======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 10 October 2017 ISSUE #165 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * VEGAS STRONG * * * On the evening of October 1, 2017, a mass shooting occurred at the Route 91 Harvest music festival on the Las Vegas Strip. During the closing performance by Jason Aldean, a gunman opened fire on the outdoor festival crowd from the 32nd floor of the Mandalay Bay resort and casino. The shooter, whose motive remains unknown, was 64-year-old Stephen Paddock of Mesquite, Nevada. He fired into the crowd for almost eleven minutes and was later found dead in his hotel room with a self-inflicted gunshot wound. With 59 deaths (including the perpetrator) and 489 injuries, the massacre is the deadliest mass shooting by a lone gunman in U.S. history. Following the Sunday night shooting in the Las Vegas, performances of Cirque du Soleil and Blue Man Group in Las Vegas were canceled. As the shooting unfolded on Sunday, all of Cirque du Soleil's Las Vegas theatres, in cooperation with local authorities, were immediately placed on lock-down. "For the time being, none of our employees have been identified among the victims," it said in a statement hours after the attack. "We are in the process of checking in with each of them and organizing on-the-ground support for all our teams." But the hours following that statement, as the body count climbed and the process of checking into the wellbeing of the 1,500 persons employed by the Cirque du Soleil in Las Vegas continued, had clearly taken their toll by the following Monday morning. "It's been a sleepless night," Cirque spokesperson Marie-Hélène Lagacé told the Montreal Gazette. "So far so good, we're touching wood that none of our employees or their loved ones have been affected. But we have yet to get full confirmation. Our priority is to make sure all of our employees are safe and then to provide them and the community with support," Marie-Hélène Lagacé said. "Las Vegas is our second home after Montreal. We want to provide all the support we can to the community and that's where our focus is." All of the Cirque's eight productions in Las Vegas scheduled for Monday night (October 2nd) were cancelled and subsequent performances were then considered on a "one day at a time" basis. All other shows were back on Tuesday night, with the exception of Michael Jackson ONE, who had a normal dark period Wednesday and Thursday, so it's first scheduled show will be Friday, October 6th. Cirque du Soleil would later release the following statement: "We are devastated by the tragic events that occurred last night in Las Vegas. For this shining city, home to hundreds of our artists and employees, a tragety of this nature is exceptionally heartbreaking. We are sending love and light to all those affected. Our deepest thoughts and sympahties are with the victims, their loved ones and the Las Vegas Community. / Nous sommes terriblement attristés par les événements tragiques qui ont eu lieu la nuit dernière à Las Vegas. Une tragédie de cette ampleur est exceptionnellement douloureuse pour cette ville rayonnante où résident des centaines de nos artistes et employés. Nos pensées et sympathies sont avec les victimes, leurs proches et la communauté de Las Vegas." And MGM Resorts: "Our hearts are broken and the words are hard to find. We have always known the Las Vegas community had strength beyond measure, which has been proven once again. To the brave men and women of Metro, our community's outstanding medical personnel and all of the first responders who ran into harm's way to save countless lives. To the heroes at Mandalay Bay, and the employees throughout MGM Resorts who acted with courage and kindness. To the Las Vegas hospitality community who reacted immediately with an overwhelming outpouring of support and assistance. You have our deepest gratitude and love. While we are all grieving, and will continue to do so in the days, weeks, and years ahead, we know Las Vegas will move forward together as a strong and united community. Together, we are #VegasStrong." On October 6, 2017, Cirque du Soleil rallied to support victims and first responders of the Las Vegas Shooting. As announced: Today, Cirque du Soleil would like to show its support of the Las Vegas community by making a donation in aid of the victims of Sunday night's mass shooting, as well as the heroic first responders. "We are heart broken by the senseless act of violence that has gravely impacted our community - our neighbors - and we mourn for the victims and everyone affected by this tragic event," said Jerry Nadal, Senior Vice President of Cirque du Soleil's Resident Show Division. "Las Vegas is our home and the people of this incredible city are our family. On behalf of Cirque du Soleil, we want the community to know that we stand as one. Entertainment is the foundation of this city and we will recover, and eventually heal, from this together." Cirque du Soleil will make a total contribution of $1 million. The company will donate $500,000 to a Las Vegas shooting victims fund, as well as contribute 5,000 tickets to the eight Cirque du Soleil shows in Las Vegas, including Blue Man Group. Tickets will be available to first responders, including police officers, fire fighters and medical responders, and their families. Finally, Cirque du Soleil plans to join forces with the Las Vegas entertainment community to raise additional funds for the victims by participating in an upcoming benefit concert. Details for that event will be communicated at a later date. Stay tuned and remain #VegasStrong! * * * VOLTA CD RELEASED! * * * Released September 19, 2016 in Toronto, and September 20th on your favorite digital platform (iTunes, Amazon, Spotify, etc...), VOLTA is propelled by a series of atmospheric, epic and poetic musical landscapes. The vast palette glides from synth-pop to more melodic lines, from ambient shoegazing to waves of symphonic and orchestral sounds to which stirring choirs, brass and string textures were added. Written by composer Anthony Gonzalez (M83), the highly cinematic music of VOLTA evokes a complex array of emotions and moods that ebb and flow majestically like the tide, always in sync with the acrobatic performances on stage. It is a narrative tool in its own right, echoing the different arcs in the storyline and expressing the distinct personalities of the worlds of VOLTA – the Greys, the Elites, and the Free Spirits. 01: "To the Stars"............ (7:17) 02: "Dancing Ants"............ (3:47) 03: "The Bee and the Wind".... (5:43) 04: "Man Craft"............... (2:25) 05: "Modern Jungle"........... (3:56) 06: "Inside Me"............... (4:28) 07: "The Change".............. (6:53) 08: "Suspension".............. (2:20) 09: "Elevation"............... (5:27) 10: "Lone Soul"............... (2:14) 11: "Battle of the Man"....... (5:55) 12: "Like Kids"............... (7:54) You'll find that "To the Stars" is to the Acro Ladders act, "Dancing Ants" goes with Skates & Basketball, "The Bee and the Wind" with Flatland Ballet, "Man Craft" is Acro Lamp, "Modern Jungle" is Shape Diving, "Inside Me" is WAZ's Breakthrough music, "The Change" swings along with Rings & Bungee, "Suspension" is a transition song between Skates and Acro Lamp, "Elevation" is aptly named as it goes with the Hair Suspension act, "Lone Soul" with WAZ's Cube scene, "Battle of the Man" is the Duo Unicycle piece, and "Like Kids" is the explosive BMX ending. Strangely absent is the music to the Rope Skipping number ("Quid Pro Quo"), Parkour, and Charivari ("Globetrotters"). Run time checks in at 58 minutes, 19 seconds. * * * CIRQUE DEBUTS ITS FIRST SHOW ON ICE - CRYSTAL * * * On September 12th, Cirque unveiled a sneak peek of Crystal, its very first show fusing circus arts and the world of ice. For the occasion, a preview of this 42nd production was presented with a group number mixing acrobatic disciplines and skating figures, a high-octane romp on ramps where extreme skaters perform crazy flips and jumps at breakneck speed as well as a poetic pas de deux on aerial straps that completely blurs the boundary between ice and sky. (Sneak peek videos here: < https://goo.gl/RszizZ > and here: < https://goo.gl/mRxmje >). Since then, however, the show has made its preview debut in Lafayette, LA! ABOUT THE SHOW Crystal is the first-ever experience on ice from Cirque du Soleil. World-class ice skaters and acrobats take their new frozen playground by storm with speed and fluidity as they challenge the laws of gravity with a flurry of unexpected acrobatics. A new kind of performance as Cirque du Soleil meets the ice. Crystal, the show's main character, sets out on an exhilarating quest to fulfill her destiny as she dives into a world of her own imagination. She soars through this surreal world at high speed to become what she was always destined to be: confident, freed, and empowered. Crystal is about looking at things from fresh angles, peeking through the veneer of everyday life, reframing one's daily reality to see what one might have missed. Sometimes the only way to appreciate things is to look at them sideways. Discovering one's individuality and uniqueness requires venturing out on thin ice. "Crystal breaks the codes of the traditional ice show by creating a unique form of entertainment. To reach this objective, we brought together the best experts in their respective worlds. With this new show, the audience will discover the infinite possibilities that ice adds to the prowess of circus arts," says Daniel Fortin, Executive Director, Creation, Crystal. THE CREATIVE TEAM o) Stefan Miljevic -- Creative Director o) Shana Carroll -- Show Director o) Sébastien Soldevila -- Show Director o) Fred Gérard -- Acrobatic Equipment o) Stéphane Roy -- Set Designer o) Johnny Ranger -- Video Content Designer o) Maxim Lepage -- Music Composer o) Éric Champoux -- Lighting Designer o) Anne-Séguin Poirier -- Props Designer o) Marie Chantale Vaillancourt -- Costume Designer o) Véronique St-Germain -- Make-up Designer o) Geneviève Dorion-Coupal -- Choreographer o) Kurt Browning -- Skating Performances Senior Designer o) Benjamin Agosto -- Skating Performances Designer o) Marilyn Langlois -- Synchronized Skating Designer o) Raphael Cruz -- Performance Designer o) Mark Vreeken -- Sound Designer o) Eisa Davis -- Dramaturg, Text THE FINE PRINT Tickets for performances of CRYSTAL are available online: o) http://www.cirquedusoleil.com/crystal/ Follow Crystal on Social Media: o) Facebook: facebook.com/CrystalbyCirqueduSoleil o) Twitter: @Cirque #CRYSTAL o) Instagram: @cirquedusoleil #CRYSTAL A New Webseries - "Carving Crystal" o) VIDEO /// < https://goo.gl/EWKEbY > * * * AND MUCH MORE * * * Did you hear that Cirque du Soleil and the corporation of trois- Rivières events have extended their agreement for 5 additional years? They did! It seems the Hommage Series will continue for a total of 10 years... through 2024! There's plenty of news items, press interviews, and other insights this month to take a look at - especially all the new web-series episodes! In Features this month you'll find a fantastic review of VOLTA in Toronto by Henry Peirson. We continue our look back at classic show critiques with 1992's reviews of Saltimbanco. And there's a new three-part series on JOYA, Cirque du Soleil's jewel in the Riviera Maya, Mexico. Okay, so let's go! /----------------------------------------------------\ | | | 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 * REVIEW /// "VOLTA in Toronto!" By: Henry Peirson - Toronto, Ontario (CAN) * THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 1 of 3: "A Gem in the Jungle" Edited by: Ricky Russo - Atlanta, Georgia (USA) * "We're Off and Running - A Series of Classic Critiques" Part 6 of 16: Saltimbanco, Part 1 (1992) By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- Interview with Crystal's Skating Performance Designers {Sep.12.2017} ------------------------------------------------------- Kurt Browning is the Senior Skating Performances Designer for the show CRYSTAL. He is a four-time Canadian figure skating champion and a four-time World champion. He competed at three Winter Olympic Games, 1988, 1992, and 1994 and carried the Canadian flag during the ceremonies in 1994. Professionally, Kurt has accomplished a lot including three Canadian Professional Championships and three World Professional Championships. On March 25, 1988, at the 1988 World Championships in Budapest, Browning landed the very first quadruple jump in history. This accomplishment was recorded in the Guinness Book of World Records. Benjamin Agosto is the Skating Performances Designer for CRYSTAL. Benjamin Agosto is a five-time U.S. ice dancing champion and 2006 Olympic silver medallist. With partner Tanith Belbin, Agosto is the 2006 Olympic silver medalist, a four-time World medalist, the 2004– 2006 Four Continents champion, and 2004–2008 U.S. champion. Marilyn Langlois is the Synchronized Skating Designer for CRYSTAL. A graduate of the Institut national du sport du Québec and a former singles and synchronized skater, 2003 World Synchronized Skating Championships silver medalist Marilyn Langlois is the first figure skating coach from Quebec to obtain Level-5 certification from the National Coaching Certification Program (NCCP). CHECK IT OUT HERE: < https://youtu.be/2xM8GfVX_3Q > { SOURCE: Cirque du Soleil } ------------------------------------------------------- Montreal Gazette: "Cirque Previews CRYSTAL" {Sep.12.2017} ------------------------------------------------------- The last Cirque du Soleil show, Volta, added extreme BMX biking to the classic Cirque recipe. Now Montreal's incredibly popular circus has come up with the idea of blending its eye-popping acrobatics and theatricality with the fast-paced thrills of high-level skating. The new show, Crystal, is the Cirque's first-ever ice show, but the creators went to great lengths on Tuesday to underline that it is anything but a traditional skating show à la Disney on Ice. Local journalists were given a sneak preview of Crystal at the JC Perreault sports complex in St-Roch-de-l'Achigan in the Lanaudière region, about an hour from Montreal. They have been rehearsing the show there for the past few months. Crystal will have its first public performances in second-tier U.S. markets beginning in October, including Lafayette, San Antonio, Pensacola, Minneapolis, and Worcester before premièring in Quebec in December. It will play the Videotron Centre in Quebec City Dec. 13-17 and the Bell Centre in Montreal Dec. 20-31. "The idea behind this was to use the ice as an element of performance," said Sébastien Soldevila, who is co-directing Crystal in tandem with Shana Carroll. "It's not a skating show," said Soldevila. "It's an ice show. It's a mix between skating and acrobatics and we tried not to compromise one or the other. We tried to take the best parts of acrobatic circus and the best parts of skating. … Do you realize the canvas we have? Don't think about what was done. Think about what we can do." When I posted a video of the Crystal preview on Facebook Tuesday morning, a friend commented that it seemed like a desperate attempt on the part of the Cirque to find a bigger, more mainstream audience. Carroll, for one, said that reaction is surprising. "I'm actually shocked that that's the response because I feel it's really an overdue marriage," said Carroll, who is co-artistic director, with Soldevila, of the Montreal circus company Les 7 Doigts de la main. "It's so similar," Carroll said. "This notion that you have athletes who also perform artistically. Circus and skating … there aren't many other disciplines in the world that are artistic performances as much as athletic performances. I can't believe it's been this long for the Cirque to do an ice show. With O, they did a water show. So for me, it's really a perfect marriage. What Cirque did in the '80s with circus shows, changing the lens and permitting people to see the circus as something artistic, well, ice shows have been needing that re-invention." The 42nd Cirque production really blends the two disciplines. Circus acts like swinging trapeze, aerial straps and hand-to-hand are mixed and matched with different forms of skating, including synchro, freestyle, figure and extreme skating on ramps. The skaters had to learn circus skills and many of the circus performers had to be taught how to perform on skates. Some performers are on skates while others are in shoes fitted with special crampons created over months of meticulous research by the Cirque design team in Montreal. Three acts were previewed at the rink Tuesday. Tempête features acrobats doing their acrobatics (banquine, hand-to-hand and tumbling), while the skaters jump, flip and spin. The second piece is a hockey game that is less like the NHL and more focused on skaters doing high- octane jumps and flips on ramps on the ice. The last of the three was a romantic sequence where the main character Crystal performs a pas de deux with a man who descends on straps from the rafters. Crystal is a dreamy, misunderstood young woman who goes out skating on a frozen pond one night and fall through the ice, entering an imaginary world beneath the surface where she encounters a reflection of herself. The skating sequences are being overseen by four-time Canadian figure- skating champ and Olympic competitor Kurt Browning. "I think the biggest challenge is knowing when and how to blend the two worlds," said Browning. "They know Cirque and I've done many skating shows. This is the first time these two worlds have tried anything together. Someone asked me what I wished for the show and I said ‘longevity,' because with longevity will come growth and these two worlds will start to really learn about each other and more will happen. We're all potential." { SOURCE: Brendan Kelly, Montreal Gazette | https://goo.gl/HQ1go9 } ------------------------------------------------------- 45 DEGREES: The Helene Fischer Show Debuts! {Sep.13.2017} ------------------------------------------------------- Back in December we learned that 45 DEGREES would be designing and producing Helene Fischer's new tour, which was scheduled to embark in the autumn of 2017. Well, it's autumn, and Helene Fischer's tour has begun! Here are some of the first pictures from last night's Premiere of Helene Fischer Live Show. Show design by 45 DEGREES – a Cirque du Soleil Company and set design by STUFISH. Stage Director Mukhtar Omar Sharif Mukhtar. The show opened last night in Hanover and will tour for the next 6 months. Built by Brilliant Stages at Production Park. (Be on the lookout for the water dress – 45 Degrees designed it! And yes, it's real water!) VIDEO /// < https://goo.gl/59NCg8 > FOTOS /// < http://www.cirquefascination.com/?p=10678 > { SOURCE: 45 Degrees } ------------------------------------------------------- VOLTA Opens the Toronto Stock Market {Sep.14.2017} ------------------------------------------------------- The cast of VOLTA joined Robert Peterman, Vice-President, Global Business Development, TMX Group to open the Toronto Stock Market. VOLTA is a spellbinding story about the freedom to choose and the thrill of blazing your own trail. Inspired by the adventurous spirit that fuels action sports, VOLTA features BMX, parkour, shape diving, roller skating, rope skipping and more. VOLTA runs until November 26 under the Big Top at the Port Lands in Toronto. Waz and the Super Elites blended in to share the excitement the #CirqueWay CHECK OUT A COUPLE PICTURES FROM THE OPENING HERE: < http://www.cirquefascination.com/?p=10639 > { SOURCE: CNW, Cirque du Soleil } ------------------------------------------------------- Street Culture Roots Keep Cirque Alive for 33 Years {Sep.14.2017} ------------------------------------------------------- Daniel Lamarre is just a "ticket seller". At least that's how the president and chief executive of Cirque du Soleil describes himself. Only he's selling more than 13 million tickets to consumers around the world every year, and Cirque du Soleil is raking in more than $US1 billion ($1.25 billion) in revenue annually. "We are in full growing mode right now," says Lamarre, a former journalist and PR man who joined the business in 2001, and is now leading the company's move into China in a bid to double ticket sales. STREET CULTURE Cirque, which started with a small group of street performers in a town near Québec, Canada, 33 years ago, now has almost 5000 employees, including some of the world's best artists and acrobats, and has entertained more than 180 million spectators in 450 cities around the world. Its international headquarters are now in Montreal where its theatrical productions are developed, costumes are custom-made, and much of its R&D, including that behind its latest James Cameron-co created Avatar-inspired show, Toruk — The First Flight, takes place. The company also routinely partners with universities like MIT and companies such as Microsoft. The reason Cirque's succeeded for so long, Lamarre says, is that it's grown out of a street culture