box office is $2.788 billion. James this year confirmed that his partnership with 20th Century Fox calls for four sequels, with “Avatar 2” set for December 2018 and the others in 2020, 2022 and 2023. “Avatar” starred Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang and Michelle Rodriguez. “Toruk” was developed in Montreal at Cirque headquarters, but rehearsals took place at Century Link Center in Bossier City, Louisiana, because it could hold the massive sets unable to fit into Cirque’s studios in Quebec. The stage measures 85 feet by 162 feet. Toruk is the main character of the show and brought to life along with the animals of Pandora as 16 life-sized puppets. Ralu, Entu and Tsyal are the three main protagonists of “Toruk” narrated by a Na’vi storyteller. Multimedia projections, which overflow the set into the audience, evoke the landscapes from the movie showing the Floating Mountains, Omaticaya Hometree, Anurai’s animal sanctuary and jungle homes of the Tawkami. Large-scale effects include an earthquake, volcano eruption and lava rivers. The projection surface, not including the audience reach, is more than five times the size of an IMAX screen. Forty video projectors are used in the production. There is an “island” at the center of the stage on which performers move about that houses a fire pit, circular drum and Tree of Souls, an inflatable structure in a trench under the stage floor. The tree structure is inflated as it is hoisted from the trench using cables attached to the structure above the stage. The branches of the tree are covered in thousands of LED lights. The dream catcher is a structure suspended 45 feet above the island. It houses props and set elements, including a plant 35 feet in diameter that serves as an acrobatic device. The costume department produced more than 1,000 items including shoes, headpieces and necklaces for the 115 costumes, an average of 3.3 costumes per artist. There are 18 kites in the show, one being a 64.5- square-foot giant traction kite that flies out over the audience during the scene in the Hallelujah Mountains. Audiences report feeling a gust of wind as it whooshes overhead. During the Kekunan Clan scene, 12 kite flyers perform simultaneously onstage. The show, at 2 hours with a 20-minute intermission, could only be staged at T-Mobile Arena for its Las Vegas stop and not in any Cirque theater on the Strip. The show’s premiere was Dec. 21 in Montreal and is on a West Coast leg of its North American tour and after the run here travels to Mexico and China. “Toruk” is the 37th production by Cirque since it was founded in 1984 when 73 people worked for the company. Today there are nearly 4,000 employees, including 1,300 artists. More than 155 million have seen a Cirque show since 1984. This year in addition to “Toruk,” Cirque will present 18 shows around the world, six of which are resident productions here. The Most Ambitious Touring Production Ever ------------------------------------------ Nine former Las Vegas cast and crew members of Cirque du Soleil shows will be working in the amazing production “Toruk: The First Flight” when it has its engagement at T-Mobile Arena from Jan. 18-22. “It’s the most ambitious Cirque du Soleil touring production ever,” Cirque Senior Vice President of Worldwide Resident Shows Jerry Nadal told me. “Our ‘Ka’ show at MGM Grand is a permanent instillation, but ‘Toruk’ has 27 trucks with the show itself covering 15,000 square feet of full-stage floor. It’s all computer-generated. We turn the stage into the six different worlds of ‘Avatar’ in the course of the show. It’s really ambitious and crazy because it moves around to a different city every week.” Jerry, who flew to Montreal for its premiere last year, said Las Vegas will be even more impressed with the production than the seven shows already here on the Las Vegas Strip. “It’s the next step in our creative process. We take the James Cameron movie, which is the biggest movie of all time, and bring it to life onstage. “Las Vegas audiences will be knocked out with the full use of T-Mobile Arena — it really does take the entire arena. The main character who’s named for the show, the Toruk, is a huge bird with a 40-foot wingspan who flies around the whole arena. It’s really an impressive piece of theater. “The other impressive part of the show is all the projection mapping on the scenery where it turns into different worlds. We haven’t seen that in our Cirque shows here yet. Over 40 video projectors are used to create Pandora. There’s a waterfall effect in there that is mind- blowing. It’s impressive and new to Las Vegas. I was blown away by it. It’s absolutely stunning visually.” One of the show’s other standout features is narration, something that Cirque normally doesn’t do. Said Jerry: “The characters narrate you through the story. If you’ve seen the movie, then you’re going to know the whole thing, but this narration certainly helps move the story along from world to world. “I don’t think that it really needs any explanation, but if you have not seen the movie, then this just helps you get from one part of the story to the next in the different worlds that make up Pandora. There’s all the performance elements that you would expect from Cirque du Soleil, as well.” “ ‘Toruk’ already this year has been one of the top-grossing production road tours. Several million people have seen it so far, and it’s been one of our most successful arena tours ever. It’s an original product specifically built and designed to tour in arenas.” Jerry summed up: “It’s not just bigger or better than what we have in Las Vegas already. “It’s the performance itself, plus the equipment that they’re using and the style of the presentation. It’s very different. We try to let the show stand alone, so I’m not going to take anything from it for what we already have here. We’ll see what we can create totally new and unique in the future for here.” James Cameron’s Fanboy Love of Cirque Led to TORUK -------------------------------------------------- Two fantasy worlds, almost touching. “Toruk — The First Flight” is the rare Cirque du Soleil touring show to land on the Strip, which already hosts six resident titles. (The last one was “Michael Jackson — The Immortal,” five years ago.) But “Toruk” is a prequel to “Avatar,” so it would seem unfair to deprive Las Vegas of a tie-in to the highest-grossing movie of all time. “Toruk” has done “Avatar” proud on the road, pulling up in the No. 13 spot (right behind Paul McCartney) on Pollstar’s ranking of 2016 tours, with a gross of $66.6 million. Still, it makes sense that “Toruk” would roll into T-Mobile Arena — where it runs Wednesday through Jan. 22 — when “Ka” is on its annual vacation. The two shows share a lot of inspiration, and a little DNA. Both take audiences on a narrated journey through an exotic fantasy realm. And “Avatar” director James Cameron