======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 4 April 2017 ISSUE #159 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * VOLTA PRESS CONFERENCE * * * On Tuesday, April 4th, Cirque du Soleil unveiled a bit of VOLTA to the press, holding the show's press conference in the new big top on the quays of the Old Port of Montreal, but doing so in an interesting way: via Instagram. Much of their initial presentation is no longer available, but a number of enterprising attendees put up videos and pictures from the event on their Instagram pages, which you can check out here: o) https://www.instagram.com/p/BSd8yVoBAaC/ o) https://www.instagram.com/p/BSd927fFM8c/ o) https://www.instagram.com/p/BSd-HwflWF5/ o) https://www.instagram.com/p/BSd-WC_B86h/ o) https://www.instagram.com/p/BSd_ADnl_GD/ o) https://www.instagram.com/p/BSd_I28FY5e/ o) https://www.instagram.com/p/BSd9D85FatU/ A few even put together montage videos on YouTube, like this one < https://youtu.be/qUC6Qr-asak > from Cirque Vault. Even Cirque du Soleil got into the act (no pun intended), releasing a video of their own, which you can find here < https://goo.gl/7EEDBC >. And there's already been one article about the press conference, from Brendan Kelly of the Montreal Gazette. He calls VOLTA the "next generation Cirque du Soleil." Here's what else he had to say: The latest Cirque show was created by Bastien Alexandre and Jean Guibert. At the press preview of the show Tuesday morning, Jean- François Bouchard — head of the creative department at the Cirque du Soleil — described the duo as “deux jeunes du Cirque” (two young people from the Cirque). But in an interview after the preview, Alexandre, the show’s writer-director, and Guibert, its creative director, both noted that they’ve actually been with the Cirque for quite a few years. Alexandre began working as a concept artist with the Montreal circus in 2001 and Guibert has been on staff for a decade, mainly working in branding and advertising. But there is no question, judging from what we saw Tuesday, that Alexandre and Guibert have brought a breath of fresh air to the Cirque. The first number features a madcap game show called Quid Pro Quo, and the scene soon segues into an acrobatic rope-skipping routine, with single rope and double Dutch sequences. The next number is a pas de deux with a traditional ballet dancer and a guy pulling off some eye- popping flatland BMX moves on his bike (almost like break-dancing on a bike). The final number presented in the preview was a full-scale BMX showcase, with bikers whizzing up and down giant ramps and flying through the air. Guibert and Alexandre thought it would be a blast to give a BMX flavour to a Cirque show. “We fell in love with the culture, more than the disciplines themselves,” Guibert said. “The culture of extreme sports is all about inventing rules and not following rules. That’s been in our guidance in the creative process — how much we can challenge our Cirque rules and push the limits even further.” “Everybody knows action sports,” Alexandre added. “So how can we bring that to the Cirque world and use it narratively to tell a story and touch people.” It’s something quite different for the Cirque, but they weren’t overly worried about alienating the core Cirque audience. “We were happy to promote something with a little edge,” Alexandre said. “We feel the Cirque audience is broad enough and savvy enough to embrace it. But we’ve kept a lot of the DNA of the Cirque du Soleil.” Bouchard noted that this is the 41st Cirque show and that the Montreal-based performing-arts giant has to constantly re-invent itself. “It’s about always bringing something new,” Bouchard said. “That’s a law for us. The planet evolves and we evolve. And we make the extreme sports theatrical in our own fashion. We have to give a personality to every show.” The narrative of Volta revolves around Waz, a popular game-show host who has lost his identity in his relentless quest for fortune and fame. Part of the story focuses on Waz going back through his childhood memories to try to give meaning to his life. “The (theme) is to shed your fear … finding your true self and being able to promote that to the world,” Alexandre said. Guibert added: “It’s about embracing differences, celebrating differences. Today, more than ever, this theme is extremely relevant, and we’re happy to give people a chance to reflect on this.” You can read the original article here: < https://goo.gl/iGgz7w > * * * A COUPLE OF INTERESTING PASSAGES * * * Whether it’s for a a brand new concept gearing up to tour the world, or a new partnership ready to kick-off, Cirque du Soleil is constantly in the news. And never more so now on their home turf in La Presse. Earlier this month a series of article blurbs were shared from La Presse's new online presence - LaPress+ - and while the articles are written in French, two pieces I translated via Goolge Translate stand out. 1) Cirque's conquest [of China] will begin with the presentation of KOOZA on October 1st in Shanghai then tour Beijing and five other cities. TORUK, which was to be presented this year, was pushed back to the end of 2018. But the centerpiece is the permanent show to be presented in Hangzhou in 2018 in an 1800 seat theater currently under construction. The show, staged by Hugo Bélanger (Théâtre Tout à Trac), is already very advanced, said Lamarre. "It will be a Western-themed show that meets China, so it's a bit of a meeting of international culture and Chinese culture." Cirque du Soleil posted a couple of casting notices with regards to the Hangzhou show recently. Seems Cirque du Soleil is looking for a middle-aged Caucasian singer with acting skills to play the role of a king AND a middle-aged female singer of Asian heritage with acting skills to play the role of an empress. Training and rehearsal is from March 26 to June 19, 2018, starting in Hangzhou on July 2, 2018, and with a soft-premiere in November 2018! 2) [On Paramour] "As we speak, we are looking for another theater in New York and we have a very advanced discussion to produce it in Hamburg. "If we find another theater in New York," he added, “We can create a second distribution of Paramour, which was the goal from the start. " Check out the original article here: < https://goo.gl/4mUz4X >. * * * PARAMOUR BEGINS FINAL STRETCH OF PERFORMANCES * * * Cirque du Soleil Theatrical's smash production of Paramour, the organization's first show created specifically for Broadway, begins its final stretch of performances this month before it must vacate for Harry Potter and the Cursed Child. According to Broadway World, "in one year, Paramour has thrilled over 500,000 audience members, more than any other show of the 2016-2017 season and celebrated the Broadway debuts of over 70 members of the cast and creative team representing 16 different countries, spanning five continents." The production features at least 15 different circus arts disciplines, many of which have never appeared on Broadway. The disciplines cover aerial strap artists, Banquine, Chinese pole, contortion, Cyr wheel, hand to hand, hand to trapeze, juggling, lyra, Russian bar, Spanish web, teeterboard, tumbling, trampoline, and trapeze. And the show is still pulling in the dough... Week This Week Potential Difference Seats % Cap Ending Gross Grosses in Dollars Sold ------------------------------------------------------------------ 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 $1,544,604.00 -$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% 05-Feb $662,145.25 $1,515,054.00 -$273,659.00 9,107 68.62% 12-Feb $667,758.25 $1,515,054.00 $5,613.00 8,692 65.49% 19-Feb $1,119,906.75 $1,748,376.00 $452,148.50 13,691 90.26% 26-Feb $878,719.75 $1,544,604.00 -$241,187.00 11,239 84.68% 05-Mar $769,249.75 $1,748,376.00 -$109,470.00 10,754 70.90% 12-Mar $824,504.50 $1,748,376.00 $55,254.75 11,352 74.84% 19-Mar $908.801.55 $1,748,376.00 $84,297.05 12,277 80.94% 26-Mar $921,604.25 $1,748,376.00 $12,802.70 12,086 79.68% 02-Apr $837,809.54 $1,748,376.00 -$83,794.71 11,057 72.90% 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 * "SEP7IMO DIA – NO DESCANSARÉ: Inside the Realm of Soda Stereo" A Special to the Fascination! Newsletter * "We're Off and Running - A Series of Classic Critiques" Part 0 of 16: An Introduction By: Ricky Russo - Atlanta, Georgia (USA) * "A Review of One Night for One Drop 5" By: Robin Leach, Las Vegas Review-Journal A Special to the Fascination! Newsletter * "Casting Q&A's - Meet a Mentor, Part 2 of 3" Edited By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE -- General News & Highlights --------------------------------------------------- Cirque du Soleil, Crayola Experience team up for a month {Mar.01.2017} ------------------------------------------------------- Crayola Experience and Cirque du Soleil’s “La Nouba” are teaming up for a month at the Florida Mall attraction. Cirque Month Presented by La Nouba begins Saturday and runs through March 31. Visitors will be able to create “La Nouba” masks and airplanes, have faces painted and watch acrobats and musicians from the show in exclusive performances. “At the heart of Crayola Experience and ‘La Nouba’ is a strong sense of creative wonder and play, which makes the combination of the brands both effortless and very exciting,” said Jackie Vasquez, Crayola Experience’s marketing manager. On Saturday, participants can get an up-close-and-personal look at an assortment of “La Nouba” costumes and props. Visitors also can enter to win show Cirque du Soleil tickets at the adjacent Crayola Store. “La Nouba” and Cirque have been ensconced at Walt Disney World since late 1998. The show is produced in a standalone theater at Disney Springs. Cirque Month activities are included in regular Crayola Experience admission. Tickets are $18.99 online, $22.99 at the door. (Visitors under the age of 3 get in free.) For tickets, hours and info, go to CrayolaExperience.com. { SOURCE: Orlando Sentinel } Y&R Reminds Us That Cirque Performers Are People, Too {Mar.06.2017} ------------------------------------------------------- Have you ever wondered how the insanely talented performers who make up Cirque Du Soleil spend their down time when not getting new tattoos and exotic piercings? Agency of record Y&R gets right down to it in a new campaign promoting the French-speaking Canadian group’s popular Las Vegas shows O, Zumanity and KA. “Locals” positions these individuals as exactly that: dedicated artists who have to take a few minutes to attend to more pedestrian concerns near their suburban Vegas homes. KA star Barri, a Welsh dude who used to be a WWE wrestler, loves to stop by his local coffee shop for what looks like an espresso and a cupcake. VIDEO /// < https://youtu.be/sOmlfKqgq1g > Acrobat Marina is very particular about her outfits … and her dry cleaning. VIDEO /// < https://youtu.be/h-lNIU6MCeU > Finally, Yulia Korosteleva waters her lawn before heading to work to deal with “dancing zebras and a human torch.” VIDEO /// < https://youtu.be/pmjEPLk-PFY > VP, group creative director Nathalie Brown, who came up with the concept, wrote: “We wanted to represent the multiple sides of these artists: as amazing Cirque performers from some of the greatest shows in the world, but also as every day Las Vegas residents. The ads bring to life their extraordinary feats in contrast to their everyday errands, and really highlights the personality of Cirque du Soleil.” Beyond these fifteen second commercials, the campaign also includes outdoor, digital and the print ads, which you can see here: < http://www.cirquefascination.com/?p=9784 > CREDITS FOR CIRQUE DU SOLEIL Chief Marketing and Experience Officer – Kristina Heney Brand and Marketing Strategy – Thierry Dumoulin Director of Marketing and Public Relations – Lou D’Angeli Senior Marketing Manager – Ninfa Valdez Senior Brand Manager – Charlotte Montminy Director of PR – Ann Paladie Junior Brand Manager– Lina Moussaoui FOR Y&R Chief Creative Officer – Leslie Sims VP, Group Creative Director – Nathalie Brown Head of Design – Hamish Mcarthur CD/Writer – Margot Owett CD/Art Director – Nathalie Brown & Fern Cohen Art Producer – Louisa Gargiulo Art Director – Emily Lahourcade| Copy Writer – Allison Reuben Group Account Director – Caleb Lubarsky Account Supervisor – Kim Reyes Strategist – Ethan Scott PHOTO PRODUCTION Photographer – Russ Quackenbush Photographer Assistant – Heshua Hipp Photography Agent – Jason Eason Producer – Justin Folger Location Manager – Mark Baliant TV PRODUCTION TamTam Films Director/Editor – Alvin Tam Director of Photography – Clayton Moore Production Assistant – Meg Macdonald Production Assistant – Derrick Webber Key Grip – Frank Arant Gaffer – Eric Pool 1st AC – Lynsey Cook { SOURCE: AdWeek/Agency Spy | https://goo.gl/07MCBn } Broadway World Gives PARAMOUR 2 1/2 Stars {Mar.07.2017} ------------------------------------------------------- Disney and Oprah have done it and, critics be damned, Marvel Comics has done it no less spectacularly. So after flirting with tent shows across the Hudson in the Meadowlands and tailoring shows for Madison Square Garden, it was inevitable that Montreal entertainment juggernaut Cirque du Soleil would make their own assault on Broadway, in hopes of a long-running megahit. Looking at what Marvel had done before their abortive leap and what they hadn’t done – music and Vegas – Cirque must have felt that producers of Spiderman had snuck ahead in line. What I’d never seen Cirque do before, though I’d seen theatrical characters and singing in their shows, is either story or language. Interspersed with acrobatics and clowning in Cirque- taculars I’d seen were the most heartfelt gibberish ballads you’ll ever hear. Those gaps Cirque needed to leap over to land in the frontier of a genuine Broadway musical figured to be miniscule when PARAMOUR opened for previews last April, but they’ve proven to be a chasm. The show’s e-program lists Philippe Decouflé as director and conceiver of the show, but despite assurances that PARAMOUR is “written with the utmost respect for the traditions of Broadway, by way of Busby Berkeley,” there’s no professional writer aboard a production team that includes four creatives and 11 designers. Small wonder that the three-character story is fairly well buried in its circus derring-do and Golden Age of Hollywood designs. The most interesting speaking character we encounter is our narrator, AJ, a driven Hollywood producer/director who prowls LA in search of new talent. Jeremy Kushnier attains a sleazy carnival charisma as our mogul host after he finds inspiration at an outré nightclub where he is captivated by Indigo, a chanteuse who performs with her songwriting partner – surrounded by a flying flurry of acrobats. Ruby Lewis as Indigo absorbs some of the exotic allure of her glittery surroundings, and Kushnier’s leering adoration pushes her up another notch as he promises to make her a movie star. Keeping the topics of love and marriage on the back burner, AJ brings the piano player, Joey, along for the ride so Indigo will believe that his motives are purely commercial and artistic. Trouble is, Lewis finds it impossible to shine when saddled with the music by Bob and Bill (forgettable lyrics by Andreas Carlsson), either at the club or in front of the camera. Ryan Vona’s predicament as Joey actually becomes laughable as AJ keeps prying his partner away, making her a star while he languishes in obscurity. The presumption is that Indigo’s true love must be a songwriting genius that AJ is cruelly holding back, telling him over and over that nothing he has written is good enough. But it’s obvious that Cirque’s team couldn’t write a breakthrough song for Joey if they tried. With the story sputtering into clichés on loan from 42nd Street and other showbiz sagas, we find ourselves longing for those famed Cirque acrobats to return and obliterate our principals all they wish. Swinging out from the stage and over the audience, identical twins Andrew and Kevin Atherton are the most compelling of the aerialists, their choreography combining sensuousness, skill, daring, and grace. But they don’t exemplify best what PARAMOUR could be if circus and story and music were truly integrated. That happens near the end when Indigo eludes AJ’s clutches and runs away with Joey – implausibly to the roof of a hotel. Suddenly a chase fantasia breaks out with the reprise of “Everything (The Lovers’ Theme).” Both the hunters and the hunted bounce prodigiously up and down in a dizzying blur. Sometimes