that still resonates with audiences. Its very first show in Las Vegas, Mystère, is still running after 24 years, and is one of six resident shows in Vegas, the others being O, Kà, Zumanity, The Beatles Love, and Michael Jackson: One. The shows aim to hit some of the almost 45 million tourists who flock to Vegas each year. "I like to see myself like a street guy," Lamarre says. "I go into the street and try to understand what the consumers want; how they perceive us. What are the acts that they love. What kind of music do they love." C2 MELBOURNE While Cirque du Soleil remains true to its core business of entertaining, under its new owners, it has a number of projects on the go. In April 2015, Cirque's founder Guy Laliberté sold the company (except for a 10 per cent stake he retains) for $US1.5 billion to a consortium led by $73 billion private equity firm TPG Capital. One of its new projects is C2, which turns the traditional conference format on its head, instead offering activities such as networking over cake baking or brainstorming while being elevated 3 metres up in the air. After six years in Montreal, C2 is heading to Melbourne on November 30. "It started like many many projects start –two guys drinking a coffee and just chit chatting," Lamarre says. "I was saying to Jean-François Bouchard [Cirque's director of creation] that I was tired of attending business conferences, that they were all looking the same. There was not enough creativity. Two weeks later he came to me and proposed C2 … and it's been growing every year." ENTERTAINMENT EXPERIENCES Cirque's other major projects include the interactive theme park in Nuevo Vallarta, Mexico, which it is building in conjunction with resort and tourism developer Grupo Vidanta. Although construction has barely started – Lamarre says the theme park is unlikely to open until 2020. "It's a huge investment and it will take a lot of time to put this one to bed – there is already interest from Asia to develop a similar park in their cities." Cirque is also widening its audience pool with new acquisitions. In July it took on New-York-based Blue Man Productions, best known for the Blue Man Group show. It's also moving into new forms of entertainment. In May it launched its first ice show, Cirque du Soleil Crystal, which starts touring globally next month. In November it will launch its NFL Experience in Times Square, which allows NFL football fans a chance to step into the shoes of an NFL player using a 4D cinematic experience and augmented reality. CHINA PUSH But for all the new projects on the go, Cirque's biggest bet is on China. The push came under its new consortium owners that include Fosun Capital Group, one of China's largest private conglomerates. "The [Chinese] market is so big that it can change the face of Cirque du Soleil," Lamarre says. He's visited China at least 10 times in the past 18 months to better understand its people and customs. "We think that China can help probably represent, if I am optimistic here, 20 to 25 per cent of our company." China will be the first market outside North America to host the Avatar show. Cirque will start touring the country in October and launch its first permanent show in China late next year, which Lamarre says could potentially double ticket sales. "The show we are going to open in Hangzhou is going to be the size of our Las Vegas show [KA], which we think will be our first statement in China," Lamarre says. He points out that a small city in China has 10 million residents, and if Cirque were to capture China's growing middle class, which is already at 400 million, "then we're in good shape". { SOURCE: The Sydney Morning Herald | https://goo.gl/5V21aN } ------------------------------------------------------- 45 DEGREES: A Look Back on 5 Years of SCALADA {Sep.15.2017} ------------------------------------------------------- Looking back on the 5-year partnership with AndorraWorld that brought the celebrated #Scalada series to life and brought smiles to thousands. VIDEO /// < https://goo.gl/STtEBP > { SOURCE: 45 Degrees } ------------------------------------------------------- 45 DEGREES: The Bal du MAC {Sep.16.2017} ------------------------------------------------------- Montreal came together, on September 16, to raise money for the Musée d'art contemporain de Montréal (MAC) Foundation at the eagerly anticipated MAC Ball. Some 700 guests from the arts and business sectors attended what is one of the most popular and closely watched events of the year, and a net profit of $510 000 was raised for the MAC Foundation. Orchestrated by Josée Noiseux, Chair of the Ball Organizing Committee, and staged by 45 DEGREES, the event planning and special projects arm of Cirque du Soleil, the exclusive event was inspired by George Orwell's 1984. Guests were invited to step into a world of surveillance and deprivation of liberties that highlights how crucial it still is to defend those liberties on a daily basis. In addition, guests had the chance to participate in the Ball's famous auction, made possible thanks to the generous artists who donated works to raise money for the Foundation. "It is still through art that our society's values are expressed; it stirs up emotions and makes us think, question things and see the reality of the world around us. I am greatly pleased to champion this cause at this year's MAC Ball, which features the theme ‘Liberties.' Masterminded by the incredible creative team at 45 DEGREES, the theme is a reminder of how important it is to live in an open and inclusive society." – Josée Noiseux, Chair of the Ball Organizing Committee A MAJOR FINANCIAL IMPACT Every year, the MAC Ball, the Foundation's main source of funding, sells out months in advance. The standout event marking the start of a new cultural year and its prominent guests help create a strong community for the MAC while building a network of patrons committed to local culture. With the 2017 MAC Ball edition, it is close to 3.5 million dollars that were raised over the last seven balls. The event allows the Foundation to contribute financially and practically to the MAC's activities. This important contribution is used, most notably, to support the MAC's educational activities, enrich the MAC's Collection, extend the reach of contemporary Quebec artists and bring some of today's leading international artists to Montreal. SUPPORTING QUEBEC PRODUCERS AND DESIGNERS Since it is a major event, it was important for the MAC Ball to support Québec producers, suppliers and designers. As such, the evening's caterer, Marc-André : Le traiteur, offers high-end, contemporary, yet accessible food showcasing local talent. Abstaining from using any processed products, the chef is uncompromising when it comes to taste, quality, product and his creative process. His numerous local suppliers include la Ferme de la Petite Nation, which supplied the Cerf de Boileau, and Lirode, which supplied wild products of Quebec. The bluefin tuna served at the event was sourced from sustainable fisheries in Gaspésie. The pastries were created by Patrice Pâtissier. The MAC Ball is known for its glamorous red carpet where all the latest trends are displayed. Many of this year's Ball attendees chose Quebec designers, such as Frédéric Joncas, UNTTLD (from designers José Manuel St-Jacques and Simon Bélanger), Xavier Laruelle, DUY and Denis Gagnon. The MAC Ball took a decidedly eco-friendly turn this year, namely by being held at TOHU, where every space, every experience is steeped in environmental consciousness. Indeed, the TOHU pavilion is green not only in colour, but also in practice, thanks to its LEED OR (Leadership in Energy and Environmental Design) certification. To achieve this certification, strict environmental standards and requirements must be adhered to during the construction of a building and sustained through its management. TOHU obtained the certification through to the required principles and practices, making it one of the first Canadian projects to attain this level of ecological performance. COMMITTED VOLUNTEERS Organizing such a successful event every year would naturally be impossible without crucial help from our precious partners and the Organizing Committee that help strengthen the MAC's philanthropic tradition and build a new community to support the museum. Putting the undeniable prestige and glamour of the event aside, the MAC Ball finds its true purpose in the generosity and commitment of the Organizing Committee's members who give their time, talent and energy to the cause. This year's event was co-chaired by: France Margaret Bélanger, Executive Vice President, Commercial and Corporate Affairs, Montreal Canadiens Hockey Club, Bell Centre and Evenko; Yanick Blanchard, Executive Vice President, Head of Corporate and Investment Banking, National Bank; and Mitch Garber, Chairman of the Board, Cirque du Soleil. AN EVENT BY 45 DEGREES This year the MAC Foundation once again entrusted the task of surprising its guests to 45 DEGREES, the event planning and special projects arm of Cirque du Soleil. With its creative expertise and world-renowned talent in planning events, 45 DEGREES took on the challenge of creating a custom-designed Ball for the Montreal community. The theme this year – "Liberties" – invites guests to become immersed in a privileged universe deprived of liberty, inspired by Georges Orwell's work of 1984, to emphasize how essential it is to defend these freedoms day after day. "For the second consecutive year, 45 DEGREES has staged the much anticipated MAC Ball, which is a practical way for us to support contemporary art, and also an opportunity to offer the Montréal community a unique experience that reflects our societal issues. Just like last year, the whole team worked hard to rise to the challenge," said Yasmine Khalil, President of 45 DEGREES. { SOURCE: Musée d'art contemporain de Montréal, Cirque du Soleil } ------------------------------------------------------- The Rise and Fall of Cirque on Broadway {Sep.20.2017} ------------------------------------------------------- The early success of Disney on Broadway led other entertainment companies to believe that conquering the Great White Way was possibly not that hard. But, as Warner Bros' first foray into the lead producing game, LESTAT, proved, it's not as easy as opening and tossing some money at marketing. And now, after a single Broadway show, PARAMOUR, Cirque du Soleil has essentially shuttered its theatrical division, Cirque du Soleil Theatrical. The formation of Cirque du