is as big a Cirque fan as they come. “In some aspects he’s a big child,” says Fabrice Lemire, artistic director of “Toruk.” When Cameron would watch rehearsals of the live show, “I could see it in his eyes.” “He loves those collaborations and has a lot of respect for performers. I have never seen somebody with that reputation who is so down to earth,” Lemire added. “Ka” opened at the MGM Grand in late 2004. The $165 million spectacle was Cirque’s first attempt at a narrative, the story of two separated twins and the adventures that reunite them. Though visually rooted in Chinese martial-arts fantasy, the saga is not located in any specific place or time. “Avatar” had been in development for years before its 2009 release. Cameron has credited Cirque performers for inspiring the physical movement of the Na’vi, the indigenous people of the planet Pandora, who are colonized by human miners who interact with them through genetically engineered bodies. Cameron told Jimmy Fallon on “The Tonight Show” that while he was developing his Fusion Camera System for the movie’s 3-D, he called up Cirque and invited executives to “check out this 3-D technology. I want to shoot your shows.” The result was the 2010 feature “Cirque du Soleil: World’s Away,” featuring the Las Vegas-based productions. Cameron didn’t direct it, but he did some the 3-D camera work himself. “He would call us over after some of our stunts and say, ‘Have a look at this,’ and show us. He was really into it,” recalls Peter Kismartoni, a “Ka” performer now in “Toruk.” Cirque executives were thus emboldened to ask if they could create a live arena show based on “Avatar.” Cameron became a consultant on the arena show helmed by writer-directors Michel Lemieux and Victor Pilon, while continuing with his four — yes, four — “Avatar” movie sequels. It’s a partnership that makes perfect sense for “Toruk” artistic director Fabrice Lemire. “Cirque du Soleil was somewhat avant-garde and very much ahead of everything else 30 years ago. How do you stay afloat and still innovative 30 years later? There you have somebody like James Cameron,” he says. “It’s a clever way to explore new direction and a clever way to reinvent yourself … to reach out to a new audience to also to explore a new artistic vision, while working closely with somebody who is creative.” “Ka” and “Toruk” are “both of the same flavor, I would say, with the narration and the storytelling,” Lemire adds. “However, ‘Ka’ allows you a lot more freedom of interpretation around the narration. We don’t. We really take your hand and lead you through the journey. As an audience, you watch a lot more like you are watching a movie or a play.” The creators wanted “Toruk” to tell a self-contained story that didn’t require anyone to have seen “Avatar.” And they didn’t want to tackle the height difference between the Na’vi and the shorter humans, who come and cause problems in the film. Instead, separate tribes of Pandora set off on a quest for talismans that will bring down the titular Toruk, a creature with a 40-foot wingspan brought to life by the show’s puppetry. The action fills the entire arena floor, and much of the Pandora world is created through video projections. The lead actors have live microphones, and were coached in the Na’vi language, as well as by a movement coach who worked on the film. Those who think they’ve seen all Cirque has to offer “should not expect to see the most traditional Cirque du Soleil production, where the acrobatic stunts are at the forefront,” Lemire says. “Absolutely not. It is a very different driving force. The acrobatics are there to support the storyline.” T-Mobile Arena transforms into Pandora -------------------------------------- A most spectacular Cirque du Soleil show is about to be unleashed on Las Vegas. It’s a multimedia extravaganza where technology is the real star, so much so that you can download an app to your smartphone and at certain times in the production add to its visual effects. Welcome to “Toruk: The First Flight,” which opens here Wednesday. It’s so big and ambitious that it takes 27 trucks to deliver everything here. That’s too large for Strip showrooms, so “Toruk” will be staged at T-Mobile Arena with 700 panels covering 15,000 square feet of the floor, turning the stage into the six worlds of the show inspired by James Cameron’s “Avatar.” Nine former Las Vegas cast and crew members will work in the spectacle here through Jan. 22. The show is 2 hours 10 minutes, with one intermission, and is the story of three brave teen boys who seek to save the sacred Tree of Souls from a volcanic explosion with the help of Toruk. “It’s the most ambitious Cirque du Soleil touring production ever,” Jerry Nadal, Cirque senior VP of Worldwide Resident Shows, told me. “It’s really ambitious and crazy because it moves around to a different city every week.” Jerry said that Las Vegas will be even more impressed with the production than the Cirque shows already here on the Strip: “It’s the next step in our creative process. We take the James Cameron movie, the biggest movie of all time, and bring it to life. “It takes up the entire arena. The main character who’s named for the show, the Toruk, is a huge bird with a 40-foot wingspan who flies around the whole arena. It’s really an impressive piece of theater.” For the first time, Cirque fans here will witness extraordinary projection mapping on the scenery turning into the world of Pandora. More than 40 video projectors are used, and also new to Las Vegas is a mind-blowing waterfall effect that promises to have audiences in awe. “Toruk” has a narrator to help thread the story and because the players speak to one another in the Na’vi language to prove that they are humans and not computer-generated graphics. Note: It is not necessary to see or have seen the Academy Award-winning “Avatar” in advance. The iPhone app can be downloaded at iTunes.com and at Google.com for Android phones. Millions have seen the touring production, which was one of the top- grossing road productions last year. It is Cirque’s 37th production since the Montreal-based circus company was founded by Guy Laliberte. During that time, more than 155 million people in more than 300 cities on six continents have seen a Cirque spectacle. Audiences may well think that T-Mobile looks like a silver, science- fiction spacecraft to touch down on the Pandora moon. “Avatar” was a 2009 blockbuster from James, who promises a sequel in 2018 and a third story in 2020, that stars Sam Worthington and Zoe Saldana. Here is a trailer on YouTube. “Toruk” is set on the film’s moon, Pandora, populated by humanoid creatures with blue skin and tails. Although a similar story, the Cirque show is set thousands of years before the film. This is the “First Flight,” while the movie depicts the “Sixth Flight.” The world of Pandora is video-game immersive, as directors Michel