they’re perching on the surrounding rooftops, and sometimes they’re walking on the walls in their upward trajectory before plunging down to unseen trampolines. Spectacular, exhilarating silliness. The follow-up text message to the one that links to the e- program rightly asks, “Head still spinning?” before seeking a 1- 10 rating. Mine was 6. { SOURCE: Broadway World | https://goo.gl/Li5WSP } Cirque Resident Shows Division Receives USITT Award {Mar.09.2017} ------------------------------------------------------- The Resident Shows Division of Cirque du Soleil received the Institute’s highest honor, the USITT Award, at USITT 2017. The award recognizes a lifetime contribution to the performing arts and entertainment communities. It was presented at the 2017 Annual Conference & Stage Expo on March 8 in St. Louis, MO. “We understand we are a leader in the industry and to remain a leader in the industry we need to ensure that we are developing the entertainment technicians of tomorrow,” said Kim Scott, Company Manager for The Beatles LOVE by Cirque du Soleil. “The only way to do that is to be involved in the development of those technicians by providing high level education at a cost to students so that they can get these opportunities without breaking the bank.” Jerry Nadal, Senior Vice President of the Resident Show Division of Cirque du Soleil, played an integral part in supporting USITT training, education, and mentoring initiatives. Nadal has been assembling teams that launched these initiatives under his direction and leadership. Nadal has supported the people on the ground and allowed them to have the resources and the leadership support that Cirque du Soleil needed to make these programs successful for the membership. “If we can at least touch one member and make a positive difference in their career, then everything that we’re doing is worthwhile,” Scott said. “To have the institute recognize our company for the time and effort and resources that we give, it means that we’ve been a responsible member of the entertainment industry. We’ve paid it forward; it hasn’t just been for us.” The Elite program has since become a highly popular event providing students and early career professionals with an opportunity to engage industry leading professionals from Cirque du Soleil, through three days of intensive, hands-on training in sound, rigging, automation, projection, and stage management. The Elite program is free to participants, and available exclusively to USITT members. “As much as we want Cirque du Soleil to be the employer of choice, we also want to be a supporter of the entertainment industry as a whole and develop our next generation of colleagues -no matter what company they choose to work for,” Scott said. “That’s the overarching reason why we continue to stay involved with USITT.” USITT, the United States Institute for Theatre Technology, is a national non-profit association for the live entertainment production industry. It provides hands-on learning, mentorship, and networking opportunities for emerging and working professionals in the backstage arts. Its Annual Conference and Stage Expo is the only complete production event in North America, featuring over 250 training sessions and 280 exhibitors of the latest tools and resources for creating live entertainment. More information is available at usitt.org. { SOURCE: Broadway World | https://goo.gl/co2j3J } Cirque Pays Tribute With “Sep7imo Dia” Michel Laprise on Soda Stereo Show Premiere {Mar.10.2017} ------------------------------------------------------- In the early ’80s, when the Soda Stereo trio was looking to complete its formation, musicians such as Ulises Butrón, Richard Coleman and Daniel Melero, among others, tried their luck to see if they could fulfill that coveted fourth role in the band; but it turned out to be impossible for someone else to be incorporated into the group. Not because the band wouldn’t want to, but because it was simply not possible: Their relationship and bond was so esoteric, so impenetrable, that any who tried to join would feel foreign to it. On March 9, with the Buenos Aires premiere of Sép7imo Día – No Descansaré (Seventh Day – I Will Not Rest) — Cirque du Soleil’s tribute to the band formed by the late Gustavo Cerati, Zeta Bosio and Charly Alberti — Luna Park was witness to the unrelenting vigor that their music has. “For the first time, Soda has let someone enter their triangle: you,” a voice said while the stadium was still under the veil of darkness and after, the audience gave Zeta and Charly a standing ovation when they arrived at the venue to watch the show. The event marks the fourth musical tribute from the company, after having worked on music from The Beatles, Michael Jackson and Elvis Presley. There will be 70 shows in the same venue every day until May 14, with tickets already sold out for most of the dates. After closing up in Buenos Aires, the show will be moved to Córdoba and later throughout Latin America. “We invented a new world inspired by their songs and the relationship the group had with its audience,” Michael Laprise, director and writer of the spectacle, told Billboard. And he’s right. It’s the first time in the history of Cirque du Soleil where there is a standing audience that mixes in with the performance of the artists. For example, the bulky tires that carry the acrobats inside traveled in between the crowd, the fish tank where two artists swam in without breathing equipment for the whole act was situated in the general sitting area, and two “bonfires” were built in between people when the Mexican artist Zendra Tabasco — who also had an aerial dance number with a harness that held her by her hair — interpreted “Té para tres.” SODA STEREO SÉP7IMO DÍA IN PICTURES < http://www.cirquefascination.com/?p=9810 > “We never had such a loud sound in Cirque. Generally there are neighbors around the tent, so that limits us a lot. And in Vegas there are older people, so it’s not convenient. But Soda Stereo was known for its loud music, and that’s how this should be. We have studio quality but with the rawness of being live,” explained Laprise. The soundtrack was produced and mixed by Zeta and Charly and co- produced by Adrián Taverna, who also digitalized and restored the original tapes to create new versions of the tracks. Even some drums were re-recorded. Gustavo’s sister, Laura Cerati, was also involved in the production. The show reviewed the majority of the band’s albums without following a fixed timeline and creating a particular scene for each song. They put on display songs like “El séptimo día,” “Cae el sol,” “Planta,” “Picnic en el 4°B,” “Te hacen falta vitaminas,” “Mi novia tiene bíceps,” “Un misil en mi placar,” “Prófugos,” “Crema de estrellas,” “Cuando pase el temblor,” “Luna roja,” “Sobredosis de TV,” “Persiana americana,” “Signos,'” “Un millón de años luz,” “En la ciudad de la furia,” “Primavera 0,” “De música ligera” and “Terapia de amor intensiva.” “It would be a nice moment for you to illuminate the stadium. You’re stars. The whole world is a star,” said the ethereal voice of Gustavo Cerati. It’s the phrase he said in one of the 2007 concerts at the Argentine soccer stadium River Plate, which marked the return of Soda Stereo after a 10-year hiatus. Accompanied by the voices and pictures of the band, the acrobats — 37 people in full makeup and psychedelic costumes — showed off their physical ability on a concave stage that simulated a planet, with screen tricks and excellent lighting, nods to the aesthetics, videos and history of Soda, and interaction with all sorts of elements: harnesses, diabolo, mattresses, rods, cages, mirrors, ropes and even a giant metal flower. If conquering without risk is succeeding without glory, then these artists deserve a rightful and honorable victory: to every dangerous movement was added the difficulty of being choreographed. And even then, in the city of fury, Gustavo Cerati became a part of everybody. Forever. { SOURCE: Billboard | https://goo.gl/xHKTqd } Criss Angel Rushed to the Hosipital! {Mar.12.2017} ------------------------------------------------------- On Friday, March 10th, Criss Angel was rushed to a Vegas ER after passing out during his straight jacket routine, prompting rumors that he had broken his neck. The famous illusionist was performing Mindfreak Live! at the Luxor Hotel, where eye- witnesses say the show was canceled 10 minutes into the opening act... after Criss dangled upside down in a straight jacket and attempted to escape. After spinning in vain for about 2 minutes, he was quickly lowered down and the curtain closed onstage. A representative for Criss told TMZ he did in fact lose onsciousness during his straight jacket routine and was taken to Spring Valley Hospital Medical Center’s emergency room about 4 miles away, evaluated, and later discharged the same night. A statment regarding the incident was released... “Criss Angel routinely performs some of the world’s most dangerous illusions and escapes live on stage. During Friday evening’s performance, while attempting his famed upside down straitjacket escape while suspended by his feet, he lost consciousness. He was lowered to the stage and rushed to the hospital where he was evaluated and released early this morning. He is undergoing additional testing today and while it is not yet certain, it is his hope to return to the stage in his hit show MINDFREAK LIVE at Luxor Las Vegas tonight. He is grateful for the outpouring of love and concern from his fans around the world. Due to Friday’s events, Criss and his son Johnny Crisstopher were unable to attend a previously scheduled appearance at a fundraiser for Make-A-Wish of Southern Nevada Saturday morning. In his absence, a representative of HELP, the non-profit Criss created to find a cure for pediatric cancer, presented Make-A-Wish with a $100,000 donation.” “MindFreak Live!” performances resumed Saturday. “I’m gonna try it again,” Angel texted later. “I’ll give it 100 percent.” An unconfirmed report from a source close to the production suggested that Angel suffered dehydration and suffered what magicians and acrobats call a “head rush.” The 49-year-old headliner has struggled with his straitjacket act before. He suffered a shoulder injury while performing a similar routine above Times Square in New York in October 2013. Angel underwent surgery the following January to repair torn muscles in that shoulder, forcing a 10-week hiatus of his stage show, at the time named “Believe.” Angel prides himself on his fitness, work ethic and durability. Before he was sidelined with his shoulder injury, he had performed more than 2,100 shows over five years without canceling a performance. { SOURCE: Criss Angel, LVRJ } Sép7imo Día – No Descansaré Album Now Available! {Mar.13.2017} ------------------------------------------------------- On March 10, 2017, Columbia Records and Sony Music Entertainment in Argentina released a 21 track companion CD to Cirque du Soleil’s new Soda Stereo spectacular: Sép7imo Día – No Descansaré, which you can purchase on Amazon in three formats: MP3 ($13.99), Audio CD ($16.23), and on Vinyl ($77.60): 01: En el Séptimo Día........... [3:04] 02: Cae el Sol / Planta......... [5:20] 03: Picnic en el 4to B / Te Hacen Falta Vitaminas / Mi Novia Tiene Bíceps....... [6:22] 04: Ella Usó, Un Misil.......... [1:29] 05: Prófugos.................... [4:25] 06: En Remolinos................ [5:00] 07: Planeador................... [2:24] 08: Persiana Americana.......... [3:34] 09: Signos...................... [4:40] 10: Un Millón de Años Luz....... [4:17] 11: Intro Luna Roja............. [2:03] 12: Luna Roja................... [2:37] 13: Crema de Estrellas.......... [1:19] 14: Cuando Pase el Temblor...... [3:48] 15: Hombre al Agua.............. [5:53] 16: Sueles Dejarme Solo......... [0:59] 17: En la Ciudad de la Furia.... [5:21] 18: Efecto Doppler.............. [1:16] 19: Primavera 0................. [4:54] 20: De Música Ligera............ [5:49] 21: Terapia de Amor Intensiva... [3:34] TOTAL RUN TIME: 1:18:08 Purchase the album here: https://www.amazon.com/SEP7IMO-DIA-Soda-Stereo/dp/B06XDTZ2P2/ { SOURCE: Amazon } 45 Degrees Presents: “STONE”, 3rd “Homage” Show {Mar.14.2017} ------------------------------------------------------- 45 Degrees presents the official poster and the title of the second performance of Cirque du Soleil’s “Homage Series” series – STONE – this year a tribute to Luc Plamondon, a French Canadian lyricist who has written for many artists, notably the Québécois singers Bruno Pelletier, Diane Dufresne, Robert Charlebois, Céline Dion, Ginette Reno, Fabienne Thibeault, Martine St. Clair, and Garou, as well as the French singers Julien Clerc, Nicole Croisille and Johnny Hallyday. He is the co-author of a number of musicals. The two most successful are Starmania (music composed by Michel Berger) and Notre-Dame de Paris (music composed by Riccardo Cocciante). CHECK OUT THE POSTER HER: < http://www.cirquefascination.com/?p=9857 > Taking place in the heart of a baroque punk-rock opera universe, in an abandoned parc Belmont background-feel, an Amadeus lookalike and eccentric maestro is hypnotized by a voiceless automaton muse, Lolita, in whom he envisions the incarnation of the perfect voice, the one which will give a heart and soul to his music. As a post-modern queen of this strange park inhabited by timeless and playful characters, this human spirit, captive of her automaton body, will be humanized through musical tableaux fed by multiple contemporary feminine voices, culminating in the unmasking of her own voice. Creative team: o) Daniel Fortin – Executive Director, Creation o) Jean-Guy Legault – Director o) Jean-Phi Goncalves – Musical director and arrangements STONE, imagined by Cirque du Soleil will be presented at Amphithéâtre Cogeco in Trois-Rivieres, QC from July 19, 2017 through August 19, 2017. Tickets from $49 are now available at www.amphitheatrecogeco and at the ticket office of the J.- Antonio-Thompson Hall at 819 -380-9797 or 1-866-416-9797. Valle joins Cirque du Soleil as VP of Sales {Mar.15.2017} ------------------------------------------------------- Starting April 4, Valle will be the VP of sales for Cirque du Soleil based out of Las Vegas. He’ll oversee sales for Cirque’s resident shows in Las Vegas and Orlando. “Cirque du Soleil is a best in class worldwide brand that continues to grow and expand. I look forward to learning, partnering and contributing with their talented team,” he tells Media Moves. “I’ve also always wanted to learn how to do a standing backflip – safely,” he jokes. Valle previously spent five years at Univision, joining the company in 2011 as VP and GM of Univision Radio in Los Angeles, promoted to President of the division soon after. After an internal restructuring, Valle was reassigned in 2015 to a new role as President of Political & Advocacy Sales, quietly exiting Univision last year. Before Univision Radio, Valle spent two years as President and GM of KVEA Telemundo 52, overseeing operations for KWHY-22. From 2002 to 2008 he was VP and GM of Telemundo 39 in Dallas. “I was blessed to spend decades in Spanish-language media,” he says. “The best part is that I was able to work with and learn from talented, devoted and caring people that I now consider my extended family.” { SOURCE: Media Moves | https://goo.gl/eEdggB } 45 DEGREES Presents “REFLEKT” in Astana! {Mar.17.2017} ------------------------------------------------------- “We have prepared a big show especially for EXPO 2017. It is a combination of classical circus and incredible acrobatic feats. The performance will be an emotional journey for the spectators, which they will remember for a long time,” said show director Fernand Rainville. o) TEASER VIDEO: < https://goo.gl/gOkV8j > o) POISTER: < http://www.cirquefascination.com/?p=9904 > o) STAGE VIDEO: < https://vimeo.com/211300987 > The special performance of Cirque du Soleil will be presented from June 16 through September 10, 2017 at EXPO 2017. Overall, there will be 71 performances. The performance was inspired by the main theme of the International Specialized Exhibition — “Future Energy” — and the rich cultural heritage of Kazakhstan. Through the main character of the show, Arman, an archaeologist and hopeful dreamer, the spectators will discover the seven elements: Joy, Success, Wisdom, Well-being, Speed, Height and Growth, and Divine Protection. The music, especially composed for this performance, will reflect the journey across a fantastic world where