Soleil Theatrical, announced in 2014, was Cirque's latest attempt to conquer New York. For years, the company wanted a permanent place in the Big Apple. Cirque founder Guy Laliberté searched for a location to build a venue, much like the ones the group has scattered throughout Las Vegas. There was a midtown location scouted, a spot at the Chelsea Piers. But nothing ever panned out. The company then turned to established locations–mounting a new show, BANANA SHPEEL, in 2010 at the Beacon Theatre. BANANA SHPEEL, which underwent many creative team and cast changes before hitting New York, was more vaudeville shtick than acrobatics. It was a disaster. Then came ZARKANA, a more typical Cirque spectacular opening at Radio City Music Hall in 2011 at outrageous expense. The show was supposed to last at least five summer seasons at the famed venue. It was there for two. Shortly after ZARKANA's first summer, Cirque tried to gain a permanent foothold in Los Angeles as well. It mounted the $100 million IRIS at the Dolby Theatre. It paid for at least half of that to produce and market the show, with the theater owner footing the rest of the bill. IRIS lasted slightly over a year before closing because of lack of ticket sales. (Though it was my favorite of all the Cirque shows I've seen.) So Cirque clearly needed someone who had some insight into how to produce a sit-down production somewhere other than Las Vegas, where Cirque, despite a few stumbles, has proven its mettle. The company oddly turned to someone whose recent experience was producing in Las Vegas–in 2014, Scott Zeiger, an alum of Clear Channel Entertainment who came to Cirque directly from BASE, a company responsible for Las Vegas incarnations of Broadway shows, was tapped to head the newly formed theatrical division. The formation of this division was immediately puzzling to some in the industry. "Here you have this company that laid off all of these employees in 2013, this company that was rumored to be in serious financial trouble to the point its founder had to come back a couple years prior to bring profits back up, and they are announcing a giant new division, where they've failed in the past," one producer said. "I never understood why." Some say it was ego, plain and simple. Cirque wanted a permanent presence in New York and Laliberté believed he deserved one. From the start things were never easy. Insiders tell me there was tension between the theatrical and non-theatrical divisions. Zeiger apparently wanted the first Cirque show to be THE WIZ. Cirque had collaborated with NBC on the televised live musical, airing December 2015, with plans to take the production to a Broadway stage. However when the Lyric freed up, PARAMOUR was fast-tracked. It was announced for a June 2016 opening in August 2015. Sources say that Cirque corporate forced the creative team on Zeiger. Philippe Decouflé, the director of IRIS who had no Broadway experience, was tapped to helm. Although the show was pretty much new, the rooftop set and some numbers were imported from IRIS. Late into rehearsals the original male lead, Bradley Dean, departed because of "creative differences." During rehearsals, there were many other changes, with the finale constantly in flux. Rumors abounded that many in the cast could not stand Decouflé. The $25 million show, Cirque's first foray into an original book musical, was not well- received by critics. Impressively, the company did not give up and put the show on hiatus during its run to work on it. The idea was not that it would be re-reviewed, but that word-of-mouth would be better if the show was better. The admirable strategy didn't seem to work and many believe the show–which had been pulling in respectable numbers to that point–never would have made its money back. Except Cirque got a little lucky: the owners of the Lyric needed it out to put HARRY POTTER into the theater and, as first reported in The New York Post, paid Cirque upwards of $20 million to make room for their dream tenant. Meanwhile, while PARAMOUR was running, Zeiger was looking for a home for THE WIZ. He couldn't get one. The theater owners all rebuffed his advances, other than Todd Haimes, head of the Roundabout Theatre Company, who offered Studio 54 up for a year. That year would likely not be enough to have a profitable WIZ though, so this time it was Cirque passing. That wise decision did not help Zeiger however. Sources say he was let go early in 2017. At that time his division was also working on the NFL Times Square experience; that project is now being handled by consumer experience executive (the description from the release) Danny Boockvar out of Cirque's New York office. As for theatrical endeavors, a spokesperson for Cirque told me via email: "Cirque du Soleil Theatrical now operates under our Resident Show Division and is currently focused on PARAMOUR's transfer to Germany." I've been told that other projects Cirque had the rights to, including THE WIZ, Zeiger was able to take with him, but it is doubtful that they will come to fruition without Cirque. No one is absolutely sure why Cirque gave up on Zeiger after only one production, especially because he seemingly did not choose PARAMOUR's team. Some say he was not helped by the ownership change that occurred during his tenure at Cirque. In 2015, private equity firm TPG Capital obtained a majority interest in Cirque from Laliberté, with Chinese conglomerate Fosun taking a large minority stake. TPG is said to have less an appetite for expansion than Laliberté. Other insiders state that Cirque has not changed that much; Daniel Lamarre, who at least a couple blame for Cirque's floundering in the past 10 years, remains as President and CEO just as he did under Laliberté. Cirque spent big to acquire Blue Man Group in July, hardly a conservative move. What this all means for the future of Cirque in New York remains unknown. After last year, when three Cirque shows were playing in the area at once, the market might need time to recover. Other than the NFL Experience, which is opening in November, and any possible PARAMOUR transfer, it is likely that whatever the theatrical division was working on is dead. But we might see a big top show, if Cirque can just find a place to house it. Without a permanent venue, each touring show brings its own difficulties. New York is not exactly known for its empty paved spaces right for a big top. Long stops in the area have been increasingly difficult to mount. Undoubtedly Cirque will find a way though. Something tells me they'll be back with more than a sporting experience. { SOURCE: Broadway World | https://goo.gl/fKi2vz } ------------------------------------------------------- REVIEW /// "Wrong kind of retro undermines VOLTA" {Sep.21.2017} ------------------------------------------------------- As its title suggests, Cirque du Soleil's latest touring extravaganza is full of youthful, technology-infused energy. As a full entertainment package it's uneven, a complicated narrative concept bogging down its greatest asset: a sequence of circus acts as awe- inspiring and skilful as we have come to expect from this billion- dollar company. A new angle here is the addition of sports such as BMX biking and parkour to the more familiar aerials and acrobatics, which along with its pop-electronic score by M83 marks a clear attempt to appeal to a youth demographic. Retro is layered on retro: the show has an '80s look and feel but also hearkens in its story and design to '60s counterculture. This layering of references is fairly successful in making the show feel trendy but its gender politics are depressingly dated: there's more chest thumping and testosterone-fuelled war cries than a Tarzan movie, while women are consistently positioned as assistants and admirers, literally and figuratively out of the spotlight. The concept is that the audience is watching the filming of a televised game show called Quid Pro Quo, in which contestants dressed in grey compete to become Elites. This is set up through an effective opening sequence led by the clown Wayne Wilson, who gets the audience whipped up into quite the competitive frenzy. Wilson is charismatic and likeable and seems like the star of Quid Pro Quo (and Volta), so it's a bit confusing when we are then introduced to a character called Waz (Joey Arrigo) and told that he's the game show's host. Waz's backstory becomes the driving force of Volta's narrative. He recalls being mocked in school because he has blue feathers where his hair should be, and a coming-out story is cued, the feathers standing in for his queerness. But these hints aren't followed up on as Waz is enticed into the world of the Free Spirits, cool kids in multicoloured outfits (costumes are by Zaldy Goco). There are strong echoes of the musical Hair, as a disaffected outsider joins a hippie tribe and is liberated from societal expectations. The circus and sports acts help tell the story: a rope-skipping number is part of Quid Pro Quo, while a beautiful acrobatic number in which Pawel Walczewski swoops over the stage hanging onto a light fixture and wearing a blue feathered wig has something to do with Waz's memories of the past. Girders and platforms burst up from Bruce Rodgers' amazing set in a parkour number that also has performers descending on a huge catwalk. In the first of several acts featuring BMX, a biker (Takahiro Ikeda) pirouettes and tiptoes on his front wheel up and down the platforms as a ballerina (Elena Suarez Pariente) twirls next to him, the unexpected delicacy of his actions creating a strong synergy with hers. Adult Waz watching home movies in the background suggests that this is his happy childhood memory. A high-energy rings-and-bungee-cord number ends the first act, which represents some kind of move toward liberation for Waz and locks in the show's gender dynamics: powerful men show off mad skills and roar at the audience, while women bounce around overhead decoratively, anonymously, silently. An early second-act highlight is a shape-diving number in which male acrobats run and hurl themselves through hoops placed higher and higher above the stage (and roar about it). Wilson's clown has two stand-alone acts, one in which he fights with malfunctioning washing machines in a laundromat, allowing him to display his considerable skills in physical comedy (this was the first time children's laughter became audible in the audience). In an extended second-act sequence he eats a hallucinogenic flower and imagines himself as a barely clad god — the audience