Lemieux and Victor Pilon use sophisticated mechanics for huge puppets coupled with multimedia projections to seamlessly transform the landscape of the set, creating forests, waterfalls and caverns. Michel said: “People don’t want to be just in front of something. More and more, they want to be inside it. We wanted people to go to this moon, watch these beautiful people and live there for a while.” Two performers from Vancouver, British Columbia, filmed a YouTube segment with Vancouver Straight explaining the show’s intricacies, including a look at its 115 costumes. The wardrobe department includes more than 1,000 items — shoes, headpieces, necklaces and more. The acrobatics are stunning: Drummers rise in one circle, and in one dance routine gigantic fans that look like luminous flower petals fill T-Mobile. The quest takes the three young heroes high up in the Floating Mountains to find the mighty red-and-orange predator who rules Pandora. Warriors writhe and dangle from motorized poles or dance and contort on a skeleton that moves like an enormous seesaw. 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. The Toruk has a wingspan of 40 feet and weighs approximately 250 pounds. You will feel its “swoosh of wind” underneath its wings as it flies around the arena. There are 40 artists in the cast: one actor, one singer, one percussionist, one kite specialist, one boomerang specialist, one contortionist, six puppeteers and 28 acrobats. About 100 people representing 20 nationalities are on tour full time, and 16 puppets represent the creatures of Pandora: six Viperwolves, three Direhorses, three Austrapedes, one Turtapede, two swarms of Woodsprites and one Toruk. The Viperwolves and Direhorses are inspired by “Avatar,” but the Austrapedes and the Turtapede were created by Cirque. Jerry summed up: “It’s impressive and new to Las Vegas. It’s absolutely stunning visually. It’s not just bigger and better than what we have in Las Vegas already. I was blown away by it.” Breathtaking TORUK brings Pandora to life with Color, Majesty ------------------------------------------------------------- It was absolutely gorgeous and unbelievable visually. Cirque du Soleil is known for bringing wonder and delight to millions of spectators across the globe, and it dazzled audiences once again Wednesday night with the Las Vegas premiere of its newest touring show, “Toruk: The First Flight.” “Toruk” is breathtaking from start to finish, and the video mapping special effects make the waterfall, flooding ocean and volcanic lava eruptions so realistic that the audience felt the effects almost firsthand. The production kicked off its limited run at T-Mobile Arena through Sunday night with more than 3,000 guests transported to the world of Pandora, bringing the mythical planet to life on a 20,000-square-foot stage buoyed by technology, acrobatics and cinematic score. The touring show with 27 truckloads of scenery, equipment and wardrobe was inspired by director James Cameron’s Oscar-winning blockbuster “Avatar.” It cost Fox more than $230 million to make with actors, but it earned $1 billion at the box office in 19 days and eventually $2 billion. It remains the top-grossing movie of all time, displacing James’ “Titanic.” Movies and bestselling books rarely translate into successful stage shows, or arena spectacles in this case, but Cirque pulled off the miracle with Pandora. It is a masterpiece of eye candy filled with wild creatures, incredibly colorful fans and flowers and a highly emotional finale lighting of the Tree of Souls. The flight of the giant creature Toruk is amazing. A phone app lets the audience control fireflies, colors, twinkling lights and other effects during the production. Jerry Nadal, Cirque’s senior VP of Resident Shows Division here, brought along casts and crews from “Mystere,” “The Beatles Love” and “Ka” to “Toruk.” Our thanks to contributing photographer Tom Donoghue, who was given special permission to shoot the first half of the show. “Toruk” is the first touring Cirque show to perform at the arena. Tom also photographed my advance behind-the-scenes rehearsals look at the backstage secrets of the spectacular. I interviewed Brazilian MMA artist Kleber Berto, who performed in “Ka” at MGM Grand for five years before joining “Toruk” as the court jester, and Shakespearean actor Raymond O’Neill, who is the storyteller helping explain the Na’vi language that James created for his film with Dr. Paul Frommer, a professor of linguistics at USC. I also talked with Fabrice Lemire, who is the show’s artistic director. He told me that his “traveling village of 95 performers, crew and artistic team” complete with catering, laundry, dry cleaning and wardrobe start the Asian leg of the world tour this fall in Taiwan. We’ll post my interviews with the trio later. The cast will stay here for a three-day break after Sunday’s show to celebrate with local Cirque colleagues before traveling to Wichita, Kansas, for next Thursday’s arena show. Almost 30 trucks will drive the amazing scenery and equipment after packing up through the night Sunday for the load-in that begins Wednesday. James has confirmed that there are plans for four sequels. “Avatar 2” is scheduled for release in December 2018, with the others following in December 2020, 2022 and 2023. If you can’t wait for the excitement of new Pandora adventures, see “Toruk” before it ends Sunday. A World too Familiar for Cirque-savvy Las Vegans? ------------------------------------------------- When the Cirque comes to your town, it’s a pretty big deal. “Toruk — The First Flight” took in almost as much money as Paul McCartney on the road last year. But when Cirque du Soleil comes to Las Vegas, its own backyard? Ehh. Depends on how busy those World of Concrete conventioneers are. And how much locals care about the “Avatar” connection to Cirque’s touring arena spectacle. Wednesday’s launch of a five-day run had plenty of empty seats in T- Mobile Arena, even beyond a closed upper deck and the arena floor used as the set for the sprawling production. (If you’re ticket-shopping, note the horseshoe of sections 8 through 12, usually not your first choice for concerts, is ideal for this one.) Cirque-savvy locals may not find the “Avatar” ingredients strong enough to avoid a sense of deja vu with “Ka” and five other Las Vegas- based spectacles. “Avatar” is a double-edged sword. In one sense, it’s brilliant branding. Everyone saw the $2.7 billion-grossing movie. But unlike “Star Wars” or comic-book franchises, where fanatics come with impossible expectations, co-creators Michel Lemieux and Victor Pilon have a lot of freedom. This prequel of sorts — comics geeks would call it a “shared universe”— is more a self-contained story set on the planet Pandora, before the humans showed up to screw things up. On the other hand, “Toruk” could have used some nerd passion to enforce more