the past meets the present, together producing a bright future. The stage will be decorated with elements of the city of the future and the architecture of the past. Ritual dances and modern choreography will be combined with one another. Fascinating video projections, laser installations and light graphics will bring landscapes to life. The performance will be highly informative for the spectators, who by the end will return home with a message of how human energy and power can be used to create a sustainable future. { SOURCE: 45 Degrees ] LV Golden Knights & Cirque Enter Partnership {Mar.23.2017} ------------------------------------------------------- Vegas Golden Knights President Kerry Bubolz announced today, March 23, that the team has signed a multi-year partnership with Cirque du Soleil. The partnership will run for three seasons, beginning with the team’s inaugural 2017-2018 season. “Cirque du Soleil is an iconic, worldwide entertainment brand and we are thrilled to partner with them in this capacity,” said Vegas Golden Knights Vice President of Global Partnerships Michael Mungiello. “Cirque du Soleil has had a significant presence in Las Vegas since 1992 and continues to be one of the most popular entertainment options in town. We are always looking for creative ways to enhance the overall fan experience at our home games and this partnership certainly helps advance that objective.” Lou D’Angeli, VP of Marketing and PR for Cirque du Soleil’s Resident Shows Division, said, “We are very excited to be working with the Vegas Golden Knights and to welcome the NHL to Las Vegas. Cirque du Soleil has been a leader in Las Vegas’ live entertainment landscape for nearly three decades, and this partnership will go hand-in-hand with what we do best, providing world-class entertainment that is appealing to diverse audiences.” Under the agreement, Cirque du Soleil becomes a strategic entertainment partner of the Vegas Golden Knights. The multi- year partnership extends through June 2020 and provides Cirque du Soleil with in-bowl branding elements throughout T-Mobile Arena, including dasher board signage, LED ribbon board exposure, digital presence on the VegasGoldenKnights.com homepage and mobile app and various in game features. Additionally, Cirque du Soleil will have four title game nights each season, as four select Golden Knights home games will be designated “Cirque du Soleil” nights. During these game nights, Cirque du Soleil will have LED mesh exposure on the front of T- Mobile Arena, provide intermission entertainment and be involved in a variety of game presentation elements. As a result of the partnership, Golden Knights fans can also expect to see Cirque du Soleil talent perform throughout the year at games and special events. { SOURCE: NHL | https://goo.gl/qQKDo5 } All You Need is Love and Teamwork {Mar.27.2017} ------------------------------------------------------- Sometimes all you need is a Beatles tune to turn your day around. But pair 120 of the Fab Four’s songs with the breathtaking tumbles and turns of 68 performance artists donning 5,800 costume pieces and you’ve got the recipe that has been delighting Las Vegas audiences for over a decade. So when Dr. Nancy Berk got the opportunity to sneak behind the scenes of The Beatles LOVE by Cirque du Soleil, she jumped (but not quite as high as the professionals). Then she did a little twist and shout of her own as she headed to Sin City. There Ms. Berk caught up with Melanie Lalande, artistic director of Cirque du Soleil’s Beatles LOVE. Lalande oversees stage management, coaching, performance medicine and wardrobe. “Pretty much anything artistically that touches the show is what I’m working with,” explains the director who has a dance background and the calm demeanor of someone who has everything under control. Not only is she up to the complicated task, she loves being in the middle of it all. “You know, I love performers. I love their energy. I think that they kind of dedicate their lives to being in front of you guys and taking you away for 90 minutes. And they do it twice a day every day. So I think that’s an interesting way to spend your life and I want to be part of that.” What is one thing that would surprise audiences about The Beatles LOVE rehearsals? “I think that it is fascinating that everything you can do on the stage, I can do off the stage in the training room,” Lalande says. “That is how the training room is set up. So while you see the artists out her [on the main stage rehearsing], they’re also backstage training for it all. So their work ethic is awesome. I mean clearly to get here it has to be, but the facility is set up for that to happen as well. It’s pretty impressive.” A recent “refresh” of the show meant adding new music and details. And with that, came a visit and applause from former Beatles members Sir Paul McCartney and Ringo Starr. “We really tried, especially with the refresh—we tried even more to sort of bring you into the world of the Beatles,” Lalande says. “We really wanted to…make it an immersive experience for you, and give you that feeling like you were going on the journey with them.” The result is a mesmerizing show that touches all of the senses. From sound and color, to astounding acrobatics and beautiful memory-elicitation, The Beatles LOVE is a magical mystery tour that takes audiences into a world of timeless music, revisiting the classics while carving out a spectacular new experience. Leave it to the Beatles to rock our world again. What was it like for Lalande to be on the receiving end of the Beatles seal of approval? “It’s really an awesome responsibility and I don’t take it lightly,” she says. “So I know in my eye and what I am witnessing sort of has a critical presence for continuing their work in the world.” The Beatles LOVE, like so many Cirque du Soleil shows, is the perfect example of teamwork in action. Everyone has to literally have everyone else’s back in order to make the magic happen. Is there a life lesson Lalande thinks we can take from the show and that experience? “That’s a beautiful question,” says the artistic director. “I think that there are many life lessons that you can take from this. But one of the best ones is to trust the moment. And I think that’s what they’re developing—these artists and this audience. They’re trusting the moment together, and that’s why I feel you are so deeply touched by the show.” Open rehearsals are fascinating, but it is the live performance that will make your head spin in the most amazing way. Fans exit the show with beautiful songs on their minds and streamers and pieces of confetti still in their hair (The Beatles LOVE uses 65 pounds of confetti each week.). Some tuck the paper into their pockets— tiny reminders of the moment they dove into an Octopus’s Garden and realized that Strawberry Fields really were forever. { SOURCE: Parade | https://goo.gl/iEByQm } JUST Water Partners with Cirque du Soleil {Mar.29.2017} ------------------------------------------------------- JUST water, the ethically sourced spring water in a paper bottle, has joined the circus – well, sort of. Cirque du Soleil, one of the largest theatrical productions in the world, partnered with JUST to offer the 100% spring water at its North American Big Top touring shows for 2017. JUST water results in 74% less carbon emissions than traditional plastic bottles. JUST water is 100% spring water, responsibly sourced, produced and packaged for improved environmental and social impact. The JUST water bottle is made from 82% renewable resources by using plant-based plastic derived from sugarcane and FSC-certified paper. The JUST water bottle creates up to 74% less greenhouse gas emissions than PET plastic bottles. JUST’s 100% spring water is from the Glens Falls watershed in Upstate New York where water is abundant. An ethical trade revenue partnership with the city of Glens Falls is revitalizing the local community by paying six times the municipal rate for responsible sourcing of less than 3% of its excess water. This appreciable revenue over time helps to upgrade aging water infrastructure, while the business model itself is restoring industry, providing jobs and protecting the watershed. JUST water and Cirque du Soleil share a passion for innovating and doing things better. In 2006, Cirque du Soleil exemplified its commitment to the environment by adopting a proactive sustainability policy throughout the entire organization. “JUST water is a perfect supplier for Cirque because we are both visionary, mission-driven companies charting new territory,” said JUST water co-founder Drew FitzGerald. “People go to Cirque du Soleil to see things out of the ordinary and we want to provide a bottled water option that lives up to that expectation.” Since its launch more than 32 years ago, Cirque has delighted more than 180 million spectators across six continents. JUST water initially partnered up with Cirque in 2016 for their LUZIA and KURIOS – Cabinet of Curiosities shows in Montreal and Boston, respectively. In 2017, JUST water will be sold at the majority of the Cirque du Soleil Big Top touring shows across North American locations. About JUST water - JUST delivers everyday products that are responsibly sourced and made for improved environmental and social impact. A diverse group of impact investors, artists, and members of the science and innovation community came together to form JUST and support the launch of its first product, JUST water. JUST water is 100% spring water ethically sourced from Upstate New York, where water is abundant. The JUST water bottle offers a 74% reduction in CO2 emissions compared to traditional plastic bottles. For more information, please visit www.justwater.com. { SOURCE: BevNet | https://goo.gl/5N7Vxw } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Michel Laprise on Soda Stereo Show Premiere {Mar.03.2017} ------------------------------------------------------- The Cirque du Soleil spectacular Sép7imo Día: No Descansaré premieres March 9 at Buenos Aires’ Luna Park stadium. It’s a huge show: after Sép7imo Día completes a three-month run of 5,000-capacity performances in Soda Stereo’s home town, a fleet of 20 trucks will carry the technical equipment for the tribute to the transcendent Argentine rock band — which includes a custom crafted stage — through Latin America. Five hundred thousand tickets have already been sold (fans bought 50,000 on the first day of sales in August.) More than 25 of the Buenos Aires dates are sold out. Cirque has just announced shows in three Mexican cities late 2017. And U.S. shows have not been confirmed, but are expected. True to the new acrobatic extravaganza’s rock roots, the ticket offerings include standing room on the floor — the first time in the history of Cirque du Soleil that part of the audience will be standing, and even at times mixing with with the performing artists. “Soda Stereo was known for loud music,” says Sép7imo Día director and writer Michel Laprise. “And it has to be loud.” The show’s soundtrack of Soda songs was produced and remixed from original masters by band members Charly Alberti and Zeta Bosio. Soda frontman Gustavo Cerati, a legend throughout Latin America, passed away in 2014. “I never met Gustavo Cerati but I think of him everyday,” Laprise, a Cirque veteran who also designed Madonna’s MDNA tour, said during a recent phone conversation from Buenos Aires. Laprise talked to Billboard about creating a show inspired by the recollections of those who witnessed the band’s rise in the 1980s and by input from the trio’s subsequent generations of fans. While he refers to Sép7imo Día as a “surprise party” that will remain a secret until next week, he revealed some details about the event that’s incredibly anticipated in Buenos Aires and beyond. Q. What people will the audience see when the lights go up in Buenos Aires on March 9? Soda Stereo’s songs are very metaphorical. You’re not going to see a documentary on stage about Soda Stereo: we invented a complete world based on the songs. The prologue goes back in time, but then we go to 2007. We pick up the journey of Soda Stereo where it stopped in 2007, and then we continue. It’s a show that’s based on the musical exploration of relationships, the relationships that people have with music and the band. We want to create a collective hallucination that’s visual and also vibrational. To me the relationship with music is so important and I am obsessed with it in this show. The visual part has to feel like music. At this point, it’s still like a big surprise party for our friends. Q. You are a Cirque du Soleil veteran and you’ve worked with Madonna. But you are not a rock en español fanatic and you weren’t familiar with Soda Stereo before signing on to direct this show. What was your approach? Within days of starting the project, the first thing I wanted to do was to go to Buenos Aires. I wanted to see where they grew up and where they performed. I was asking people in the streets, taxi drivers, everyone, about Soda Stereo. And people were saying, “Soda’s music is the soundtrack of my life.” The relationship people have with their music is very deep and very emotional. And that really helped me give me the essence of this project. Very often, you have such a deep relationship with music when you are around 16 or 17. There is that moment when you realize that things go wrong in a society and you want to change the world. Rock was and is feared by the political system; it’s the music of progress and change, and a lot of joy. Soda Stereo arrived right after the dictatorship [in Argentina]. They were on the cusp of the wave of self-expression, of freedom. There could not be better timing for this than now. Q. How is that essence of the music expressed on stage? The presence of acrobats on stage is stronger than any other art. You take risk. There is an element of concentration and also your relationship to the environment is very special. It’s a perfect match with the music. It’s a show about music. We are doing it at night, and it’s so loud. We’ve never had such a strong sound. Usually when we do a show we have neighbors around the tent so we can’t push so hard. And in Vegas, older people, so no. But Soda Stereo was known for loud music. And it has to be loud. We have the quality of when you record in the studio but the feeling of live music. It was a lot, a lot of work for [Soda members] Charly and Zeta, and I’m so proud of the sound that they created. It feels like a live show, but polished like in a studio. I’m very proud of the sound; it’s very strong, it’s very physical. Q. Soda Stereo’s fans also influenced the making of Sep7imo Día. How did that work? It was very important that we be humble about the fact that when we started this we were not experts. It was important for the show to connect with the fans. We started Facebook Live sessions every month. There were 7-8,000 joining at first; then we had 80,000 people in one session. We met with the fans through the whole creation process. We opened the door of the [Cirque] creation room for the first time ever. They were so involved. Some people made a painting and sent it to me, they did photos, they wrote poems. What people were sending about their wishes or feelings allowed me to take the pulse of the band. I showed the results to the creation team and they said, ‘this is the show we’re making.’ This was not a marketing thing, it was about the creation of the project. Q. Gustavo Cerati died in 2014. In a symbolic way, this show marks his return to the public. How would you say he is present in the production? I never met Gustavo Cerati, but I think of him every day. I think his spirit is there. It’s not like a tribute, but at the same time I did not ignore [his death]. I really embraced the fact that he’s not there. At times in the show we acknowledge that he’s not there. But the great thing about artists is that they are eternal. And this show is about that too – music is eternal. And music is a very powerful thing. Everyone is working very hard, harder than usual. I don’t think [with Cirque] we’ve worked this intensely before. But people have been waiting ten years for something from Soda, so we have to make it work. { SOURCE: Billboard | https://goo.gl/oTy2kR } Fabrice Lemire on Working with James Cameron {Mar.10.2017} ------------------------------------------------------- Thirty-three years after its start in Montreal, it is now a new normal to see the colorfully acrobatic, atmospheric Cirque du Soleil and its multitude of themed productions. They occur so often, you can throw a rock and hit one. The plan, then, is to make them unique, with potential new partnerships like in the case of “Toruk: The First Flight,” which is based on the James Cameron film “Avatar.” Along with “Toruk” being the first time that a Cirque show is inspired by a movie, it is also the first time that the troupe has followed a narrative storyline with speaking parts for its main characters. Paris-born Cirque Artistic Director Fabrice Lemire worked directly with Cameron and his Lightstorm production company to bring the blue Na’vi world to life on the stage. Q. Who comes up with the names for Cirque shows and must they always top the flourishing grandeur of the last big show? We do have a fine marketing department who, when a subject comes to the table, must find a great name. There was a lot of development here. We are not doing stage work that comes directly from “Avatar” so we can’t use that. We are however “inspired by,” so that we can say. The Toruk is that large flying character that we see in the film. The main character bonded with one of those creatures, as did five other Na’vis. We are concentrating on the first one that a Na’vi could mount. Q. This is the first time Cirque du Soleil has ever constructed or followed a distinct narrative. What specifically is that narrative? It is the first time that we have collaborated with such ... organizations as Cameron’s, so with that, we could develop a new form of creativity, an opportunity for the company to fully design a concept rather than leave so much space for the audience to fill in the blanks. Usually an acrobatic fete drives the story — supports an emotion. Now they support the narration, as does the projections which makes the whole show feel like a film. Why not explore a new direction with a partner such as Cameron? Especially since there are messages regarding acceptance, respect and diversity — to not fear the unknown. Q. What big adjustments did you have to make to your artistic direction given this is the first time you’ve been inspired by a film? Thirty years ago we came to the scene as something different and innovative — a circus without animals, a showcase of emotion and movement. We are still active and present and have a chance to reconnect ourselves with new technology and continued innovation. On the creative side of things, you have to renew yourself — reinvigorate the vision. James Cameron allowed us to open up new aesthetic horizons. More so than ever, lighting and projections drive this show. Q. Why did Cirque du Soleil pick “Avatar”? How does James Cameron’s vision fit with that of your company? About eight years ago, Cirque co-founder Guy Laliberte met Cameron at a party, where he said he was very inspired by our work for his films. The subject of collaboration came up. Now, here we are. He is currently developing three or four prequels and sequels to his “Avatar” vision, so the timing was perfect. We have to understand the territory we are dancing on, while staying in alignment with his vision. We picked on him because his message resonated with us — protecting the earth, tolerance and caring for each other. As we see and hear the news, these issues are crucial for us to move mountains together. { SOURCE: Metro US | https://goo.gl/acXa2F } Aussie Laura Kmetko Still Leaping For Joy {Mar.11.2017} ------------------------------------------------------- The flags of 18 countries fly outside the swirling blue and yellow ‘Kooza’ bigtop at Flemington racecourse, one for every nationality represented in Cirque du Soleil’s cast. The Australian flag waves proudly among them thanks to the one and only local performer in the troupe, teeterboard flyer Laura Kmetko. Melbourne born and bred, Kmetko is enjoying a rare experience for a touring circus performer: a stint working in her home town. “I love being back in Melbourne,” she said. “It’s great seeing family and going to my favourite places to eat.” There’s little time to play tour guide for her coworkers, however. The cast maintains a gruelling training regime around its performing schedule, which can take in up to ten performances a week. “You have to be very passionate about what you’re doing,” Kmetko said. “It’s a lot of long hours.” “I come into the tent at lunchtime every single day; I like to eat here and get ready for my training sessions. We have a team that trains together twice a week for about two hours. And on top of that, Pilates sessions [and] boxing for cardio.” “I like to do my own training in aerial silks and handstand contortion and keep up my other disciplines, so I’m basically training in my own hours.” As a teeterboard flyer, Kmetko performs some incredible aerial acrobatics. At one point she is launched into the air, flips and then lands in the splits, caught by two men who are themselves standing on the shoulders of two others. It’s an impressive feat, one made possible through a lifetime of dedication and training. “I started in ballet when I was six years old and I did gymnastics from eight to 18,” she said, “I did elite gymnastics with the Victoria Institute of Sport and I did circus arts for three years at the National Institute of Circus Arts in Prahran as well.” “Everything I’ve learnt along the way – from ballet to choreography, to the artistic side, the expressive side of circus – has built to this point.” As spectacular as the show is, day-to-day life is far from glamourous. Cast and crew spend most of their time in a sprawling tent village made up of training facilities, gym equipment, office space and a dining hall, all of which have sprung up out of the dozens of empty shipping containers that litter the site. Running away to join the circus may sound romantic, but the intensity of training, performing and living out of a suitcase can take its toll. “Of course it can be exhausting,” says Kmetko. “But thats what it takes to do what you love. When you wake up every morning and think ‘this is incredible, I get to go and do two circus shows today, that’s my job’ … it’s awesome.” { SOURCE: Sydney Morning Herald | https://goo.gl/sVlLgE } Meet Paul Butler, Kooza’s Drummer {Mar.17.2017} ------------------------------------------------------- All Paul Butler wanted to be while growing up in Adelaide was a rock star. Now he travels the world living another dream – playing drums for Cirque du Soleil. “When I was in high school my teacher suggested I broaden my horizons,” Butler said. “He got me into studying percussion, which took me to studying classical percussion at university and was a big step in making me a more diverse player and thinking outside the box. The percussion department was right next to the jazz department, so I spent my time between the classical percussion course and hanging out with the jazz guys and playing with them whenever I could, and then doing pop gigs on the side. In a town like Adelaide, if you pigeonhole yourself into one thing you might not get enough work. Being able to say yes when the phone rang to one thing led to another and another.” Butler said he saw three options when pursuing a full-time job in his field – joining an orchestra, touring in a music theatre production (he worked on The Sound of Music) or joining Cirque du Soleil. A trip to Las Vegas five years ago put him in contact with the percussionist on Cirque du Soleil resident show O and he was hooked. Fate stepped in shortly after when a percussionist friend on Cirque production Corteo contacted Butler to say he was moving across to another Cirque show, Kooza. Butler auditioned and not only replaced him in Corteo but continued to follow in his footsteps by recently joining the cast of the high-energy Kooza during the Australian tour. “Like most Cirque shows, Kooza has a world music influence,” he said. “There are some Indian rhythms and then pop and funk music as well, so it’s a great mix and fun to play.” Butler, who performs a drum solo during the second act, said he loved his bird’s eye view from the band’s position at the top of Kooza’s travelling tower called the Bataclan. “We’re at the level where the performers are when they’re flying up in the air,” he said. “It’s crazy to think I’m in my comfort zone on the same level while they’re up there.” Butler said his fellow cirque performers had inspired him to try the odd circus skill, but when handstand practice started to hurt his hand he decided to protect his livelihood. Instead he works on how to speak the various languages spoken by his cast mates. “I learn how to order a beer and ask where the bathroom is,” he said. { SOURCE: Tanya MacNaughton | https://goo.gl/6MBi5T } --------------------------------------------------- CirqueTech -- The Technical Side of Cirque --------------------------------------------------- Underwater magic: Hidden tech behind Cirque’s ‘O’ {Mar.16.2017} ------------------------------------------------------- There’s something eerie about seeing 1.5 million gallons of water up close. I’m standing in the dark — 17 feet underground — pressed up against a massive tank while swimmers and divers glide in and out of view. Down here, I feel a long way from the noisy Las Vegas strip. This tank is arguably one of the most famous attractions in Vegas. Ten times a week for the last 18 years, swimmers, acrobats, high divers and contortionists have been diving into this water and skating across its surface as part of Cirque du Soleil’s water-themed show, “O.” As a mad theatre nerd, this show is my Xanadu (the place, not the theatrical production). But going behind the scenes I could see just how much work and technological wizardry goes into putting this show on every night. From the hydraulic stage that drops away to reveal a 17-foot deep pool to the countless set pieces that move around high above stage, all automated to within a fraction of a second, “O” is a technical marvel. DISAPPEARING ACT Before “O” opened to the public in October 1998, Cirque du Soleil was already well known for its epic productions and unique staging. But the construction of the Bellagio casino in Las Vegas in the late ’90s presented a new opportunity: a custom-built theatre and a blank slate. So what do you do when you build in Vegas? You start with a pool, of course. And if you’re going to do a water show, why not do it with a 1.5 million gallon tank? Even with all this water — “O” takes its name from the French word for water, “eau” — Cirque still needed a stage. But unless Cirque wanted to build a pirate ship (and Vegas already had plenty of steamy, pirate-themed shows of varying quality), it needed something better than wood. The “O” stage is made of Mondo flooring (the kind you find at track meets) and is actually separated into four parts, each set atop four massive scissor lifts. The lifts can quickly and smoothly drop from inches above water to the bottom of the pool 17 feet below, deep enough for a high diver to jump in from 60 feet in the air. In the bowels of the theatre, it all seems so effortless as this hulking stage slips down into the pool, water passing through thousands of holes drilled across the surface. Sitting in the audience, the effect is mesmerizing: Clowns walk on solid ground one minute, and the next, an acrobat is seemingly walking on water or a high diver is disappearing into the blue. While a dive from 60 feet is death defying enough, it’s hard to imagine how Cirque could have created any more challenges with the staging of the show. But backstage, safety is everywhere you look. You can even hear it, underneath the theatre on the dry side of the tank — a beeping sound, like sonar, that signals the stage is moving and warns stray divers to get out of the pool. With 18 years under its belt, it’s clear that Cirque leaves nothing to chance. BENEATH THE SURFACE Watching the “O” team in action is a theatre buff’s dream. Techies harnessed 110 feet above the stage rig high wires and set up ladders for high divers. Swimmers flit backstage to make their next cue. Safety divers wait in the pool behind the curtains, looking like stagehands but in scuba gear. The cast and crew numbers are huge. There are 75 performers and another 122 technicians who work behind the scenes. Every person in the crew (except the 27-person team in wardrobe) is a certified scuba diver. Fourteen of the divers stay in the water during the entire show, doing normal backstage duties like moving props and keeping performers alive. If you’ve seen “O,” you’ll remember the bevy of synchronized swimmers who open the show, performing an intricate and perfectly timed routine using nothing but their feet to dip in and out of the water. These swimmers spend roughly 90 seconds underwater, but even the Olympic swimmers in the cast can’t stay under for that long. So the divers are on hand in the pool with a massive labyrinth of air hoses and regulators for each performer, keeping them breathing safely underwater and maintaining the illusion on the surface. The music from the show’s live 10-piece band plays through underwater speakers so performers can keep time underwater, while two of the divers also wear full face masks so they can maintain constant communication with the lighting booth at the very top of the theatre. As a result, the performers above and below the water are in perfect unison, while the divers can talk from inside the pool with the techies sitting in the rafters. You won’t find that in “Hamilton.” TOTAL CONTROL Going behind the scenes, you get a sense of just how many moving parts there are in “O.” With 75 performers hanging from aerial hoops, swinging metal frames and giant carousel horses, Cirque has its hands full with staging, cues and technical requirements. Add in the fact that performers have come and gone during the 18-year run and that each new performer needs to slot into the show without skipping a beat, it makes sense for every element of this complicated performance to be automated. The entire show is run through two automation consoles in the lighting booth that control virtually every element of the production apart from the performers themselves. The moving stage and set, the lighting cues, the rotating mechanical carousel that supports the aerial performers high above the stage and the piano that sinks below the water at the end of the show — all these elements are viewed on a series of screens in the lighting booth. Combined with cameras that give the crew multiple views of the backstage areas, the whole setup is kind of like a high-tech Bond lair, rather than a theatre. It’s certainly a long way from the lighting booth at your local amateur rep. But we’d expect nothing less from one of the biggest touring production companies in the world. I remember watching “O” many years ago on my first trip to Vegas. Even in the good seats that I somehow snagged up front, none of the hard work behind the show was visible. I didn’t see the crew watching over the high divers from 110 feet. I didn’t see the safety divers on standby to give a breath of air underwater. I didn’t see the giant automated carousel that spirited carousel horses in from above, or the wardrobe team busy at work deep under the stage, getting the performers ready for the show. All I saw were perfectly synchronized feet flitting around above the water. But that’s the perfect magic trick: a touch of misdirection and an effortless reveal, all hiding the hard work going on behind the scenes. { SOURCE: C-NET | https://goo.gl/q5ljnS } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia, Totem & Volta} 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: Vienna, AT -- Mar 9, 2017 to Apr 17, 2017 Rome, IT -- Apr 30, 2017 to May 28, 2017 Sao Paulo, BR -- Early Oct to End Dec, 2017 Rio de Janeiro, BR -- Early 2018 Koozå: Perth, AU -- Apr 13, 2017 to May 28, 2017 Singapore, SG -- Jun 12, 2017 to Aug 13, 2017 Shanghai, CN -- Oct 1, 2017 to TBA China City #2 -- TBA China City #3 -- TBA China City #4 -- TBA China City #5 -- TBA Kurios: Houston, TX -- Apr 6, 2017 to May 21, 2017 Winnipeg, MB — Jun 2, 2017 to Jun 25, 2017 Edmonton, AB -- Jul 20, 2017 to Aug 13, 2017 Portland, OR — Aug 25, 2017 to Oct 8, 2017 Vancouver, BC — Oct 19, 2017 to Dec 31, 2017 Luzia: 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: 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 Madrid, ES -- Nov 10, 2017 to Jan 14, 2018 Seville, ES -- Jan 25, 2018 to Mar 11, 2018 Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018 Munich, DE -- TBA 2018 Port Aventura, ES -- TBA 2018 VOLTA: Montreal, QC -- Apr 20, 2017 