loved this for sure, but it is also part of the production's unsavoury current of idealizing non-Western cultures, present also in unspecific references to indigenity in the costume design. In the show's most unsettling number, Danila V. Bim is suspended by a big hook through her hair bun and executes all kinds of flying acrobatic moves supported only by her hair. Echoes between her costume and Wilson's as the imagined god suggest she is part of his hallucination, but the objectification of Bim's body and the suppressed violence in the act made it more like a nightmare for me. The show's most esthetically pleasing sequence is a climactic number choreographed by Julie Perron in which Arrigo reveals extraordinary skill as a dancer capable also of acrobatic tumbling. This functions as the fulfilment of the narrative, so that a last sequence — in which a full BMX park of chutes, Plexiglas screens, and nets is assembled on stage and riders swoop and hotdog — comes across as a sort of crowd- pleasing encore. Throughout, the live band and in particular singers Darius Anthony Harper and Camilla Backman help ratchet up the high emotion. Martin Labrecque's lighting is both spectacular and subtle, enhancing the excitement of the big numbers but also helping the audience follow what's happening by highlighting a character's face when their psyche or imagination is at play. I will finish by mentioning the performer who pulls the shortest straw: Paola Fraschini, playing Ela, a pretty roller skater who leads Waz faithfully to his own fulfilment without ever getting a full act of her own. If I had daughters I'd take them to see a show about Ela, but I'd not take them to see Volta, because the show would have virtually nothing to offer them in terms of positive images and messages about their place in its dystopic/utopic world. { SOURCE: Toronto Star | https://goo.gl/RCP3wf } ------------------------------------------------------- REVIEW /// "VOLTA almost undone by a vague narrative" {Sep.22.2017} ------------------------------------------------------- The latest Cirque du Soleil show has one of those vaguely suggestive, peripatetic titles: Volta. But it could just as easily have been called It Gets Better. That's the intended spirit behind the lavish, scattered show, which feels like equal parts bullying parable, Hunger Games homage and Project Runway challenge. The conceit is that we're watching the live taping of a reality series called Quid Pro Quo, in which contestants representing different sections of the audience compete for the title of "super elite." Waz, the QPQ host, is a rather glum figure who's trying to come to terms with his present-day fame and a past that included being teased for having blue feathers on his head instead of hair. The subsequent show can be seen as Waz's attempt to reclaim his inner child – quite literally, since a mini Waz takes him through past chapters of his life. But, as anyone who's seen one of the multi- million-dollar Quebec company's shows knows, all of this is really an excuse to showcase a bunch of jaw-dropping spectacles. These include a skipping rope sequence on steroids, a WTF sequence in which a woman is suspended in the air by her hair (ouch!) and an updated version of the old guys-jumping-through-hoops stunt. Cirque, which has always seemed like a classy, Euro-chic take on Barnum and Bailey's, has never pandered to a younger audience before, but perhaps it senses its core audience is aging out. So much about this show – from its reality-show motif to the synth-pop score to the extreme sports feel (not one but two BMX sequences) to multiple, meaningless selfie moments – feels calculated to woo a younger crowd. And the fact that several sequences feature two or three stunts going on at the same time – the most bizarre being a bike sequence juxtaposed with a ballet scene – should appeal to a demographic used to multitasking. The acrobatics this time around are fine but not mind-blowing. What is mind-numbing, however, is the narrative. It's not clear how Waz connects to the narrative; the main star of the show seems to be his sidekick, a clown named Shood Kood Wood who has a lot more personality and gets featured in at least three big set pieces. And some characters, particularly a tie-dye-clad woman on roller skates, lack a sense of purpose. The show's theme might be that things get better, but Cirque has done much better before. { SOURCE: Toronto Now | https://goo.gl/RLmwnN } ------------------------------------------------------- NYLON: How a Circus Performer Does Beauty {Sep.26.2017} ------------------------------------------------------- If you've ever been to Cirque du Soleil, you know that those incredibly talented performers, who pull off some mind-blowing stunts and tricks, also sport some truly incredible costumes and makeup as well. What blows our minds almost as much as all of the flips, contorting, and other crazy stunts, is that each performer is responsible for doing his or her own makeup—albeit with a bit of initial guidance. Unlike what you'll see behind the scenes of a runway show or photo shoot, there isn't a genius makeup artist backstage painting each performer's complex face—no, the genius makeup artists are the performers themselves. So, essentially, on top of being hardworking and hard-training professional acrobats, they need to have their makeup application skills down pat. We were intrigued by this and dying to know more about how these performers double as makeup artists. I mean, have you seen some of the makeup at Cirque du Soleil? That's when we decided to go behind the scenes of Cirque du Soleil's OVO show, which is one of the Montreal-based circus' many traveling performances. We chatted with Camille Santerre-Gervais, a Russian cradle flyer, and Kyle Cragle, hand-balancing contortionist, about all things beauty. In case you're not already familiar with OVO, it's all about bugs—with each performer playing a different role in the insect kingdom. And so the intricate costumes and makeup are just as crazy and exciting as you'd imagine. "Every Cirque performer starts by having a professional come up with our makeup look, and we then take pictures so our makeup looks can look almost identical to what they created. After that, we get two sessions with them to learn how we can do it, along with a step-by- step portfolio," says Santerre-Gervais. However, after that, they're pretty much on their own. Both performers say their relationship with makeup started long before Cirque. For Santerre-Gervais, it all began when she was competing as a gymnast, keeping it simple with mascara and highlighter. But for Cragle? It started with binge-watching YouTube tutorials on drag, Halloween, and costume makeup back when he was 12 or 13. "At that time and age and where I grew up, it wasn't common for men to wear makeup, so I would just do it for fun in my house. Then I really got started as a professional working in circus arts, so I got to wear makeup and practice it more often." But what I really wanted to know, as I stared at both Santerre- Gervais' and Cragle's glowing faces, is how the hell they kept their skin looking so flawless. Both had perfect complexions, and based on their hectic travel schedule (they head to a new city every week with five days of performances per week), I needed them to spill their secrets, stat. As you can imagine, being on the road for a majority of the year can do a bit of damage to your skin—especially when you're putting on a full face of makeup (metallic foils and face paint, included) each night. The best way to combat damage, according to these two busy acrobats? Opting for natural, gentle, and nourishing products. "For me, I don't like to use any chemicals," says Santerre-Gervais. "The stage makeup we use has chemicals in it, so when I take it off, I use coconut oil and other natural products that won't irritate my skin." She also applies lotion to her face constantly, to keep it hydrated and combat airport skin, and stresses that it's not always about having the most expensive products when it comes to good skin. Cragle agrees, using tons of rich natural oils like coconut, rose water products, and micellar water to keep his skin on point, and bringing in tea tree oil and witch hazel when his combination skin feels too oily. The hero product? This unassuming "Magic Eraser" towel that you can buy on Amazon. Both Santerre-Gervais and Cragle swear by it so much that I've already decided to order one for myself. They're able to remove all of their heavy stage makeup using it, without having to use any harsh cleansers and makeup removers. Another hero is Touch In Sol's No Poreblem Primer. It will completely blur away your pores and works as the best primer to makeup (stage or every day), according to Cragle. Of course, self-care is another way keep their skin (and minds) in good health. "We do a lot of face masks together," says Cragle. "There are definitely a lot of ‘girls nights' with masks." He goes on to say that while they all like to do things together, everyone has their own form of self-care. "For me, it's more mental and just making sure I allow myself to relax. Doing face masks is really relaxing, but I think we just have to do a really good job of disconnecting from the show on our days off and try our best to get out. And sometimes the best thing is to just sit in the hotel and relax, or go outdoors to get Vitamin D." For Santerre-Gervais, yoga is her form of self-care. "I have my yoga mat here, so it's really just taking some time to breathe and relax." Below, learn a bit more about Santerre-Gervais' and Cragle's stories— and how they became the talented acrobats (and makeup artists) they are today. We've never wanted to run away and join the circus more. VIDEO /// < https://www.facebook.com/nylon/videos/10154921826716765/ > { SOURCE: Nylon } ------------------------------------------------------- VOLTA Has BMX Jumps and a Trials Rider Up in the Air {Sep.28.2017} ------------------------------------------------------- Canada's Cirque du Soleil has long been renowned for the artistry and athleticism of its performers. But its new show that debuted this month in Toronto features another kind of acrobat: trick bikers. For Volta, a show inspired by action sports, four BMX riders and one trials rider learned to adapt their skills to the Cirque environment. It was no easy task. Pro freestylers are used to pulling off incredible jumps, but in far different conditions: a solo run, perhaps, with a countdown clock as the only