action and urgency. The first of its two acts takes its time in setting our young Na’vi heroes (Guillaume Paquin and Jeremiah Hughes) on a quest to collect talismans to help them tame the feared Toruk, a giant pterodactyl, and head off a predicted disaster. Their travels become a leisurely display of pageantry, an excuse to showcase Cirque’s familiar acrobatics. The second act kicks into higher gear with more forward motion. The blue lads and a chieftain’s daughter (Giulia Piolanti) who joins the quest are menaced by cool creature puppets before they face off with the big bird. If the problem with Cirque’s arena shows is the fact that acrobatic humans just can’t get any bigger, they can at least do something about the impressive size and scale of the title puppet. You can trust Cirque to do this stuff right. The company’s usual good taste and eye for detail are evident from the get-go. As a narrating Storyteller (Raymond O’Neill) sets up the tale, the shadows of his billowing cloak create moody visuals on the towering set behind him. And the video projection-mapping is stunning. At one point turning the set into a waterfall with rivers for our heroes to canoe. The story isn’t Shakespeare. Sample narration: “To unite the clans by convincing them of the common danger will be no easy task.” Still, there are grounded moments when the native blue Na’vi interact in their native language, attempting to inject some genuine emotion. Sure, the whole thing’s a little languid and humor-challenged. And for locals, a little too familiar. But sports arenas are now a big part of our entertainment fabric. Technology has opened the door for a new kind of theater that enables cinematic action. If you picked another family-friendly arena show this month — or doubled down on both — you’ll at least appreciate that this certainly isn’t “Disney on Ice.” Behind-the-scenes of TORUK-The First Flight ------------------------------------------- For five years, Brazilian MMA performer Kleber Berto starred in Cirque du Soleil’s “Ka” at MGM Grand as the court jester and protector of the twins. Growing up in a poor family in Brazil with an identical twin brother, Kleber was so small that his mother encouraged him at age 8 to take up martial arts to develop his strength. Day in and out after school, he practiced his athleticism with friends on the beach and street corners. “I was really skinny, very thin. I fell in love with Capoeira martial arts,” he explained. One spectator followed his feats for a while, then invited him to join a company there, Circo del Mundo, the circus of the world. “Cirque du Soleil was really famous in Brazil and because I was in Circo del Mundo, I was invited to try for an audition with Cirque,” Kleber told me backstage at the touring “Toruk: The First Flight” at T-Mobile Arena last Wednesday. (“Toruk” played at T-Mobile last Wednesday through Sunday.) “I passed the audition and went to Montreal to prepare for the ‘Ka’ show headed for Las Vegas. I loved the time I spent in Las Vegas, and it’s been very nice and enjoyable to see all my friends again while returning here for ‘Toruk.’ It came as a surprise because I didn’t know we were coming here. It’s changed since I was here last, and it’s nice to just walk around the streets to see how it’s grown up and changed.” In “Toruk,” Kleber gets to fight in every show with his sticks. “Every night I have to beat up someone,” he declared. “In the story, we have two kids who need to find an amulet, and our amulet is a shield. I have to show him that it’s not that easy to get the shield. “I enjoy so much working for Cirque. It’s where my artistic life started. I really enjoy being on tour and seeing different places, getting to a new arena and seeing old friends. Every time we are in a new city, we rehearse just to keep physically fit and test all of the equipment once it’s been unpacked and set up. “We have our own gym that travels with us, so we can keep training in the little free time that we have. We have a chef and catering staff who travel with us, but sometimes after a show, I will go out to the restaurants. “Everybody who comes to see ‘Toruk’ loves the show, and I do, too. It’s a beautiful story, and everybody who loved the movie loves the show.” * * * Shakespearean actor Raymond O’Neill, who plays the narrator of the Toruk’s Na’vi-language story, likens it to the current political differences between new President Donald Trump and his Democratic Party opponents. “The story here is unless the various tribes unite and work together to solve a crisis, the world is going down,” Raymond told me backstage. “It really is an allegory for our situation on Earth. As you said, Robin, if we do not come together, we destroy ourselves. We move forward by working together, not by divisiveness. We accomplish the task at hand by cooperation. “That’s the central, dramatic tension here. The messenger has to go out, get all the tribes together, and if he gets them together, are they going to cooperate and are they all going to show up and are we all going to throw water on the fire, save The Tree of Souls and live happily ever after? “To a degree, it doesn’t happen in real life, although it does in the movies. Maybe it hasn’t happened in my lifetime or yours, but hopefully we do move forward. It might take a generation or two to see two steps backward was countered by three steps forward.” Raymond threads the story together in English while the actors use Na’vi created by Paul Frommer, a university linguistics professor in Los Angeles. Raymond continued: “It’s not difficult to understand in our show, but it doesn’t make sense to English ears outside the show. “It’s a bit like going to a Shakespeare play for the first time. There may be words you don’t understand, but they are being acted in a way that you understand from what the action is. I’m there as the translator. To a degree, I certainly know what’s being said when it is being said. But I’m not really translating directly what’s going on. “When Cirque has performers from 95 countries in its shows, they use Cirque speak. We don’t have that in this show because Cirque has moved into a more narrative storytelling style. I’m a Shakespearean actor; I’m a storyteller, but this is a new kind of creature for Cirque. “This show is very much pivotal around a storyteller whose position in the story itself is revealed as the story goes on. There’s a reason he’s telling the story because in a sense he lived it and was there at the time it was being told. “We started creation exactly a year and a half ago July 20, on my 64th birthday. Here in Las Vegas, we will have been running for exactly a year and a half, and we’ve been on the road for about 14 to 15 months. I know Shakespeare started out traveling on the road, but I’ve just never toured week by week by week by week. “It’s massive moving almost 30 trucks every week. Cirque takes good