to Jul 2, 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: 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 Oslo, NO -- Sep 1, 2017 to Sep 3, 2017 Malmo, SE -- Sep 6, 2017 to Sep 10, 2017 Minsk, BY -- Sep 28, 2017 to Oct 1, 2017 Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017 Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017 TORUK - The First Flight: Taiwan -- Jul 6, 2017 to Jul 18, 2017 Japan -- TBA 2017 Australia -- TBA 2017 New Zealand -- TBA 2017 China -- TBA 2018 OVO: 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 Uniondale, NY -- Jun 28, 2017 to Jul 2, 2017 Brookyln, NY -- Jul 5, 2017 to Jul 9, 2017 Sunrise, FL -- Jul 13, 2017 to Jul 23, 2017 Miami, FL -- Jul 28, 2017 to Jul 30, 2017 Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017 Zurich, CH -- Oct 5, 2017 to Oct 8, 2017 Geneva, CH -- Oct 11, 2017 to Oct 15, 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 Jun 2, 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 May 6 - 10 o July 12 o September 9 - 13 o November 8 Special Performance Dates: 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 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 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 *** CLOSING DECEMBER 31, 2017 *** 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 16, 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 5 - HARRY OWEN - SWISS RINGS In this episode we met Harry, specialist in Swiss Rings! Discover why he left the world of the competition to find his moment of freedom. LINK /// < https://goo.gl/YOwp1q > *) LUZIASELF - THE WEBSERIES LUZIAself is a collection of portraits highlighting the unique stories, passion and dedication of some LUZIA artists. o) EPISODE 6: FOOTBALL DANCE March 1, 2017 In episode 6, LUZIAself with our football player Abou Traore! Find out his story and how he developed these acrobatic football skills. LINK /// < https://youtu.be/cRydVmowUxg > o) EPISODE 7: THE CLOWN March 29, 2017 In episode 7, LUZIAself with our favorite clown Eric! Get to know the man behind that funny character! LINK /// < https://youtu.be/WUkqrLIhZeE > --------------------------------------------------- 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 15 - Jimmy Slonina Interview March 12, 2017 Jimmy Slonina has performed in 4 different Cirque du Soleil shows, as well as toured with international pop star P!NK! Watch episode 15 to find out how Jimmy ended up in the circus, and to learn more about his clown and acting projects! LINK /// < https://youtu.be/oseEXhmYj9g > o) EPISODE 16 - Behind the scenes at OVO April 5, 2017 On this episode of CirqueCast, we bring you a behind-the-scenes look at OVO! Dario visited the Budweiser Events Center in Loveland, CO for a backstage tour, and Jose met up with Russian Cradle artists Camille Santerre and Nansy Damianova at the H-E-B Center in Cedar Park, TX for an exclusive interview! LINK /// < https://youtu.be/gs98ZcJp1kU > *) OTHERS... o) INTERNATIONAL WOMEN'S DAY BY CIRQUE DU SOLEIL March 8, 2017 On this International Women's day, we wish to salute the contribution of women to our success. Here's to celebrating all the women at Cirque du Soleil worldwide. #HerVoiceIsMyVoice LINK /// < https://youtu.be/6vaqM5QtVcc > o) RAISING THE VOLTA BIG TOP March 10, 2017 Cirque du Soleil's latest Big Top show has a new look! Watch the VOLTA show's Big Top raise before your very eyes at the Old Port of Montreal in this step-by-step video of the setup, along with fun facts. LINK /// < https://youtu.be/vrp03yMj4Sk > o) KOOZA 360-DEGREES in MELBOURNE, AUSTRALIA March 12, 2017 Inside the ‘Kooza’ bigtop performers talk us through their acrobatics at Flemington Racecourse in Melbourne, Australia. LINK /// < https://youtu.be/WoMdJSwhgpo > o) VAREKAI AERIAL STRAPS ARTIST MAKEUP APPLICATION March 13, 2017 In this step-by-step makeup application video, watch Cirque du Soleil aerial straps artists, Kyrylo Liannoi and Dmytro Lykov, from the show Varekai get transformed into character. LINK /// < https://youtu.be/OlLLksOHDAk > o) CIRQUE WORKOUTS - PUSHUP EXERCISE March 17, 2017 In this video series, Eric Saintonge gives us training tips to improve our workout sessions. This video focuses on different types of push-ups. Be careful, before starting an exercise program that includes any of these exercises. Please consult your doctor or your personal trainer. LINK /// < https://youtu.be/G4tW8dvF1GU > o) VOLTA ARTISTS SEE THEIR NEW HOME March 23, 2017 Our VOLTA show artists have finally moved to the Big Top and we followed them around on the first day at their new home. Watch their reactions! VOLTA makes its World Premiere at the Old Port of Montreal, Quebec on April 20th, 2017 LINK /// < https://youtu.be/3n0g60g6yuA > o) PARAMOUR ON BROADWAY's RISE TO FAME March 25, 2017 Cirque du Soleil has dazzled audiences the world over and finally came to Broadway with its boldest, most heart-soaring spectacle ever. PARAMOUR spins the thrilling tale of a beautiful young actress forced to choose between love and art in the glamorous world of Golden Age Hollywood. Featuring eye-popping acrobatics and sumptuous music and dance, PARAMOUR is a groundbreaking new event that will transport you to a sublime world of emotion and awe as it walks the exhilarating tightrope of the heart. COME SEE THE BROADWAY MUSICAL IN NEW YORK BEFORE ITS GRAND FINALE APRIL 16, 2017. LINK /// < https://youtu.be/R50SzariCy0 > o) ONE NIGHT FOR ONE DROP 2017 RECAP March 29, 2017 In 2017, we celebrated the 5th edition of One Night for One Drop at the elegant yet intimate Zumanity Theatre at New York-New York Hotel & Casino in Las Vegas. One Night for One Drop is an annual philanthropic event in which Cirque du Soleil cast and crew donate their talent and time to create a unique and breathtaking production for one night only in support of One Drop, an international non-profit organization dedicated to providing access to safe water. This unforgettable production will benefit those without access to safe water around the world as well as local projects in Southern Nevada focusing on innovative educational programs. Red Carpet Guests: Malevo, Guy Laliberté, Daniel Lamarre, Grace VanderWaal, Nigel Lythgoe, Marie Osmond, Lisa Loeb, Carrot Top, Blue Man Group Performers and Acts: William Shatner, Grace VanderWaal, Redfoo, The Tenors, Malevo, Duo Sky Angels, Banquine, Dance Trapeze, Baton, Marionette, Cloud Swing, Pommel Horse, Teeterboard, Aerial Silks, Moving to Mars After party performers: Backstreet Boys, Redfoo & The Party Rock Crew, Sultan & Shepard LINK /// < https://youtu.be/Cnm9_v4wGQU > o) MAKING OF "BRAVURIA" - 45 DEGREES IN MUMBAI Last December, 45 Degrees produced and created two 10 minute performances presented at an Awards Ceremony in Mumbai, India. Here's a sneak peek of this amazing experience. LINK /// < https://youtu.be/4c-qZhaqkMQ > o) SODA STEREO SEPTIMO DIA WORLD PREMIERE April 2, 2017 With over 500,000 tickets sold, and more than 25 Buenos Aires dates sold out, on March 9, 2017, we kicked off the SEP7IMO DIA – NO DESCANSARÉ World Premiere and celebrated the legacy of Soda Stereo! For the first time in the history of Cirque du Soleil, ticket offerings include standing room on the floor. LINK /// < https://youtu.be/L1rGfja22d4 > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "SEP7IMO DIA–NO DESCANSARÉ: Inside the Realm of Soda Stereo" A Special to the Fascination! Newsletter o) "We're Off and Running - A Series of Classic Critiques" Part O: An Introduction" By: Ricky Russo - Atlanta, Georgia (USA) o) "A Review of One Night for One Drop 5" By: Robin Leach, Las Vegas Review-Journal A Special to the Fascination! Newsletter o) "Casting Q&A's - Meet a Mentor, Part 2 of 3" Edited By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "SEP7IMO DIA–NO DESCANSARÉ: Inside the Realm of Soda Stereo" A Special to the Fascination! Newsletter ------------------------------------------------------------ SEP7IMO DIA – NO DESCANSARÉ blends the wonder of Cirque du Soleil with the explosive pop-rock energy of Soda Stereo – Argentina’s musical icons – to immerse spectators in the band’s symbolism and poetry. Much of this iconic band (and the show) is lost to most fans of Cirque du Soleil, and a good portion of people outside of Latin America. We hope the information below will help bring the world of Soda Stereo, and that of Sep7imo Dia - No Descansaré, into better light. THE SODA STEREO ADVENTURE ------------------------- In a breathtaking display of Cirque du Soleil’s signature artistry and physicality, SEP7IMO DIA conjures a world outside of time – a place where emotions ebb and flow like the tide, pulsing to the rhythm of the band’s emblematic songs. A cast of 35 performers take the audience through a series of visual, acrobatic and artistic tableaux that mix breathtaking feats of physical prowess with moments of poetic beauty, using the musical realm of Soda Stereo as a springboard for exploration. Set on a strikingly unconventional stage, SEP7IMO DIA is an ode to the trio’s fiercely innovative artistic approach and musical legacy. The show picks up on the wave of euphoria that Soda Stereo unleashed in Latin America and beyond, and celebrates the iconic band’s deep connection with its fans. A young man named L’Assoiffé, who thirsts for meaning and social justice and dreams of a better world, feels trapped. When he plugs into the music of Soda Stereo, he is whisked away to an inner world and is set free. The music of Soda permeates this inner world, spawning an entire civilization that resonates to the group’s music, poetry, culture and iconography. The inhabitants of this realm become the physical embodiments of the music. After experiencing a series of events and emotions inspired by the lyrics of the songs, L’Assoiffé ultimately realizes that the music we carry in our hearts is as faithful as a true friendship – deep and eternal. The music of legendary rock group Soda Stereo was – and continues to be – the soundtrack of the lives of millions of Latin Americans. The trio formed in 1982 by Gustavo Cerati, Héctor “Zeta” Bosio and Charly Alberti branded into history the sounds of the post-military dictatorship decade of the 1980s, the golden age of Argentine rock. Soda Stereo’s debut was marked by a thirst for change, boldness, irreverence, and great pop hits with a post-punk energy. The band established a strong bond with fans and attained nationwide popularity. Album after album, Soda Stereo continued to reinvent itself with new sounds and new looks largely inspired by the British new wave scene, seducing new generations of fans along the way. The band covered a staggering amount of stylistic ground throughout their career and had a discography that was on par with their British and American peers. Soda Stereo soon became the most popular rock band in Latin America with an influence that extends to nowadays. But for all Soda Stereo’s success, after the toll of years of touring, a last farewell concert tour was announced. Soda Stereo ended at the pinnacle and thanked its fans with the unforgettable phrase “¡Gracias totales!” After a ten-year hiatus that began in 1997, the band reunited for a successful tour with more than one million tickets sold. Unfortunately the euphoria would not last, as the band's frontman, Gustavo Cerati, died in 2014 after lapsing into a coma... and it seemed that would be the end of Soda Stereo. In 2013, Pop Art Music founder Roberto Costa, Pop Art Music CEO Diego Saenz and Soda Stereo Manager Dany Kon approached Cirque du Soleil to create a show based on the band’s music. SEP7IMO DIA – NO DESCANSARÉ comes to life exactly 10 years after the band’s final tour in honor of Gustavo Cerati. SET DESIGN - A PLANET INSPIRED ------------------------------ When show director Michel Laprise visited the childhood home of Soda Stereo frontman Gustavo Cerati and spoke with his mother, he learned that young Gustavo was an avid fan of science fiction. When he later told Zeta and Charly about this revelation, they told him that sci-fi was one of the many passions that united all three of them in the first place. Inspired by this discovery, Michel imagined an entire world that thrived on the energy of Soda Stereo’s music and the deep connection that existed between the band and its fans. The SEP7IMO DIA creative team decided to challenge the notion of a “normal” stage to express the story of the show, therefore, the idea of creating a spherical body in the shape of a planet became the core of the show’s set design – a first at Cirque du Soleil. Revolving around this new world that echoes Soda Stereo’s love for sci-fi, are satellites that move into the “standing room” area of the audience to create a feeling of proximity and total engagement in the constantly changing multimedia-intensive environment. In addition to the normal seating in the stadium, an area is reserved for those SEP7IMO DIA spectators who opt for “standing room” tickets so they can move, groove and dance to the music. This configuration is another way of celebrating the proverbial connection that existed between Soda Stereo and its fans. (Soda Stereo’s massive concerts in their hometown of Buenos Aires were known to have fans jumping up and down in unison to the beat of the music, sweeping everybody up in what is now known as the legendary Soda Stereo audience wave. It was nothing short of exhilarating to watch this movement from the stands and bleachers.) Spectators in “the field” also get an up-close look at some of the action that unfolds right in the audience, such as when musicians gather round a campfire to play music, or when an acrobat performs a mesmerizing hand balancing act on top of a huge flower. The goal is to let the energy flow freely between the artists to the crowd, and vice versa. The SEP7IMO DIA set contains acrobatic and décor elements inspired by Soda Stereo’s music videos and the lyrics of the songs, which die-hard fans will recognize. o) THE WHEELS OF CHILDHOOD — The three futuristic looking rings “orbiting” the planet are vessels symbolizing each of the band members’ boyhood days. These rings are equipped with LED screens along the outer side that tell the story of the three musicians. Early in the show, three umbrellas appear at the center of the large wheels. They are a direct evocation of the three luminous umbrellas on the “Me Veras Volver” album cover, which were also the core set element of the 2007 comeback tour. Through this evocation, it is implied that SEP7IMO DIA picks up where the band left off in 2007. The Childhood Wheels are more than 4 meters tall while the Signos Wheels, which are made of aluminum with a steel cradle, are 5 meters tall. o) THE INNER CORE — Using automated systems powered by four motors on a moving track, the planet also opens up to reveal its inner core. Artists perform on the circular stage, on the floor among the audience, and on the flat surface inside the planet’s core. The portion of the planet that opens up serves as a giant projection surface that becomes a sun or a moon depending on the storyline. o) GIANT MUSHROOMS — The vegetation on the Soda Stereo planet, which feeds on the vibrations of the music, comes in the form of giant mushrooms. The sculptures are skinned with a translucent drop that reveals the interior structure; the scrim doubles up as a projection surface. Translucent atmospheric cloud sculptures above the stage are also used for projections, combined with a giant, semicircle scrim. PROJECTIONS – VISUALIZING THE WORLD ----------------------------------- To echo Soda Stereo’s perpetual rejection of conformity, no “standard” screens are used in the show. All video-projections are delivered on unconventionally shaped and often whimsical surfaces that meld with the décor, whether they are circular, curved or translucent. Most video-projections that evoke the world of SEP7IMO DIA are based on a pictorial and abstract approach, replete with geometrical shapes and “optical art” effects. A great deal of the projected content is created using simple DIY techniques – a style that Soda Stereo was fond of – such as hand-painted images and effects. (There are 14 high-performance video-projectors in the show delivering images taken from or inspired by Soda Stereo’s music videos and photo archives. A tracking system ensures that the projections move in sync with the set pieces on stage. The projection rate is 30 frames per second, and every frame has more than 29 million pixels.) Cameras are used at certain times during the show to focus the audience’s attention on