outside factor to consider. In this show, they have to do many of the same athletic feats on cue, set to music, and in coordination with other performers. A Red Bull documentary that premieres Friday evening follows the riders' training as they blend jumps and stunts with the choreography required for the performance. BMX freestylers aren't exactly used to group practice. "Our discipline is borderline terrible," laughs AJ Anaya, one of the performers, during the documentary. Beyond that, the riders had to change their perspective to become more than just athletes. (Learn what kind of cyclist you are with Rodale's Bike Tribes.) "When you're coming from the world of sport, you're in a different mindset," says Rob Bollinger, Cirque's acrobatic performance designer. "We worked with the athletes to transfer that mindset into a performing mindset—turning athletes into artists." Trevor Bodogh, the trials rider, collaborated with four-time UCI elite trials World Champion Kenny Belaey on a routine that includes a series of hydraulic platforms that rise, fall, and tilt as he performs his stunts. The BMXers—Anaya, Ryan Guzman-Vlug, Kevin Fabregue, and Jeffrey Whaley—worked with Cirque's directors to create a park routine using quarterpipe ramps for simultaneous choreographed jumps. As if that isn't challenging enough, the ramps are transparent. (Good luck judging your takeoff on Plexiglass.) Volta plays live in Toronto through November and then goes on the road, starting in Florida. An initial review in the Globe and Mail faulted the storyline but praised the bike routines. If you're more interested in the backstory, "Inside the Big Top" debuts on Red Bull TV Friday, September 29 at 5 p.m. EST and is available after that for streaming. { SOURCE: Bicycling | https://goo.gl/Fqc2j9 } *************************************************************** Q&A –- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- The Family Who Ran Off With The Circus {Sep.09.2017} ------------------------------------------------------- I, Analiese Long, am the general stage manager for [TORUK-The First Flight by] Cirque du Soleil. My husband, Mike, often works as a sound engineer for the circus. Back when I had just joined Cirque, our three kids were aged four, six and eight. We wanted them to have both of their parents around so off we all went — to the circus! We packed up our house, had a garage sale and took the kids out of school. Our first stop was Mexico. We made sure the kids had lots of excursions and immersions into the local culture. They didn't have to do a lot of schoolwork, but we taught them their mathematics and how to read. Since we were both working full-time, we hired a nanny who taught them Spanish and took them on archaeological hunts to the pyramids. We saw Mexico as our "tryout", to see if the process worked. Mike and I agreed it was hard work but rewarding. So we decided to keep going. Since then, we've lived in up to 20 countries, including Russia, Sweden and Lebanon. The kids loved it. They've actually seen more of those countries than Mike and me as we were working. We did a bit of distance education through the Queensland system, but a lot of the time I was creating a curriculum for them. I'd do a whole day's work, come home at night and write out lessons. Eight years later, the children are in their teens [12, 14 and 16]. They haven't toured with me for a few years because it's important for them to stick to their studies at school. Mike and I have agreed to try to work 12 months on, 12 months off, so only one of us is away at any given time. I've been away most recently, so Mike has been at home. He's absolutely my rock. He does it all. He's mum and dad, housekeeper and driver. He still works, just in a limited capacity. We met when I was finishing high school and decided we were going to be together for the rest of our lives. Before we had kids, so much of our time and marriage was spent in each other's company. We worked, lived and grew together. So to be away from one another is heartbreaking but also supported. That's because of how well we know each other. As the kids move through high school, I'm trying to take contracts with Cirque that allow me to be close to, or in, Australia. But when they all graduate… who knows? Maybe Mike and I will take off. We'll be young and carefree again! { SOURCE: The Daily Telegraph (Sydney) | https://goo.gl/vPVpru } ------------------------------------------------------- Meet Kristi Wade – Toruk Acrobat {Sep.17.2017} ------------------------------------------------------- For Cirque du Soleil performer Kristi Wade, Sundays typically start in one city and finish in another. The Australian-born acrobat, who appears in Toruk, performs two shows every Sunday, before packing up and heading to the next performance destination. The first thing I think of is eggs on toast. Sunday is a double show day for us. It's our earliest day – our first show is at 1.30pm so it's the only day we don't get to sleep in. Opposite to everyone else in the world. However, we're very lucky in that the catering team provides us with brunch on a Sunday, which we don't normally get. They set up an entire kitchen – egg station, pastry station, cakes, cheeses, fruit, nuts, granola, everything you can think of. It's always a great start to the day. I see it as adventure day because we're normally moving to a new city. On top of two shows, we have load out and transfer, all in one day. So, after our second show which finishes at 5.30, we either get put on a bus or on a flight, straight to the next city. Sometimes we don't arrive until early morning the next day. The longest is six hours on a bus, otherwise we get on a flight. The buses are super fun. It's something I look forward to. It's a bunch of friends with our dinner packs, entertaining ourselves for a few hours. Home for me is in the show. On Sunday morning, we have to check out of our rooms. I would probably get up at 8.30am, have my bags downstairs by 9am and walk to the arena by 10am. I pack the night before, because Saturday nights we finish late – about 10.30pm. Home for me is in the show – and out of a suitcase, and in a hotel room. I still feel "at home" when I go back to Sydney, but it's been really interesting for me to discover that you can really make home wherever you want it to be. I start putting on makeup at 11am. We do our own makeup. It takes an hour. I have all these creams that go on first. There's quite lot of layering and a lot of blending, all different shades of blue. Then I put a powder over the top and then brush it off, which sets the makeup. After I set it I cover my face in powder forms of all the makeup I've previously used. Most of the makeup is MAC. We have these luminescent dots we add to our faces that glow in the dark. There's Blacktrack, which is this liquid liner I have to use. Makeup is one of my favourite parts of the day, actually. It's a chilled out, zen moment. You have to be focused on the makeup you're doing. It's like doing art every day – but different to the art on stage. Before a show, I like to do cardio to warm up. I might get on the elliptical for five or 10 minutes. Then I'll go the blue mats and start stretching top to bottom – start from the head and work my way down to my toes. I generally warm myself up as if I was going to do quite an acrobatic routine, because at the start of the show I do quite a bit of tumbling on the floor. I saw a Cirque du Soleil show when I was nine. I told my parents on that day, that's what I want to do. Thankfully that worked out. My biggest memories of Sundays when I was young was it was my dad's only day off work, so I couldn't have any commitments on a Sunday because he wanted to sleep in. Sundays were good – a family day at home. As I got older, a lot of my performances were on Fridays and Saturdays, so Sunday was for relaxing. I would perform until 5am Saturday nights, so Sunday was a sleep in day. { SOURCE: New Zealand Stuff | https://goo.gl/kw8vr3 } ------------------------------------------------------- Gold Coast Bulletin Catches Up With Daniel Crispin {Sep.23.2017} ------------------------------------------------------- When Daniel Crispin has time off, he spends it in Tugun taking in the sunrise on his longboard. For the most part though, he's a high-flying circus extraordinaire, with everything from performing at Madonna's house to a Tim Winton film on his resume. We catch up with the homegrown star of Cirque de Soleil's new spectacle, Toruk. Q. Tell us about your upbringing? I was a pretty spirited teenager and it became quite evident early on that I needed to be involved in a lot of extra-curricular activities to be kept as busy as possible. I was never a naturally gifted athlete, but I was a creative and very, very energetic individual from early on. My weeks as a teenager were split between Brisbane and the Gold Coast, and divided up between school sports (swimming, volleyball, basketball and rugby) and extra-curriculars, particularly taekwondo, in which I spent many years on the Queensland state team. I also found my feet in dance and acrobatics; as a teenager, it was quite a conversation point at an all-boys school. My teachers also recognised that my creative drive was a lot stronger than my academic and supported my vocation in ways that I still find incredible. In my senior years of high school, I was able to spend two days a week on work placement as a television presenter on Bris 31. While my classmates were studying their academics, I was filming on location in southeast Queensland. My weekends were always, always spent in the outdoors. I was club vice-captain at North Kirra SLSC and would proudly rack up my 100 plus hours a season. My family are pretty avid swimmers and excelled in their heyday, but I drew the short straw in terms of height and natural ability in conventional sports. Q. How did you first get into acrobatics? I kind of just fell into it (pun intended). Taekwondo is a very acrobatic sport and I loved being on the demonstration team. Breaking wooden boards, screaming and doing flips at the same time — perfect for any overzealous teenager. I knew I wanted to be a performer after a school production. One of my teachers at St Laurence's College pulled me aside and said, "How about you come put some of this energy and flips into the school gala instead of just annoying everyone with it?" I went to one rehearsal and instantly I knew it was for me. From that point on I chased any performance opportunity and practised non- stop. The