care of us. We’re in good hotels. They are organized like you would not believe. I’m gob smacked at their ability to get it done. It feels really smooth. They really spoil us because it’s daunting to go out for 12 weeks, eight to nine shows a week, a new arena, a new hotel, an airplane, a bus to a new city. “It’s keeping me young. I’m a senior citizen. I’m onstage 100 percent of the show, and if I’m not onstage, there are one or two moments when I deliver a line from backstage, but my voice is still there. I’m onstage, and I go up and down the stairs into the audience, so I get a real workout on my legs. They’re working this old man, but, I tell you, it’s good for me. “There’s not two of me. There’s one of me, but one of our acrobatic performers who has some acting experience has learned the part if I fail to go on. He is a Spanish-speaking man, and the show will feature him when it goes to Mexico next week after Las Vegas.” As a Shakespearean actor, Raymond understands why the British playwright was so successful around the world. He says the secret of “Toruk’s” success is because the touring production is not a version of the movie but a prequel story. Raymond commented: “It was once said that style in acting is to know what play you’re in. It starts from the feet up, and, as an actor, I understand the sensibility of that. I’ve been a professional actor for 45 years and worked all over the world in film and television. “If you know your soap opera, if you know your Shakespeare play, if you’re doing a Noel Coward, you have to figure out the piece. This beast is very clearly defined. It’s well written. I have tricks up my sleeve, but I am not a magician. I am a character in the play. I know where I’m seated as an actor. “It’s a solid theatrical convention, and I’m on the inside. But I can tell you by the time you get to the end of the story, there’s an emotional payoff. The success is the key to understand what the theatrical convention is and deliver the goods because the script is clear and well written and has some good language and cadence to the language. It’s modern English.” Our thanks to contributing photographer Tom Donoghue for his behind- the-scenes backstage coverage with Raymond and Kleber. We wish the entire cast and crew a safe journey and bon voyage as they continue their tour around the world. It Takes a Village to Move TORUK -------------------------------- Will the different plugs needed for washing machines in Australia or microwaves in Taiwan be easy to handle when Cirque du Soleil’s touring “Toruk: The First Flight” arrives after its engagement here last week? Those minute details are two of hundreds that artistic director Fabrice Lemire handles as he moves his “Toruk” cast and crew of 99 around the world. He’ll sit bedside in a hospital if a cast member is injured. Fabrice ensures that chefs, medics, seamstresses and trainers have everything they need as they tour. “It’s moving an entire village every five days,” he told me when we met backstage at T-Mobile Arena on Jan. 18. Here’s a behind-the-scenes story you’d never get to know. Fabrice joined “Toruk” as assistant stage director during “Toruk’s” creation in July 2015. Fabrice first signed on with Cirque in 2008 as dance master and assistant artistic director of “Zaia” in Macau. In 2010, he transferred to the South American tour of “Quidam,” and after being promoted to artistic director for its transfer from big tops to major arenas, he moved to “Varekai” as artistic director. He joined the creative team of “Toruk” in 2015. “Every single Cirque show has to evolve,” he explained to me. “Even though we premiered ‘Toruk’ almost 18 months ago, in some aspects it was not fully completed. We had only 15 weeks to create it. Even for Cirque, that’s tight, very tight, to produce such a large-scale show. “So we hit the road with many things still to do. We continued the creation process while the show had to be on the road. I continually made major changes and also added layers to what we had premiered in Montreal. “I’m still here even though the show can pretty much drive its own wings without me. We are now at a great level of who takes care of what, who is responsible of what, how we all hold this moving ship together. “My role now as artistic director is really as a facilitator to make it happen every night. I know my team can function well without me, although you need somebody who is in charge to make the calls at any given time.” Q. Is that because it is a touring show? Every arena is different, every city is different, and every safety and Fire Department rules are different in each place? There are so many layers, Robin, compared to a Cirque show here in Las Vegas, where performers have a lifestyle of what they do, and they get to go home every night. In the touring show, we are one very large family. We live and we work together 24/7. We don’t get away from each other. The artistic director’s role is extremely important, not only in the theater during the performance but also in the entire journey. Q. You have to look after the mental, emotional and physical well- being of everybody? In some aspects, yes. You know, at 2 a.m., there could be an urgent Skype call with a loved one. There’s an issue, they may come to my room because there is nowhere else to go. I listen or solve something because whatever condition the performer or technical person has may have an impact on the show the next day. Can I put this artist on the next day based on what happened to them? Q. Do you deal with love and family problems and, presumably, every now and again, there has to be disputes with all of you living on top of one another around the clock? There are, and, you’re right, this happened. We are a traveling village, and I am one of the directors. I’ve spent five, six, seven hours at the hospital with a performer. I am the one taking him to the hospital if need be. We travel with a medical team for small emergencies, but we are an entire, self-contained village — somewhat of a dysfunctional traveling family! Q. You’re a band of legitimate gypsies, but you all have a common goal, plan and mission? Yes. All of us are drifting together, but everybody has their own goals in regard to the lifestyle. For me, I’m actually in the moment of my life where I would like to go back to another crazy process. Q. Do I think of you as the dad of this traveling family? You have a laundromat for all the laundry, you have a restaurant to provide food, you have a gym so they can work out? Yes, I’m the father of “Toruk,” and we travel with show-related washing machines and dryers. We have a system that we allow employees or artists to use them if it doesn’t impact the time the wardrobe department is doing laundry for the show’s costumes. We have guidelines, and we have to respect the guidelines. The catering is important to have because so many locations, we