specific performances or characters. The footage is integrated stylistically into the décor or projected in real time on the various projection surfaces to propel the story along. Some visual effects combine live action on stage with images done in trompe-l’oeil. The final scene is a tribute to the fans of Soda Stereo and features archival footage of fans at concerts over the years, played back on the screens above the stage. And in a solemn moment during the PRIMAVERA CERO act, images of fans and of the band members are projected onto the main character using body mapping techniques. The montage was created with images that fans uploaded to the Cirque du Soleil site during the creative process. These images are full-body photos of the fans themselves. COSTUMES – THE FABRIC OF SEP7IMO DIA ------------------------------------ Soda Stereo was formed during a time of political strife in Argentina, and the band’s music brought freshness and vitality to teenagers, and appealed to their desire for freedom. Music often nourishes our inner world – a place where we can take refuge and imagine a better world. For costume designer Dominique Lemieux, the costumes of SEP7IMO DIA are woven from the threads of hope of this younger generation. The world of the show is made of the vibrations and sounds that emanate from the music, like ripples in water, and these vibrations and sounds have made their way into the shapes and volumes of the costumes. For example, the characters Soda and Stereo have speakers jutting out of their stomachs, as if their whole bodies vibrate to the sound of the music. The colors, patterns and textures of the costumes seem like natural expressions of the music. For Dominique, the provocative post-punk fashion styles of the 1980s are often associated with the notion of disguise. Soda Stereo established looks and weird new haircuts, drawing their inspiration from the underground scene in the UK and the rest of Europe. The costumes of SEP7IMO DIA, including the extravagant headdresses, reflect these experimental trends with an added elegance that also borrows from other periods. The characters from the banquine act are called the Grisailles (Greys) and represent the younger generation that is taking its rightful place in society; they all dress the same except for a splash of color that sets them apart and highlights their uniqueness. The Eccentrics, including the characters Soda, Stereo and the Sun Lady, have totally embodied the music of Soda Stereo in the new world; Soda and Stereo’s costumes are extravagant and have soundwave patterns, as if they were the physical incarnation of the music. Working with [Agostina to specify the name of person], Eugenia Palafox, Argentinian wigmaker, Dominique Lemieux designed headdresses using synthetic hair, vinyl and metallic appliqués that either reflect the post-punk fashion of the 1980s and 1990s or mimic sound vibrations. THE CHARACTERS OF SEP7IMO DIA ----------------------------- L’Assoiffé – A young man in his late teens, L’Assoiffé (French for ‘Thirsty Man’), hungers for meaning and social justice. He dreams of a better world and longs for love, friendship and a genuine connection with others. He is an artist and a poet living in a world of oppression reminiscent of Argentina during the military dictatorship. He discovers music as a means of escaping the grim realities of life, but more importantly as a way to connect with others in a meaningful way. For him, music is a source of light, optimism and hope. Soda and Stereo – These two are inhabitants of the world that L’Assoiffé has escaped to, and are there to guide him along. Soda and Stereo have speakers jutting out of their stomachs, as if their whole bodies vibrated to the sounds and music of Soda Stereo ready to be shared with the world. They embody the feminine and masculine sides of Soda Stereo’s music on this world. Grisailles (Greys) – The Grisailles represent the younger generation resolvedly pushing for change. They are fashion conscious and all dress the same. But underneath their dark exterior, they each have their own vibrant colors and bold patterns that reflect their uniqueness and distinct personalities. Lois in Space – This character is a tribute to Alfredo Lois, an old classmate of Gustavo and Zeta, who went on to become Soda Stereo's video director as well as the band’s visual and stylistic guru. Lois Alfredo recorded most of Soda Stereo’s performances throughout their careers and chronicled the band’s life on and off stage. Lois in Space has a camera built into his head. He films some of the action on the SEP7IMO DIA stage, which is then projected overhead in real time. Shadows of Childhood – The three characters called the Shadows of Childhood represent Charly, Zeta and Gustavo when they were kids and evoke their eternal youth. They first appear inside the Wheels of Childhood through archival images depicting their childhood days. The three wheels follow separate paths until they interconnect as a symbol of the formation of Soda Stereo. The Shadows of Childhood are L’Assoiffé’s guardian angels. Dog Lady – This character is inspired by the illustration of a clothed Doberman that appears in the 1984 “Dietetico” music video. The Dog Lady has a Doberman’s head and wears a short fur coat and fashionista sunglasses. As curious as she is nosy, the coquettish and exuberant Dog Lady knows everything about everybody in the Soda Stereo world. The Gardener – The Gardener is a wacky character who goes around with a watering can in his hand and has a mushroom sprouting from the top of his head. He presides over all plant life, which feed on the energy of the music. Instead of planting seeds, he sows vibrations and good intentions in the world of SEP7IMO DIA. Coeur Brisé – A throwback to pre-democracy Argentina, this character embodies the nostalgia and loneliness of youth overdosing on television to escape reality. He carries on his shoulders all the sadness of freedom lost, of friendships that will never be. Corazón Roto’s encounter with the Dog Lady will make his sadness literally fly away. Femme Solaire – This archetypal character is the ultimate femme fatale – beauty incarnate. She is connected to the music and brings light into the world of SEP7IMO DIA. L’Assoiffé, who has fallen passionately in love with the Femme Solaire, is transfixed by charm, pureness and integrity. SEP7IMO DIA, SCENE BY SCENE --------------------------- PROLOGUE In a nod to the invisible triangle that Gustavo, Zeta and Charly formed on stage in which no one could penetrate, the spectators are symbolically invited within Soda Stereo’s inner circle, at the heart of the action, when the sacred triangle opens up to embrace the audience. OPENING CELEBRATION With video-projections evoking the explosive energy this act features a fast-paced, vitamin-laced rope skipping number with an upbeat 1980s rock ‘n’ roll attitude. Sometimes the skippers’ ropes turn blisteringly fast; at other times, they just seem to float or undulate in the air like sound waves. PROFUGOS This “aerial revolver” and missile number evokes passionate love and expresses the moment when a relationship spirals out of control. Borrowing from the discipline of aerial hoops and fixed trapeze, two “fugitives” spin on two three-meter-long revolvers. They then move into a single missile-shaped apparatus where they intertwine their bodies and spin in a vertical dance of unusual movements and lifts. EN REMOLINOS This act is based on the paradox between the fragility of a flower and the strength of the metal of which this giant specimen is made. A flower four meters in height made entirely of metal yet surprisingly fragile makes its way into the audience and opens its majestic petals to reveal an artist who performs a graceful hand balancing act on the pistils of the flower. In all her powerful energy, the beautiful temptress and her flower symbolize the driving force of rock and the fire of love. SOBREDOSIS DE TV This act is an evocation of the overdose of information resulting from the proliferation of TV channels and series during the 1980s. The character Corazón Roto, who evokes the nostalgia of pre-democracy Argentina, loses his sense of identity in a maelstrom of camera effects that recall the Orwellian slogan “Big Brother is watching you.” PERSIANA AMERICANA The artist who plays L’Assoiffé performs a fluid diabolo act as he slides, juggles and tosses a spool high up in the air, literally dancing with his device. In a moment of introspection, surrounded by his guardian angel, the character explores his creative abilities and engages in dialogue with the planet and the universe to the sound of “Planeador” and the Brit-rock-tinged “Persiana Americana.” SIGNOS This captivating acrobatic wheel number is a combination of rotating Russian cradle techniques with object manipulation skills. The catcher strapped between the gigantic wheels turns into a human trapeze, flipping and catching his partner in the air. This scene explores the bonds of brotherhood and the conflicts that sometimes arise in a friendship. UN MILLON DE AÑOS LUZ An artist creates a sand drawing in real time with her fingers and hands while the image is projected on a screen overhead. She tells the story of a man with a broken heart who escapes to a planet a million light years away from the origin of his pain. CREMA DE ESTRELLAS Lo que irradia esta noche es especial sobre el lago resplandecen esperaba una tenue aparición (…) conversación astral (…) su cuerpo lunar refugio celestial A group of artists perform a hallucinatory ballet of arms and legs, both real and make-believe, in an organized chaos that is half- choreography, half-manipulation. LUNA ROJA Breathing new life into an old circus discipline, a solo artist representing the spirit of the Red Moon, all alone on the planet, performs a mesmerizing dance suspended only by her hair! This tableau is a nod to the iconic hairstyles that Soda Stereo were known for throughout their career. HOMBRE AL AGUA Man overboard! This act, which unfold inside a large aquarium more than 6 meters tall, is a metaphor for a songwriter who finds inspiration while in the midst of composing a new song. The water in which the free diving artist is submerged creates a womb-like feeling. CIUDAD DE LA FURIA An artist executes a rock-infused aerial chain act while two other artists perform a high-powered, street-based calisthenics number on a massive metal grill. This tableau is a direct reference to the iconic “En la ciudad de la furia” video. TE PARA TRES This tableau evokes a person who is no longer here among us. The artists around the campfire mourn a friend who is lost to this world. Soon they realize that sharing their sorrow creates new bonds. PRIMAVERA CERO A luminous blue ray of morning light is the symbol of life restored. Combining the disciplines of flying pole dancing, this sensual act is performed on a pole suspended up above the stage while another artist twirls a luminous baton in the air. In this fluorescent blue world, images of fans are projected in rapid-fire succession on a gigantic scrim above the stage using body mapping techniques. DE MUSICA LIGERA In this explosive finale that mixes the Italian acrobatic tradition of banquine with full-throttle tumbling techniques, the artists perform impressive sequences of acrobatics and human pyramids, hurling their partners high up in the air. The breathtaking finale extends from the Soda Stereo planet all the way out into the audience to the bouncy rhythm of the band’s power anthem “De música ligera.” # # # And there you have it… Sep7imo Dia – No Descansare! ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 0 of 16: An Introduction By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ A few weeks ago, as I was flipping through a few classic Cirque du Soleil programme books (as is my wont), I was happily caught off-guard by a brief history of the company that it had written about itself in Saltimbanco’s original European Tour programme, published sometime in 1996. Not because the historia was in English, French, and Spanish, but rather I found the wording a bit more colorful… haughty… than what you’d find from the company today. Something about its whimsical and heady nature spoke to the way Cirque du Soleil saw itself then (think: the voice-over narration in “Alegría: The Truth of Illusion” documentary video: “When the time has come and when the time is right, somehow you know. Time after time and time again, you've seen the signs and wondered what it was out there, deep in the river. Was it hell on earth and fading into the sky? Was it the garden of delights? In the heart of the night, you've seen the moon and the shadow of light, the spirit of creation, the spirit of dream... you’ve seen the truth of illusion…”), containing a youthful verve and arrogance that is simply no longer present. When did Cirque lose this dynamic sense of self, this liveliness, and vivacity about its past, present, and future? Unfortunately, not long after. Thereafter the speak becomes less joie de vivre and more lié aux affaires, and Cirque du Soleil turns from a rag-tag band of street performers into a bona fide corporate entity right before our very eyes. This is not a new revelation – far from it in fact – but this re-discovery struck a chord of curiosity within… How did others see Cirque du Soleil during this period? Think about it: as Cirque’s multitude of shows travel around the globe in either arenas or under the big top, at each stop, in each city, there is a write-up in the local press. Sometimes the coverage is just a brief blurb about the show and its theme, occasionally there’s a short interview with a performer, a stage hand, or creation director, and other times it’s an assessment of the show itself, evaluating its technical and acrobatic merits with what had come through before. But the reviews we see today are too current, discussing these shows through a contemporary lens; shows that have/had 15 to 20 years touring the globe, shows we would refer to as “classic” or “signature”. What I’d become interested in knowing was what some of the first reviews, peeks, and evaluations of these shows were as they took their first steps across North America. How did the press see Le Cirque du Soleil in 1998, 1994, 1990, 1987? Time to peck through the archives! What I found was extraordinary, and more than I expected. So starting next month we’ll begin sharing these discoveries here in the pages of Fascination through a series of collections, beginning with the 1987 tournée of Le Cirque du Soleil (better known today as Le Cirque Réinventé) and continuing onward in the following manner... o) Issue #160, MAY 2017 – Le Cirque Réinventé, Part 1 (1987) o) Issue #161, JUN 2017 – Le Cirque Réinventé, Part 2 (1988) o) Issue #162, JUL 2017 – Le Cirque Réinventé, Part 3 (1989) o) Issue #163, AUG 2017 - Nouvelle Expérience, Part 1 (1990) o) Issue #164, SEP 2017 - Nouvelle Expérience, Part 2 (1991) o) Issue #165, OCT 2017 - Saltimbanco, Part 1 (1992) o) Issue #166, NOV 2017 - Saltimbanco, Part 2 (1993) o) Issue #167, DEC 2017 - Alegría, Part 1 (1994) o) Issue #168, JAN 2018 - Alegría, Part 2 (1995) o) Issue #169, FEB 2018 - Quidam, Part 1 (1996-1997) o) Issue #170, MAR 2018 - Quidam, Part 2 (1998) o) Issue #171, APR 2018 – Dralion, Part 1 (1999-2001) o) Issue #172, MAY 2018 – Dralion, Part 2 (2001-2003) o) Issue #173, JUN 2018 – Varekai, Part 1 (2002) o) Issue #174, JUL 2018 – Varekai, Part 2 (2003-2004) o) Issue #175, AUG 2018 – Varekai, Part 3 (2005) But let me warn you right now... there’s a lot of text here. We’re looking at around 230 pages from 120 different articles. Some make me shake my head while others I’ve learned something new from. They’re all here, well, mostly. So while it’ll take some time to get through them, I hope you’ll stick around until the end. They’re all fascinating. It’s quite interesting to see what each reviewer focuses on while glossing over other aspects of shows we know so well. Some of their descriptions are hilarious! Oh, and the original bit of text that started me down this rabbit hole? Find it below. May it serve to whet your appetite for more interesting texts, reviews, interviews, and critiques from classic Cirque du Soleil productions on their original tours across North America that’s to come! # # # If you wander north along the mighty Saint Laurence, beyond Montreal and Quebec City, you will hap upon a quiet little town nestled deep in the heart of a valley. It all began here, in Baie Saint Paul. Enveloped