beach was a wonderful place to practice that and my patrol team at North Kirra loved watching it too. The Gold Coast has developed quite the budding circus culture and when I do get to come home, I'm always so happy to see how far things have developed, especially with the help of the Gold Coast City Council and the Circus Corridor program, which is helping to develop young people in the performing arts from Brisbane all the way to the Spaghetti Circus in Mullumbimby. Q. How has your career progressed so far? I've just turned 30-years-old and I still have to pinch myself some days. To have been able to perform at Madonna's house and with the rock band 30 Seconds to Mars, through to being in Tim Winton's feature film The Turning and being on a first-name basis with Jim Cameron through the creation of this Cirque du Soleil show, it's just been an absolute dream. Nothing is more incredible to me than being a principal character and having my face on the poster of a show as huge as Toruk. As soon as I finished high school, I moved to New York to work in a Circus summer camp. It was during this first overseas trip that I saw my first Cirque du Soleil show, O. That gave me the laser-like focus on where I was going to target my energy and where my career was going to end up … no matter what. I was then accepted into the National Institute of Circus Arts in Melbourne and I spent three years training under the world-renowned coach, Guang Rong Lu. I trained eight to 10 hours a day in varying circus disciplines, dance and drama classes, performances and being totally immersed and saturated in the performing arts world. I graduated on scholarship in 2010 and the day after graduation, I was on a plane to start work in the professional world. This has included co-founding my own company, Dreamworks/Global Creatures on King Kong, followed by a career-defining three years at Circa Contemporary Circus in Brisbane. Under the creative genius and mentorship of Yaron Lifshitz I was shaped into the performer I am today and we toured like nuts. I mean, really nuts. Nine months with one bag in 25 different countries performing different shows. Then, I went to work in Macau in Franco Dragone's water show House of Dancing Water as a high diver and straps artist. I followed with the creation of the live dinner show at Pacha Dubai, and some short festivals with Brisbane's Company 2 before being signed by Cirque du Soleil. I'll never forget that phone call. A decade of hard work culminating in a couple of minutes on the phone; it was validating and the pay-off of a lifetime. I've always been one of multiple projects. I completed a Bachelor of Circus Arts and a Master of Sports Coaching degree while touring. I also undertook my Graduate Diploma of Teaching and became a schoolteacher, which is an entirely different circus. Q. What do you see in your future? I know I want to remain in the creative arts. I love working as a coach and a teacher so I am blessed to have options. Cirque du Soleil has given me a lot of professional development opportunities and study certifications to advance my coaching skills. Eventually, I'd really love to be involved in television presenting as well as performing, but that's quite a lot to juggle (again, pun intended). Q. What is Toruk all about? Toruk is a prequel to James Cameron's blockbuster film Avatar. It is a stand-alone story in the respect that it has no human interaction as it is set 3000 years prior to the first film. My character is named Entu. He is a 15-year-old orphan who has been adopted by his best friend's family. Entu is an intrepid adventurer and sometimes a clown- like character in the way things don't always land on their feet. Together, Entu and his best mate Ralu answer the call to adventure for a quest across Pandora. The preparation for a single show takes me about two hours. The costumes are truly beautiful but to achieve that look takes a lot of moving parts and a lot of accessories. Plus, underneath the costume, the principal characters wear a live microphone as well as three sensors which allow a digital spotlight to follow us on stage. This is very important as the show is filled with projections that guide the journey across unimaginable landscapes. As well as the costume there is the makeup. This varies in pace from artist to artist, but ranges from anywhere between 45 to 90 minutes. Q. What do you enjoy most about your life in the circus? This is by far the most physical role I have had in my career. I can honestly say I have never had an easy show as there is just so much happening. The show is also performed in an arena, which is roughly 1500sq m — that's a lot of ground to cover with 40 artists. The principles spend almost the entire show on stage, which involves a lot of adventurous movement and a lot of running. I love performing my solo act the most. It's an enormous amount of pressure and a huge honour to perform aerial straps as the only artist on stage in a Cirque du Soleil production in front of audiences that sometimes surpass 10,000 people. However, I do love when the lights come up at the end of the show and you see thousands of smiling faces. That's a really incredible feeling knowing that you've shared something special and made thousands of people happy while doing what you love most. Q. What do you miss most about the Gold Coast? Coming home to the lifestyle on the southern Gold Coast is one of the things I enjoy most in life. Whenever I have time off, I always try to make it back to spend at least a few days in Tugun to remember how amazing and different the life is back home. I must admit that has been pretty rare recently as I've found myself spending a lot of time in the northern hemisphere. I've been really blessed to travel and experience the far corners and cultures of the world over the past 10 years. I still find the disparity between the Gold Coast and the rest of the world impressive. You have incredible surf along the coastline and breathtaking hinterland a stone's throw away from the beachfront. I've never really been one for night-life, I much prefer to enjoy the sunrise while sitting out the back on my longboard in the morning surf. It's something I'm really looking forward to sharing with my friends from the tour when we hit the Australian shore. Plus, I couldn't be more stoked to get to come home and perform as a principal character in a Cirque du Soleil show in my home country. { SOURCE: Gold Coast Bulletin | https://goo.gl/MjGGZg } ------------------------------------------------------- Meet Kailah Cabanas – TORUK Puppeteer {Sep.27.2017} ------------------------------------------------------- When Kailah Cabanas was watching The Muppets and Sesame Street as a child she loved it but hardly thought of it as a career opportunity. Yet here she is, at the age of 29, playing with puppets. Not just any puppets mind you. This Australian is part of the team of performers bringing together the latest Cirque du Soleil show TORUK – The First Flight. She admits her introduction to puppetry was completely by accident, after studying acting in Sydney and then taking on a role as puppeteer on a children's show The Amazing House. "I went in and gave it a go, completely winged it," Kailah said. When she found it came somewhat naturally for her, Cabanas then went on to the National Theatre's production of War Horse Australia. Now she's been touring the world with TORUK for the past two years and preparing for her first shows on home soil. She's learned new skills since starting with Cirque du Soleil too, and they've even managed to get her feet off the ground with aerial work, despite admitting to not being an acrobat by any means. Fans of Cirque du Soleil are in for a thrill if they head to this show. "It's so different to other Cirque du Soleil shows," Cabanas says. It's the first one that features puppets, large scale ones at that, but Cabanas says it's the visual aspect, of what has been created, that is like being part of a special effects movie. "Even our costumes – they glow." There's also the added bonus for the audience with interaction through a downloaded app. "The audience feels like they are part of the show." While the show is inspired by James Cameron's movie AVATAR Cabanas said you don't need to have seen the movie to follow what is going on. Narrated by a ‘Na'vi Storyteller' and populated by unforgettable characters, TORUK – The First Flight is a mythical tale set thousands of years before the events depicted in the film AVATAR, and before any humans ever set foot on Pandora. Cabanas admits to feeling homesick while on the road and she's looking forward to her parents travelling from Mackay to attend the Brisbane shows, kicking off from October 5, before they head to Sydney, Melbourne, Adelaide and Perth. "There's something very special about performing in front of family and friends." TORUK – The First Flight is Cirque du Soleil's 37th production since 1984. The company has brought wonder and delight to more than 155 million spectators in more than 300 cities on six continents. Cirque du Soleil has close to 4,000 employees, including 1,300 performing artists from close to 50 different countries. Once the production finishes Cabanas has another special event lined up for next year – her own wedding. { SOURCE: Stars at 60 | https://goo.gl/CqzBvK } ------------------------------------------------------- Meet OVO's Alana Baker {Sep.29.2017} ------------------------------------------------------- Ahead of the British debut of Cirque du Soleil's OVO, performer and choreographer Alanna Baker is telling BBC News that discipline is the key to surviving the show's intensive touring schedule. "To me your body is a work of art," she says. "You should love your body, treat it how you want to be treated. It's what you have to live in. You wouldn't fuel a car with the wrong gas. So if you give your body the right fuel, food, the right exercise, you can do whatever you want." To most of us, having such a carefully regimented diet and exercise plan would be a bit of a chore, but Alanna actively embraces it – as her Instagram feed will tell you. "Yes it takes time, effort, hard work. Nothing worth having comes easy, if it did everyone would have it," Alanna says. "So it's only down to you, no-one else can do it for you… but if you have the desire to be what you want, then you'll make it." Alanna is a dance captain as well as performer with the Canadian entertainment company, a role which sees her help new performers learn the routines. Being on tour