might be in the middle of nowhere, there’s nothing around, and also with the makeup on their faces between show days, it’s difficult for performers to go outside on the street in full makeup and costume to find something to eat. Q. You have everybody from carpenters to a wardrobe mistress who can repair torn or worn-out costumes? We have riggers, the automations team, an entire stage management team. I have a head coach. It’s an entire network when you talk about the village. Our village can sustain itself even if they want to replace me. Somebody else can slide right into my position. Q. Does the mechanics of all this, the travel logistics all run from Montreal headquarters or right inside your village? It’s in the village. We have a full team called tour management, so they look after travel and lodging, immigration and medical. They know where we will be staying months in advance. They know the nearest hospital and best routes in and out and best parking for our 27 trucks. It’s a big number moving about 100 of us. The logistics are overwhelming, but thankfully no problems to date. Everything has run very smoothly, especially our stay in Las Vegas. Many of our performers have friends in other Cirque shows here, and they all get together and see each other’s shows. Q. How many nationalities are you working with? I think we have between 15 and 18 nationalities. We also have one performer who’s really into the Na’vi language. Mostly they all speak English, but as many as 18 languages. What’s most interesting is the audiences who come so often. We have as many as 40 to 50 Na’viacs who understand fully what the performers are saying onstage. Our cast and crew from all over the world have settled into a routine. The group has a great atmosphere. They do a lot of things socially together. Here in Las Vegas, we had five days of shows and three days of vacation. Q. Do you travel by bus or plane to all the cities? We do both. We have multiple options. We do the bus transfer when there is less than five to six hours of travel. Past that, we have to fly. It can be commercial or charter flight. But they also can opt out of the travel. You can opt out of the hotel we book. Some of them use this option a lot. They come to a city and get an Airbnb or bed and breakfast. Some will get a house and rent it for a week. It gives them freedom outside of being stuck with each other all the time. Q. In a traveling village, people have to fall in and out of love. It’s natural. Have there been any romances that have led to marriage? It happens sometimes with touring shows. Here we have a few couples but not many. Our performers already have love somewhere else, so their relationships are quite stable. This is my fourth show for Cirque, and I love this cast. It’s the easiest and best to work with. Q. What one word would you use to describe “Toruk”? Colorful because there is fun in there. The colors of the esthetic of the show, of course. What I call the color of the soul of the people who are in the cast. This family, this group is fun and colorful. They are very creative, and they keep alert and alive. It’s a different kind of talent that we look for in the performers so they are not just good in one discipline. Many performers come across programmed because they are so good that they stick with one thing. When you ask those people specializing in one skillset, they have the tendency to be a frightened to get out of their comfort zone. Here they are good at multitasking, mostly good at different things, but mostly good at being very open to try new things, which make them powerful in many aspects. You tell them to go this way, they’ll go with you. As long as your vision is clear, they jump onboard and deliver. Toruk: The First Flight is in Wichita, Kansas, this weekend, followed by New Orleans, Guadalajara, Monterrey and Mexico City, Mexico, Cleveland, Philadelphia, Hartford, Connecticut, and Dayton, Ohio. After a brief vacation, the cast and crew embark on Asia. They begin in Taiwan in June, then it’s Japan, Australia and New Zealand. SOURCES: - Oct 24) Robin Leach, LVRJ | https://goo.gl/xt45xe - Nov 02) Robin Leach, LVRJ | https://goo.gl/KoYNpn - Jan 12) Mike Weatherford, LVRJ | https://goo.gl/xsw1r4 - Jan 13) Robin Leach, LVRJ | https://goo.gl/jkO9dR - Jan 19) Robin Leach, LVRJ | https://goo.gl/3vZhF8 - Jan 21) Mike Weatherford, LVRJ | https://goo.gl/bjsIgp - Jan 24) Robin Leach, LVRJ | https://goo.gl/c1HCkR - Jan 27) Robin Leach, LVRJ | https://goo.gl/sP3HlR ------------------------------------------------------------ "Casting Q&A's - Meet an Artist, Part 6 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ Ever wonder what it would be like to become a Cirque du Soleil artist? Of course you have! Who hasn’t? Wonder no longer! Through a series of interviews on their casting website, Cirque du Soleil invites us to get to know some of their performers (past and present), and discover how each of them went from a career as an athlete, circus performer, instrumentalist, singer, dancer, actor, clown, or in another specialty to becoming a Cirque performer. They’re fantastic reads if you’ve had the pleasure, and if you haven’t, well, don’t despair. We’ve collected all 30 artist interviews for you to peruse in this series, which, due to the page count, we’ve published in six parts. In September, we began with Q&A's from Anthony Gatto, Claudel Doucet, Denise Stefanie Gonzalez, Eric Scribner, and Eve Castelo Branco. We continued with Hassan El Hajjami, Jean-François Houle, Jeanne Dioman Gbou, Julia Lopatkina, and Kristin Allen in October. Then with Lionel Hamel, Lisa Skinner, Marco De Santi, Melissa Urbano, and Michael Joseph Hachey in November. And with Miho Kono, Miro Lacasse, Noriko Takahash, Odmaa Bayartsogt, and Oleksandr Pylypenko in December. January opened with Q&A’s from Paulo Lorador, PJ Bogart, Raphaël Sanchez, Ross Gibson, and Sabú Alegría. And now we conclude by hearing from Suo Liu, Tumelo “Michael" Moloi, Vanessa Convery, Zara Tellander, and Zeng Jiao Jian. # # # SUO LIU | New York City Martial Arts Q. TELL US A LITTLE ABOUT YOUR BACKGROUND PRIOR TO JOINING CIRQUE? My background is in traditional martial arts and Wushu. Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? In December 2013 Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? I auditioned for Cirque du Soleil in Los Angeles back in 2012. My friend told me about it. Q. WHAT KIND OF EXPERIENCE WAS YOUR AUDITION? The audition was something completely new to me; I had to perform a 5-minute solo, I had to dance, and I had to act like different animals. Q. HOW WAS YOUR INTEGRATION INTO THE SHOW? My integration went well. I use a lot of my martial arts skills. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? I get to do what I love for a living. Q. HOW DID THE TRANSITION GO FROM YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? My transition was smooth, since KÀ includes a lot of martial arts. Q. IS WORKING AT CIRQUE DIFFERENT FROM WHAT YOU HAD IMAGINED? The thought of working for Cirque du Soleil, a world-renowned circus, was intimidating. I thought it would be very hard, but with everyone’s help and support, it was actually easy. Q. WHAT OPPORTUNITIES HAS CIRQUE GIVEN YOU? Cirque du Soleil has given me the opportunity to grow as an artist. Q. WHAT WOULD BE YOUR ADVICE OR SUGGESTION FOR YOUNG MARTIAL ARTISTS? Train hard and never give up. Q. HOW DO YOU KEEP IN SHAPE? I keep in shape by training and performing 10 shows a week. Q. HOW IS LIFE IN LAS VEGAS? I come from New York, so life in Las Vegas is very different. I now have time to enjoy life more, to spend time with my friends and relax. * * * TUMELO “MICHAEL" MOLOI | Johannesburg Gumboots, Pantsula, and Tap dancing Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? 7th All Africa Games promotion 1999; Vita Dance Umbrella Awards 1997-2000; Toured in Europe 2001-2006 (France, Belgium, London, Germany & Sweden) Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND? I was with Via Katlehong for more than 10 years choreographing, teaching and dancing with the company. Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? I joined Cirque in December 2006. I was only in Montreal for one week before moving to Las Vegas. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? I was performing in a festival in France where I was discovered by Cirque du Soleil, and that lead to an audition in South Africa. Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION? I found the audition easy because I only had to do what I have been doing for many years. The training was difficult but exciting at the same time. Q. HOW DID YOUR INTEGRATION GO? It was hard at first to work with a group of dancers who all had such different skills but my transition was made simpler by working with lovely and talented artists like Natasha Jean-Bart (Lady Madonna in LOVE). Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? Cirque gives their artists freedom to explore and expand in many different ways; the art and culture of the company is great for me. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? I really like working with all the different people and learning what they do. Also, I like the security of having my first long- term contract and all the great benefits Cirque provides. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? Interestingly, I’ve found that I have actually developed more as a performer than as a dancer. I’m happy to say that I get to do what I’ve been doing all my life, but now I get to do it the Cirque way. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? To be a part of Cirque du Soleil is not only fun on stage but also outside of work. Q. HOW IS LIFE IN LAS VEGAS? Life in Vegas can be crazy and a little confusing at times because there is so much going on in one small town, but that is also what makes it fun and exciting! Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US? Let’s keep the spirit of art burning with passion and love! Togetherness is magic, one love! * * * VANESSA CONVERY | Canada Dance Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? I danced for the Pope in front of 40,000 people and for Kings and Queens all over the world. Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND? I trained as a classical ballet dancer, graduated from the Royal Winnipeg Ballet and joined the National Ballet of Canada. I also trained in modern, jazz, and hip-hop and taught each of these disciplines around the world. Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? I joined in 2003 for the creation of ZUMANITY. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? A friend brought me to the audition for ZUMANITY. Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION? I had great time; they paired with a partner and asked us to improvise a sensual pas-de-deux. On Dec. 24, 2002 I received a phone call telling me that I got the job… I was overjoyed! Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW? As I was part of the entire creation process, my integration was very natural. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? ZUMANITY is fantastic because it’s based on our actual characters. My role was created based on my sensual and sexy personality, and then amplified to the nth degree. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? I love expressing myself on stage and through my dance; I get to be a larger than life personality. Seeing the audience truly being touched and embracing their journey as they leave has inspired me throughout my career here. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? It was a transition that one needs to adapt to – it’s never easy performing 474 shows per year. There is a lot of hard work and you definitely have to be dedicated to your craft, but the rewards are so sweet. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? The stability is nice and knowing when and where your next gig is also a good thing. It’s a great company with great benefits and post career opportunities. They really encourage you to step out of your comfort zone and to continually grow. Q. HOW IS LIFE IN LAS VEGAS? Life in Las Vegas is great! I love the weather and all that the city has to offer! Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US? Big KISS! * * * ZARA TELLANDER | Sweden Singing Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING? I did 7 years of full time music studies in Sweden where I completed a Master’s Degree from Gothenburg Music University. After graduating I worked as a freelance singer in different ensembles and as a soloist, as well as working as a singing teacher. On top of performing, I also wrote and arranged music for my ensembles, my students and myself. I have done radio recordings, appeared on TV, did many live gigs and in 1998 I recorded a CD with the vocal trio “Envisa". I have also taken courses in Improv Theatre. In 2000 I took lessons at the “Loose Moose Theatre Summer School" in Calgary, Canada. I also performed with an improv theatre ensemble in Sweden for a couple of years. Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? March 19th 2002 Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? I happened to turn on the TV when the Swedish channel 4 was broadcasting Quidam. I got curious and searched the internet to find out more about the company. I could see they used a live singer and voice-work in the context of circus acts was new to me. So I sent in my demo-CD and six weeks later I got a phone call from casting. Another six weeks after that phone call, I was in Montreal working in the creation of Varekai. Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW? I did five weeks of creation in Montreal, before Varekai had its premiere. It was very hard work, very long hours, and overall quite an overwhelming experience getting used to all the other artists from all over the world, and trying to get a grip of the creation team and of how the show as it was evolving. The creation of a new show is very intense work but I had coaches to help me, which was very helpful. With my second show, “O", I already knew the company so the integration went very smoothly and quickly. The show is older, and everything was prepared for me meticulously. Within a week I was pretty much integrated, roughly speaking. The most touching for me was how the “O" sound guys even called my former head of sound to ask what preferences I had for my monitor mix. This made me feel very, very welcome. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? This is always a balance. Of course I have another kind of freedom to express myself artistically when I sing my own songs in my own context. On the other hand, influences from other artistic views than my own broadens me as an artist. With Cirque there is a show concept to respect, but there is a way of using one’s unique qualities within the show concept. Sometimes it is difficult to judge where that thin line is between “artistic freedom" and “to blend in with the show". Very often the Artistic Team, Bandleader or Composer can be helpful in these situations. For me, whenever I have the need to express myself “completely my way" I sometimes do smaller creative projects on my time off. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? The possibility to travel, learn new things, meet people I never would have met otherwise, to see people master disciplines I never even knew existed, to get to taste food from other cultures, speak other languages, to be influenced and inspired by musicians from China, Senegal, Canada, USA, Poland etc. To work hard together to feed an audience twice a day, push my own limits… many, many different things. When so many different cultures meet I also get to learn a lot about my own culture and about myself. It broadens the perspective and it opens up to interesting conversations, daily. Not to mention the fact that I get to work full-time as a singer! Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? I had a very quick transition. There was very little time to even think. It was a very big change of life. On tour we had great support from one another, since we were all pretty much in the same situation of change. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? Every artist should join Cirque for their own reasons! It is a great possibility to learn a lot…but it also depends on what we are ready to be curious of. I took my final decision based on this thought: “When I get really old… I don’t want to look back on my life and wonder what would have happened if I took that job at that circus…" Q. HOW IS LIFE ON TOUR/IN LAS VEGAS? Life on tour is like being married to 150 people you didn’t choose. We travel as a group and know way too much about each other! On the other hand, as we go from city to city, we know we can trust each other and rely on one another through thick and thin. Life on tour is very dynamic and also very different between the different touring shows. Life in Las Vegas is completely different. The show schedule is planned well ahead, and it is possible to have a more “normal" life, with a home, car, family, hobbies, garden, etc. * * * ZENG JIAO JIAN | China Wushu (Martial Art) Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? I won China’s Sixth National Wushu Championship and was World Wushu Champion. Q. PLEASE TELL US ABOUT YOUR ATHLETIC BACKGROUND? I had twenty years of professional training, was a Beijing Wushu team member and was a Wushu instructor for TNT Wushu Chicago and for the National Wushu Center in Los Angeles. Also, I appeared in MTV’s “The Soon to be Winner" and I was a stunt double for the MGM movie “Warriors of Virtue". Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? November 2003. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? Although I had known about Cirque’s reputation before, I was truly astonished when I saw Mystère. I dreamed of one day being able to perform my Wushu on such a stage and when I heard about KÀ, I said to myself: "My dream will certainly come true." Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION? I passed my audition and before I knew it I was on my way to the dreamy, snowy city of Montreal. Since I joined KÀ as it was initially being created, I did not participate in any training programs or workshops. Q. HOW DID YOUR INTEGRATION GO IN THE SHOW? Joining KÀ as it was being created helped my integration. It has required much hard work but performing always brings me confidence and the applause from audience is the best reward for me. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? Adapting my skills to my character has allowed me to best express both my skills and myself. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? I really like the weekly meeting where all the actors and managers gather like a family. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? When I became an actor in Cirque, I found my background had not prepared me for the bold and very open performance required. Now I find my perspective has widened, my mind is more open and my skills have improved. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? When I recommend Cirque to an artist I tell them that this is the best show in the world, Cirque is a great organization and is a great opportunity. Q. HOW IS LIFE IN LAS VEGAS? I have such a good life in Las Vegas. Since I moved here I bought a house, married my dream girl Zula (she’s also an artist in KÀ!) and pretty soon our first baby will be born. Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US? Time + Opportunity + Effort = Success # # # To make an artist for one of Cirque’s productions, it takes a talented individual who is open to new experiences – and veterans who can guide the way through those new experiences. Cirque du Soleil has assembled some of the most well-known and respected collaborators in their fields – coaches, choreographers, creators, composers and others – to help artists achieve their goals. And through a series of interviews on their casting website, we'll meet some of them. Like the “Meet the Artist” series of Q&A’s we've recently concluded, the “Meet a Mentor” set are equally fascinating reads – even more so! We’ve collected all 11 mentor interviews for you to peruse in this series, which, due to the page count, we’ll publish in three parts, beginning next issue. See you then! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 17, Number 2 (Issue #157) - February 2017 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2017 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. { Feb.04.2017 } =======================================================================