in magic, the story of an enchanting circus unfolds. So listen closely and I will tell you a tale that will surely hold you in thrall. One mid summer's day in 1982, excitement was brewing in Baie Saint Paul as eager anticipation grew. From far and near, folk poured into the town. The streets were decorated, gaily festooned, a carnival ground for jugglers, tumblers, jester, and buffoons. Guy Laliberte performed his fire-eating act, Gilles Ste-Croix proved a fearless acrobat, leaping, bounding, and soaring through the air, while others walked the tightrope to the clamor of fanfare. The band of merry companions, or the Club des Talons Hauts, were hatching a clever plan, plotting playful antics, nimble feats and wily shenanigans. Perched high on their stilts above the mirthful crowd, they caught a glimpse of the future through a break in the clouds. It came to them like a vision - the emblem of the sun. They held a mystical power to dazzle and make fun. They would perform under a big top and call themselves the Cirque du Soleil. For soleil is the world for sun en francais. WITH WIND IN THEIR SAILS ------------------------ It was in 1534 when Jacques Cartier beached upon the rugged Canadian shores. Exalted by his valiant voyage across the sea, he raised high his banner and staked this land, claiming the New World in the name of France. Proudly he flaunted the fleur-de-lys, the cherished emblem of French heraldry. In 1984, four hundred and fifty years after that historic day, the province of Quebec celebrated its rich ancestry. Fantasy was added to the festivity under the pinwheel canopy yellow and blue. People were drawn to the big top, flocking in numbers, seduced by the performance. The crowd was wooed by the fledgling troupe. It was a roaring success, its engines were fueled. Now Cirque du Soleil was eager to conquer the world. After taking Quebec and Ontario by storm, Cirque ventured west to the Pacific coast. At the opening ceremonies of Expo'86, onlookers were mesmerized by the spectacular tricks. By this time the Grand Chapiteau had expanded to twice its original size. At every turn, Cirque was decorated with medallions, at every twist, awarded a prize. It then set its sights on American towns, delighted Los Angeles, San Diego, and Santa Monica with tumblers and clowns. Spectators were riveted, the applause thundered - it brought the house down. CITIES BEGUILED, CITIES BEWITCHED --------------------------------- For this sorcerous troupe, in the prime of its youth, the moment of truth had come. Gingerly treading on American soil, Cirque du Soleil would ne'er recoil, for each city it descended upon to its magic would succumb. It gently drew back its bow, releasing its arrows on Santa Monica and San Francisco. Then onto New York and Washington, here it captured the hearts of everyone. After dazzling Miami, Chicago, and Phoenix (1988), its presence graced once again Californian cities and everywhere in betwixt (1989). Had we seen it all? No! T'was merely the start. A troupe of performers from Cirque du Soleil crossed the Atlantic to present Cirque Reinvente. "Circus tames London, courts Paris," the headlines read. Meanwhile, back in Montreal, the masterminds were secretly weaving golden thread. The latest creation, Nouvelle Experience, emerged from their filigree. The Grand Chapiteau now could hold 2500 or more; it crisscrossed North America with Nouvelle Experience, bewitched 13 cities and 1.3 million spectators. THE PHANTASMAGORIC OVERTURE --------------------------- Gipsy in spirit, Bohemian by nature, Cirque du Soleil was spurred on by more lust for adventure. In a single beat, Cirque leaped to perform three orchestral movements before spellbound audiences on three different continents (1992-1994): o) Andante in the Land of the Rising Sun. Cirque touched down on Asia to offer Fascination 118 times in four months. Tokyo, along with eight other cities cross Nippon, was dazzled by the brilliance of the circus sun (1992). o) Crescendo on the Alps. The artists of Cirque du Soleil attained astonishing heights when they flew with the renowned circus Knie. For nine wondrous months they travelled the Helvetian roads, mesmerizing all those who had come out to see (1992). o) Vivace in the USA. Cirque was beckoned by Las Vegas to revel in never-ending night; it created quite a sensation amid the glittering lights. Twelve months had passed and the die was cast. Fate decreed that Cirque would stay, perform on Treasure Island, the newest palace in the paradise of play. The troupe introduced to Las Vegas the magic of Mystère (1993), the pinnacle of troubadours and the medieval carnival fair. Bravissimo! Ovations and praise echoed around the globe. Now was the time to score a new symphony, reveal the mystery of Alegría and Saltimbanco. THE FOUNTAIN OF YOUTH --------------------- The ringmasters were aroused when visited by an elusive creature in their mind's eye. The image was faint, but would soon come to life as they carved and facetted, dabbed on the colors from their jewel-tone palette. After masterfully adding the crowning touches, they were finally ready to lay down chisels and brushes. In honor of the spirited street tumblers of long ago, they unveiled their latest work, an alluring creation they called Saltimbanco. Ten years had gone by since Cirque was born. The time was right to introduce Alegría to Montreal (1994). Velvets were embroidered for this celebration, eerie arias composed to mark the occasion. Donning ethereal costumes studded with jewels, all were waiting for Alegría to fly from its silken cocoon. Alas! Alegría sprouted its wings and so took flight. Migrating south to the United States (1994-1995), it scouted for new places to alight. Montreal bid its youngest bairn farewell. Will it ever come back? Only time will tell. As Montreal wept over the sweet loss of Alegría, Saltimbanco returned. Hallelujah, Hallelujah! The city was beguiled by its prodigal child. Yet, before the infatuation could begin to wane, Saltimbanco prepared its departure, once again (Europe 1994-1995). Looking hopeful toward the new millennium, Cirque du Soleil silently ponders the pools of the fountain of youth to rejuvenate the springs of its imagination. # # # Stay tuned! ------------------------------------------------------------ "A Review of One Night for One Drop 5" By: Robin Leach, Las Vegas Review-Journal Special to the Fascination! Newsletter ------------------------------------------------------------ It’s 90 minutes of nonstop veteran circus acts and entertainment as daredevils dice with death, although the banana-chomping, mouth- tossing antics of the truly weird-and-unusual duo known as Daredevil Chickens provide outrageous, gross hilarity, quick clothes changes and near-nudity to take the edge off the white-knuckle, rollercoaster ride of amazing aerialists and acrobats. More than 200 performers and other volunteer stage crew units from rigging, costumes, scenic props, hair, makeup, lighting and sound departments all play a vital role in tonight’s one-time-only “One Night for One Drop” clean-water benefit production presented by Cirque du Soleil at “Zumanity” Theater at New York-New York. The inspirational time-machine journey had its one-and-only dress rehearsal Thursday afternoon after six months of behind-the-scenes preparation. Juggling heart-stopping circus acts from around the world, putting all the logistics into place and ensuring that everything runs smoothly is the responsibility of Krista Monson, who directed the first “One Drop” at Bellagio in 2013. A NEW CIVILIZATION ON MARS? --------------------------- The vintage circus theme is so bold, imaginative, exciting and exhilarating that it could well be a new Cirque show in its own right. Conceived, written and directed by husband-and-wife Cirque performing team Nicky and Laetitia Dewhurst, they enlisted their family to tell the tale through time-machine travel of a grumpy old ringmaster played by Nicky’s dad, Brian Dewhurst, the 84-year-old star of “Mystere” at T.I. With no signs of retirement looming, Brian represents miserable mankind’s mistreatment of Earth’s resources, and Laetitia’s brother, Perry Ray, is The Timekeeper who teaches the old ringmaster a lesson he won’t forget and one for all of us to remember as to how we need to care for Mother Nature or wind up trying to start a new civilization on Mars. Our thanks to contributing photographer Tom Donoghue for his extraordinary photo gallery. He’s captured perfectly the images of the stars appearing in the show: Grammy-winning rapper Redfoo, “America’s Got Talent” winner Grace VanderWaal, multiplatinum-selling vocal group The Tenors, global stars Duo Sky Angels and “AGT” finalists Malevo with their high-speed foot-stomping, drum-banging and bolo-twirling Malambo gaucho act. Tonight for the one-and-only performance, William Shatner will join the cast for the finale, a Radio City Rockettes lineup of high kicks around the entire edge of the “Zumanity” stage under old-fashioned cannons firing confetti and the Monty Python-themed closing “Screw It, We’re Moving to Mars”: This planet is a huge disgrace There’s only one solution for the human race Let’s pack and get out of this place Screw it, we’re moving to Mars No passport needed, there’s no immigration Everybody’s welcome at this destination Let’s all let go of our daily frustrations Screw it, we’re moving to Mars The circus acts come at a dizzying speed. Your heart has just a second to settle down after watching incredible derring-do feats of the teeterboard team before the award-winning aerialists Duo Sky Angels from Uzbekistan send it racing again 60 feet high in the air held only by each other’s teeth! She’s balanced only on the feet of her partner — truly amazing. Eve Diamond, “The Desert Queen of the Sky,” is just as extraordinary and matched by an aerial trapeze artist known as Cuckoo because of outrageous antics near the rafters. Eve’s aerial activities are so death-defying that she has to wear a harness for safety, but my forehead began to sweat as the safety precaution slid precariously down her body. The seaside British crass-comedy duo known as Daredevil Chicken also entertained with a volunteer from the audience playing the role of Simba from “The Lion King” who wound up in a cage with another lion actor. Totally insane and madcap and welcome relief from the aerial dramas unfolding from the ceiling above. GRACE ‘LIGHTS UP THE SKY’ ------------------------- Grace, with her ukulele for her solo, “Light Up the Sky”; The Tenors, with their beautiful voices on two Queen songs, “Bohemian Rhapsody” and “Who Wants to Live Forever?”; the old ringmaster, who cries about his awful, past cruel behavior; and Redfoo, for his interruptions, are standouts, but the audience falls in love with Orbis, a little person who is badgered and belittled by Mortales, the creepy, wicked ringmaster of the imaginary Circus Tempest. Orbis proves the highpoint, the high-flying performer soaring out over the audience with a barrage of acrobatics on silks. It’s breathtakingly beautiful and visually stunning, and it’s highly appropriate that he winds up encased in an out-of-this-world miniature globe suspended over the cast in the finale as lord and master of all he surveys. It all takes place against a kaleidoscope of psychedelic colors and video backdrops, and one hiccup in the technical flow that triggered a 20-second reset and restart was the only cue that went wrong at rehearsal. So many things could have misfired in staging this unbelievable undertaking, and even when a bass struggled to squeeze into the tiny backstage elevator, the player was in position to pop up through the stage waiting for the tech mishap to be rebooted. “When you think of everything that could have gone wrong, it was such a minor mishap, you can safely call it a miracle,” Krista told me. “We’re still tweaking right until curtain up tonight, and the final video will be inserted into the projectors less than 30 minutes before curtain time so that the audience can sing along with the cast at the finale. “We are so thrilled nothing really went wrong with this massive jigsaw puzzle assembled around the world. This really was a little glitch, so what we saw was the heart and soul of people sharing who they are and their passion for the charity and being onstage. The whole vision with lighting, projections, performances — all the technical — everybody made sure the humanity is what came out first. It looks gorgeous, and it’s amazing.” The Tenors chatted with me afterward, as well: “We’ve been asking ourselves the question of when we should move to Las Vegas because we are here so often. We’re actually in talks with two hotel companies and looking at a couple of venues that would work for us to perform here as residents. We’re definitely excited about the possibilities of having a Las Vegas home and still tour the world, but at some point we’re going to be here for a long stay. “Touring is getting old on these bones! It’s so exciting to be back for ‘One Night for One Drop’ with award-winning artists from around the world. It’s so moving for us to be sharing the stage with these folks. Cirque is such an amazing brand worldwide, and it started in our home country of Canada, so we’re extra-proud. “We performed in the second show after performing at the party for the first ‘One Drop’ production. Now we’re back for show No. 5. I think that they’ve captured the story more this time than they have in the past. This theater is great; we like the intimacy. This is a little more in the round, and the audience is really up close and personal with what’s going on at the stage.” To date, the previous four “One Drop” shows have raised $24 million for the water charity started by Cirque founder Guy Laliberte. His execs are hoping that with tonight’s fifth “One Drop” show, they will close in on $30 million. Cirque clown legend Brian Dewhurst told me about working for his son, Nicky: “For years and years, I would direct him. He learned well from the master who he is now teaching! They created a very unique and interesting concept of how I look back on myself as a young person in the show. It was enlightening especially because I had no input to their story idea. I sort of rubber stamped my approval to everything he came up with. I didn’t have to change anything. “He’s doing exactly to me what I did years ago with him. It’s very exciting, and I am so proud of them both. They have worked their asses off for hours and hours. It’s going to be a great show. We’re a very open family, so I didn’t have to even tell him to not hold back on any criticism or constructive comment he had on what I have to do. “We’re all family, so grandkids don’t hold back on feelings. That’s what keeps us together as a family, keeps us honest and keeps us loving each other because there are no hidden secrets. I feel very lucky and very blessed to have them around. “I started as a clown at age 13, so this has been my entire life. I am 84, but I feel great. I have the aches and pains of life, but I actually feel OK. ‘Mystere’ is still a priority for me, and I’m still working it. I certainly hope that there’s no sign of any retirement yet!” Tonight six months of volunteer work from around the world comes to an end in a glorious tribute to the origins of old-time circus to tell a story of how we must protect Earth’s resources to provide sustainable clean water for the world. It’s an ambitious creation, and Cirque has pulled it off again. Everybody will party hearty afterward at a circus-themed party staged around New York-New York pool by another Dewhurst family member, Sally. Then even while basking in its success Monday morning, Cirque officials will have the first conversations for the next — and sixth — “One Night for One Drop” in 2018. ------------------------------------------------------------ "Casting Q&A's - Meet a Mentor, Part 2 of 3" Edited By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ 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 our artists achieve their goals. And through a series of interviews on their casting website, we meet some of them. Like the “Meet the Artist” series of Q&A’s we recently published, 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. Last month, in Part One, we met: André Simard (Acrobatic Research and Development), Bernard Petiot (Vice President, Casting and Performance), and Boris Verkhovsky (Director of Acrobatics and Coaching). And now we’ll continue with Claude Chaput (Conductor, Composer, and Arranger), David Shiner (Director and Clown), Dominic Champagne (Director), and Francois Girard (Director). # # # CLAUDE CHAPUT Conductor, Composer and Arranger “At a time when industry trends are moving toward homogeneity, the music of Cirque du Soleil allows us to break free from traditional forms and styles." I started learning to play the piano very early on, at the age of four. Supported by a family that encouraged the arts, I decided to devote my life to music when I was just a teenager. For about 20 years, I worked as an accompanist, arranger and conductor for renowned performers, both onstage and in the studio. At the same time, I developed a marked interest in audio and MIDI technologies, which turned out to be a major asset in the career I had chosen. I believe that all those strengths led me quite naturally to Cirque du Soleil in 1994, when Composer René Dupéré was looking for a conductor for the show Alegría. A CAREER TURN WITH POSITIVE RESULTS It was the first time I had ever signed on for so long a run: over 600 shows in two years. Obviously, such a long engagement makes it possible to become highly skilled at interpreting the music and provides greater insight into the world of the performing arts. Encountering musicians from different cultures and musical backgrounds was also highly formative, both musically and in terms of interpersonal relations. At the same time we faced the constant challenge of adapting the music to the action onstage while maintaining the music’s consistency and thereby our own relevance for spectators. At the time, I had the feeling I was practicing my craft as I never had before, which made me want to try my hand at a new creation. I therefore offered my services to Composer Benoit Jutras, with whom I took on Quidam and another North American tour, this one involving 1,000 performances over a three-year period. I introduced a brand new technology (MIDI) on Quidam which allowed us to modify the music in real time using pre-recorded material. Since 1999, I have had a hand in many productions as a music and technology consultant, and I am involved in a number of Cirque du Soleil shows in creation along with a few projects for Casting. THE URGE TO CREATE AND GO WHERE NO ONE HAS DARED GO BEFORE I believe that Cirque du Soleil has brought the performing arts to a whole new level, to another dimension, to a place ruled by dreams and the subconscious. In that respect, there is a perfect compatibility with the essence of the musical universe. And at a time when industry trends are moving toward homogeneity, the music of Cirque du Soleil allows us to break free from traditional forms and styles. That’s why eclecticism and open-mindedness are important qualities for candidates who already meet basic criteria such as an impeccable sense of rhythm, a precise musical vocabulary and the ability to memorize scores. We should also mention the ability to react quickly to any last-minute changes while maintaining the quality of their performance. It’s important for every musician to be able to extrapolate in situations where one section has to be drawn out, for example, or where another has to be drastically cut short with just a few measures’ warning. During the show creation period, the conductor, musicians and singers give the composition a sound, a personality, through their interpretation and their own innovations, which often inspire the entire production team. Clearly, everyone’s creative contribution can make a huge difference to the final outcome for a show of this scale. But we must not lose sight of the fact that there is a composer who is responsible for developing the overall vision, and that he leaves it primarily to the conductor to ensure the musical style is consistent throughout the show. At Cirque du Soleil, more than anywhere else, team spirit, professionalism and respect for the work of others are essential qualities for taking full advantage of this one-of-a-kind experience. * * * DAVID SHINER Director and Clown David Shiner started out as a street mime in Paris and his career really took off in 1984 when he was discovered at the renowned circus festival Cirque de Demain. He went on to perform with a succession of well-known companies including the German troupe Circus Roncalli and the Swiss National company Circus Knie. Between circus engagements he toured with Cirque du Soleil veteran René Bazinet performing the two- men show they created. David ' s first formal association with Cirque du Soleil came in 1990, when he co-wrote and performed in Nouvelle Expérience, touring for 19 months throughout Canada and the USA. He made his feature film debut in 1992, playing the part of a clown in Lorenzo's Oil, and the following year he played straight man to Bill Irwin in Sam Shepard's Silent Tongue. He and Irwin then created the two-men, wordless show Fool Moon, featuring music by the Red Clay Ramblers, who had also performed in Silent Tongue. This evening of 'inspired lunacy' ran from 1993 to 2001, including three separate runs on Broadway. Fool Moon won a special Tony Award for Live Theatrical Presentation in 1999, a Drama Desk Award for Unique Theatrical Experience, and an Outer Critics Circle Special Achievement Award. In 2000 David originated the role of the Cat in the Hat, the host and guide of the Broadway stage musical Seussical. Later he toured Europe and Seattle with his show "David Shiner in the Round". David has further made several appearances on "The Tonight Show" and is a guest director at the Wintergarden Theatre in Berlin and the Apollo Theatre in Dusseldorf. In 2007, David wrote and directed Cirque du Soleil’s touring show KOOZA. Q. WHAT IS YOUR APPROACH WITH THE CLOWNS ON CIRQUE DU SOLEIL PROJECTS YOU HAVE TAKEN PART IN? I try to find people who are talented, funny, interesting in the way they move, who have interesting faces and I help them develop their potential. I teach them things like 'pointe fixe', how to develop a character, how to develop a really good sense of rhythm and timing, how to improvise with an audience, etc. I give the clowns I work with a lot of the basic things that I learned over the last 25 years. People are born clowns usually, it’s not something you can study to learn. You can learn certain techniques, but you’re either funny or not funny. So I always try to find people who have something funny about them. If they’re funny, there’s got to be a way to take that funniness and make it work for them. So I’m not always looking for someone who has great technique or great movement abilities or great slapstick abilities. I’m just looking for someone who’s funny. From there we can start to teach them the techniques. All the different styles of clowning (Russian, American, European) can work, but we have to make them modern for a modern audience. Q. WHAT DO YOU FIND CHALLENGING AND STIMULATING ABOUT WORKING WITH CLOWNS FROM DIFFERENT BACKGROUNDS? Giving them all my knowledge. As a mentor, I’m there to help them learn the stuff fast. If I look back at my career, I wish I'd had a mentor, but I learned on my own. I help them find a style. What makes you funny? What’s going to make you distinct from another clown? I teach the clowns the importance of using the body, of communicating without language. Because someone who learns how to extend their energy and access their creative core can walk on a stage, do very little and be very interesting to watch. Q. WHAT IS YOUR CREATIVE PHILOSOPHY? As a director or as a mentor, trying to help people discover their own source of inspiration and creativity. To help them get out of their head, get into their body and get into their breath. To learn to trust themselves, trust their ideas, to believe in themselves, to have confidence. To help them celebrate the joy of performing; the pure sense of joy out of being on a stage and performing for an audience. Respecting yourself, respecting the other performers, learning to give, and give, and give, and to make an audience happy. And most of all, to know who you are: to find out who you are as an artist, what your message is, why you are there. Once you know that, the rest is easy. Q. WHAT ROLE DO YOU THINK CLOWNS PLAY IN CIRQUE DU SOLEIL SHOWS? Principal. Without a clown in a circus, there’s no circus. Q. HOW DO THE ART OF CLOWNING AND CIRQUE DU SOLEIL MIX TOGETHER? Cirque has a great tradition of always having good clowns. The place they hold in a show depends on the director. As a director, since I am a clown, the clown has a principal role. He’s the character who’s taking us through the evening. The clown is the one who has the deepest emotional connection with the audience. All the artists have a deep emotional connection with the audience, but the clown really gives us a sense of our humanity, because he’s a fool, he’s playing the role of a fool. He’s revealing our human weakness and he’s allowing us to laugh at ourselves. Great clowns have always been loved, because they allow us to laugh at those parts of ourselves we’re the most afraid or ashamed of. The clown helps us to accept ourselves, as who we are. * * * DOMINIC CHAMPAGNE Director Over the last 20 years, Dominic Champagne, multi-talented and prolific artist, playwright, director, scriptwriter and actor, as well as the co-founder and artistic director of the Théâtre Il Va Sans Dire, has made his mark on a hundred or more shows, both on stage and on television. These include theatrical productions such as LOVE, L'Odyssée (The Odyssey), Don Quichotte (Don Quixote), Cabaret Neiges Noires (Black Snow Cabaret) and La Cité Interdite (The Forbidden City) as well as television series “Les Grands Procès” (“The Great Court Cases”) and “Le Plaisir croît avec l'usage“ (“Familiarity Breeds Enjoyment”). For Cirque du Soleil, in addition to LOVE, created in collaboration with the Beatles in 2006, he has directed Varekai, on tour the world over since 2002, and Zumanity,showing in Las Vegas since 2003. With regard to television, as well as adapting several of his own plays, Dominic has worked on several drama series and variety shows, including “Les grands procès,” “Le plaisir croît avec l'usage,” Saint- Jean-Baptiste Day celebrations, the opening ceremonies of the Francophone Games, “Tous unis contre le SIDA” (“United Against AIDS”), the “Soirée des Masques” theatre awards gala, and more. Since graduating from the National Theatre School of Canada, he has won a host of awards and honours for his work, including the Order of Canada, Gémeau awards (for best direction and best dramatic writing), Masque awards for best adaptation and audience appreciation, the Critics' Prize, as well as the Montreal Urban Community’s Grand Prize for theatre. The CD of LOVE, which he worked on, received two Grammy Awards, including the award for Best Compilation Soundtrack Album. He is a member of several arts-based think-tanks, associations and boards of directors. He has also taught and lectured, in particular at the National Theatre School , the Conservatoire d'art dramatique de Montréal, Concordia University , Princeton University and elsewhere. La Presse newspaper and Radio-Canada recognized Dominic Champagne’s “immense talent” when they named him “Personality of the Year 2006.” Q. WHAT IS YOUR APPROACH WITH THE ACTORS WHEN WORKING ON CIRQUE DU SOLEIL PROJECTS? I begin creating my shows by trying to explain the plot of a story or the procedure of a ritual to myself. The narrative thread of this plot or procedure becomes my beacon, and the characters who play in it are my guides. Therefore, the actors are the key to this new universe waiting to be created. Q. WHAT IS THE MOST INTERESTING ASPECT OF WORKING WITH ACTORS FROM DIFFERENT WALKS OF LIFE AND CULTURAL BACKGROUNDS? WHAT ARE THE CHALLENGES? The stage at Cirque du Soleil is a meeting place for different cultures and traditions. Mixing and combining different talents from different backgrounds creates an infinitely rich tapestry. It is a place that is full of both surprises and new experiences, but it also gives you the privileged challenge to become a true citizen of the world. And the stage becomes the ship that sails through a fabulous human odyssey. Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY? I gather artists around my idea for a show, which is a sort of utopia to which we all try to give the very best of ourselves; I want to enchant people with the power of this dream and inspire us all to become better human beings. I see devoting oneself to a show as both a duty and a privilege. And there’s nothing like giving it your best shot. Q. HOW DO YOU SEE THE ROLE PLAYED BY ACTORS AT CIRQUE DU SOLIEL? When an actor, through his very presence and sensitive interpretation, manages to deliver as strong a performance as an acrobat, he becomes the dazzling link in the audience’s relationship with the impossible utopia and the power of the larger-than-life story unfolding on stage. Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING FOR OR WITH CIRQUE DU SOLEIL? The dream’s endless possibilities. The privilege of being at the heart of so many crossroads. The thought of a vast audience demanding a universal language and... perfection! Q. WHAT ADVICE WOULD YOU GIVE A FUTURE CIRQUE DU SOLEIL ACTOR? Creating a role at Cirque du Soleil is similar to climbing Mount Everest. It’s a colossal challenge, an intoxicating journey, a glimpse of new and boundless horizons, a feeling of pride and satisfaction on the same scale as the heroic efforts you put into it. But the journey has to be made one step at a time; the real feeling of vertigo comes when you look deep inside yourself to let your talent shine through. So... be yourself and have fun! * * * FRANÇOIS GIRARD Director François Girard’s career began with directing art videos. His output then became increasingly narrative and in time led to full-length features (Thirty-two Short Films about Glenn Gould, The Red Violin, Silk). Theatre, opera and now Cirque du Soleil have joined the list. "Like Cirque, I like to mix media, but my work has remained essentially the same: I try to rally artists around an idea and present the results to the public." As stage director, François is currently working on the creation of a resident show to be presented in Tokyo starting in fall 2008. Q. WHAT IS YOUR APPROACH WITH THE ACTORS WORKING ON CIRQUE PROJECTS? Whether with Cirque du Soleil or elsewhere, my approach is always the same: I ask myself who they are, how they work and what stimulates them. But the method differs with every artist, every singer, and so on. It is the stage director who needs to adapt to the performer, not the other way around. Q. WHAT IS THE MOST INTERESTING ASPECT OF WORKING WITH ACTORS WHO COME FROM DIFFERENT WALKS OF LIFE AND HAVE DIFFERENT ETHNIC BACKGROUNDS? WHAT ARE THE CHALLENGES? I am used to working with artists from everywhere. I find it fascinating to see the many ways people can learn a trade, absorbing so many different methods and influences. In that respect, I am well prepared for a Cirque production. Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY? I like to start with an idea, a text, or a character that I then serve. I try to be a gardener who plants a seed and helps it grow with water and light. I can let the seed become a tree but I can't decide what that tree will be. All that is encoded in the seed. All you need to do is dig a little before eventually seeing the light. That's about it... Q. HOW DO YOU SEE THE ROLE PLAYED BY ACTORS AND THE ROLE OF ACTING IN CIRQUE DU SOLEIL? Cirque’s greatest success can be attributed to a meeting of acrobatics and dramatics. Who are the actors? Who are the acrobats? What is their contribution? In my show, I try to blur the line as much as possible so that we are left unsure of who is who and who contributed to what. This is one lesson that I learned from Franco Dragone’s shows. Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING IN COLLABORATION WITH CIRQUE DU SOLEIL? The sense of celebration; the public’s expectation of a magical adventure; working in Japan, a country that I love, amid a culture I find most stimulating. # # # Stay tuned for the final piece of this series next month! We’ll hear from Laur Fugere (Singer & Stage Coach), Luc Tremblay (Choreographer and Educator), Mia Michaels (Choreographer), and Robert Lepage (Director). ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 17, Number 4 (Issue #159) - April 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. { Apr.05.2017 } =======================================================================