with OVO, which premiered in Montreal in 2009, has taken her around the world – and soon it'll be coming to Europe. The show invites the audience into a colourful ecosystem, where insects work, eat, crawl and play together. But their peace is disrupted by a mysterious egg which appears in their midst. (Hence the title – ‘ovo' is Portuguese for ‘egg'.) "We like to make the audience feel like they've come into this insect world, like it's a big Bug's Life," Alanna says of the immersive show. "There's insects in the audience at the beginning, which gets the audience involved early, so there's no separation between the stage and audience… we like to get that interaction." The tour will stop in the UK for an eight-week run in London's Royal Albert Hall from January – which will be something of a homecoming show for British-born Alanna. "I saw my first Cirque show when I was eight years-old, in the Royal Albert Hall, and I said to my parents, ‘that's what I want to do when I'm older'," she says. "So to be doing a full circle 18 years later, living my dream of where it first started, is going to be incredible, words can't even explain." Alanna started training in gymnastics when she was five, a hobby she became considerably more serious about as she progressed through school. "I started competing for Great Britain, went to the European Championships, where we came first, and then came third in the World Championships in 2012," she says. "Then, after I finished competing, I got contacted to join Cirque, and I did a closed audition at my gym in Heathrow." Six months after her initial audition, the company asked Alanna if she could travel to Canada to begin training. "So I went to Montreal, did three months of training with Cirque, and then got offered a contract at the end of it, and then I flew to Australia. "I ran off with the circus," she laughs, "literally". But one aspect of Cirque du Soleil has been called into question in recent years – the safety of its performers. In 2013, the company was fined after a cast member died during a live show in Las Vegas. Investigators said Sarah Guyard-Guillot fell 28m (94ft) to the floor when a safety wire became detached due to her rapid ascent. Then, last year, Australian Olympic gymnast Lisa Skinner had to be fitted with a head brace after fracturing a vertebra in a fall during an aerial hoop routine. Alanna says: "We live in a life where it's our job, we put our lives at risk every day, it's going to happen. "But safety is Cirque's number one priority. They do safety procedures every week. We have two physios who travel around with us, every city we go to there's always emergency rescue on site, so they're really proactive about it all, which is great, and I feel super safe. "And if there's any time you don't feel safe, you tell them. And then you either don't do it, or they'll change it, or they make it work. She adds: "That's always been the case, but maybe things have now gotten more strict since that [2013] incident. "But you know, it's the life we live, things are going to happen, life is horrible sometimes. Some things you cannot control. When we do the things we do, it's part of our job." There's certainly no questioning Alanna's dedication to her job – and she takes pride in the fact her route to success hasn't been a traditional one. "To those people that said: ‘Oh you need a degree to do well in life', you don't – if there's something you want to achieve, then do it, fulfil it. Yes it takes time, but if you believe in it, it will happen." Cirque Du Soleil's OVO will play at the Royal Albert Hall from 7 January – 4 March 2018. { SOURCE: BBC | https://goo.gl/1NB9LY } ======================================================================= 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, & Crystal} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, MJ ONE, & JOYÀ} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >, 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: São Paulo, BR -- Oct 5, 2017 to Dec 17, 2017 Rio de Janeiro, BR -- Dec 28, 2017 to Jan 17, 2018 Rosario, AR -- Feb 14, 2018 to Feb 18, 2018 Buenos Aires, AR -- Mar 15, 2018 to Mar 25, 2018 Cordoba, AR -- Apr 16, 2018 to Apr 29, 2018 Koozå: Shanghai, CN -- Oct 2, 2017 to Dec 3, 2017 Beijing, CN -- Dec 15, 2017 to Feb 11, 2018 China City #3 -- TBA 2018 China City #4 -- TBA 2018 China City #5 -- TBA 2018 Kurios: Portland, OR -- Aug 24, 2017 to Oct 8, 2017 Vancouver, BC -- Oct 19, 2017 to Dec 31, 2017 Tokyo, JP -- Feb 7, 2018 to Apr 8, 2018 Osaka, JP -- 2018 Nagoya, JP -- 2018 Fukuoka, JP -- 2018/2019 Sendai, JP -- 2019 Luzia: Atlanta, GA -- Sep 14, 2017 to Nov 19, 2017 Los Angeles, CA -- Dec 7, 2017 to Feb 11, 2018 Costa Mesa, CA -- Feb 21, 2018 to Mar 25, 2018 Boston, MA -- TBA 2018 Washington, DC -- April 2018 Monterrey, MX -- TBA 2018 Guadalajara, MX -- TBA 2018 Mexico City, MX -- TBA 2018 Totem: Brussels, BE -- Aug 31, 2017 to Oct 29, 2017 Madrid, ES -- Nov 10, 2017 to Jan 7, 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: Toronto, ON -- Sep 7, 2017 to Nov 26, 2017 Miami, FL -- Dec 15, 2017 to Feb 4, 2018 Tampa, FL -- Feb 15, 2018 to Mar 25, 2018 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017 Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017 Allentown, PA -- Nov 9, 2017 to Nov 12, 2017 Syracuse, NY -- Nov 15, 2017 to Nov 19, 2017 Biloxi, MS -- Nov 29, 2017 to Dec 3, 2017 Hidalgo, TX -- Dec 6, 2017 to Dec 10, 2017 Sugar Lands, TX - Dec 20 to Dec 23, 2017 (FINAL SHOW) TORUK - The First Flight: Brisbane, AU -- Oct 5, 2017 to Oct 15, 2017 Sydney, AU -- Oct 19, 2017 to Oct 29, 2017 Melbourne, AU -- Nov 2, 2017 to Nov 12, 2017 Adelaide, AU -- Nov 16, 2017 to Nov 19, 2017 Bangkok, TH -- TBA 2017 China -- TBA 2018 OVO: 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 London, UK -- Jan 7, 2018 to Feb 11, 2018 Antwerp, BE -- Mar 8, 2018 to Mar 11, 2018 Hanover, DE -- Mar 14, 2018 to Mar 18, 2018 Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018 SÉPTIMO DÍA – NO DESCANSARÉ: Monterrey, MX -- Oct 19, 2017 to Oct 29, 2017 Guadalajara, MX -- Nov 8, 2017 to Nov 18, 2017 Mexico City, MX -- Nov 28, 2017 to Dec 22, 2017 Select US Cities -- 2018 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Lafayette, LA -- Oct 5, 2017 to Oct 8, 2017 (PREVIEWS) San Antonio, TX -- Oct 13, 2017 to Oct 15, 2017 Pensacola, FL -- Oct 19, 2017 to Oct 22, 2017 North Little Rock, AR -- Oct 26, 2017 to Oct 29, 2017 St. Charles, MO -- Nov 2, 2017 to Nov 5, 2017 Minneapolis, MN -- Nov 9, 2017 to Nov 12, 2017 Hoffman Estates, IL -- Nov 16, 2017 to Nov 19, 2017 Worchester, MA -- Dec 7, 2017 to Dec 10, 2017 Quebec City, QC -- Dec 13, 2017 to Dec 17, 2017 Montreal, QC -- Dec 20, 2017 to Dec 31, 2017 (GALA PREMIERE) Windsor, ON -- Jan 3, 2018 to Jan 7, 2018 Detroit, MI -- Jan 10, 2018 to Jan 14, 2018 Pittsburgh, PA -- Jan 17, 2018 to Jan 21, 2018 Topeka, KS -- Jan 24, 2018 to Jan 28, 2018 Colorado Springs, CO -- Jan 31, 2018 to Feb 4, 2018 Cedar Park, TX -- Feb 14, 2018 to Feb 18, 2018 Phoenix, AZ -- Mar 8, 2018 to Mar 11, 2018 Tucson, AZ -- Mar 14, 2018 to Mar 18, 2018 San Diego, CA -- Mar 21, 2018 to Mar 25, 2018 San Jose, CA -- Mar 28, 2018 to Apr 1, 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 November 8 Special Performance Dates: 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, 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 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) ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) THE WORLD OF... Each week we're going to get a closer look at one of Cirque du Soleil's 19 shows that stretch from Las Vegas to Tokyo and everywhere in between! o) EPISODE 1 - THE WORLD OF... AMALUNA {Sep.08} For today's episode we welcome you to set sail on a mystical Island adventure in Amaluna! Amaluna invites the audience to a mysterious island governed by Goddesses and guided by the cycles of the moon. Their queen, Prospera, directs her daughter's coming-of-age ceremony in a rite that honours femininity, renewal, rebirth and balance which marks the passing of these insights and values from one generation to the next. In the wake of a storm caused by Prospera, a group of young men lands on the island, triggering an epic, emotional story of love between Prospera's daughter and a brave young suitor. But theirs is a love that will be put to the test. The couple must face numerous demanding trials and overcome daunting setbacks before they can achieve mutual trust, faith and harmony. LINK /// < https://youtu.be/uDTlJNbFalU > o) EPISODE 2 - THE WORLD OF... KOOZA {Sep.13} KOOZA is a return to the origins of Cirque du Soleil that combines two circus traditions—acrobatic performance and the art of clowning. The show highlights the physical demands of human performance in all its splendor and fragility, presented in a colorful mélange that emphasizes bold slapstick humor. "KOOZA is about human connection and the world of duality, good and bad," says the show's writer and director David Shiner. "The tone is fun and funny, light and open. The show doesn't take itself too seriously, but it's very much about ideas, too. As it evolves, we are exploring concepts such as fear, identity, recognition and power." LINK // < https://youtu.be/tv2EkITPycc > o) EPISODE 3 - THE WORLD OF... KA {Sep.20} This is you on the edge of your seat. KÀ, the unprecedented epic production by Cirque du Soleil takes adventure to an all- new level. Be awed by a dynamic theatrical landscape, as an entire empire appears on KÀ's colossal stage. Live at MGM Grand, Las Vegas. LINK /// < https://youtu.be/F6yNVcOC9cU > o) EPISODE 4 - THE WORLD OF... LUZIA {Sep.27} LUZIA takes you to an imaginary Mexico, like in a waking dream, where light ("luz" in Spanish) quenches the spirit and rain ("lluvia") soothes the soul. With a surrealistic series of grand visual surprises and breathtaking acrobatic performances, LUZIA cleverly brings to the stage multiple places, faces and sounds of Mexico taken from both tradition and modernity. LINK /// < https://youtu.be/BVra4bptTOc > *) CIRQUE STORIES "Cirque Stories," an exclusive Cirque du Soleil YouTube series which highlights artists' journeys to the circus. Follow along with us every week as we go behind the scenes and discuss the path to become a Cirque performer. In these first episodes, discover how some of the Cirque du Soleil artists from our Las Vegas shows get there in their own unique #CirqueWay. o) EPISODE 4 - WHO ARE THE BEATLES LOVE KIDS? {Sep.14} Who are the Beatles LOVE Kids? They are more frequently known as the Kids of Liverpool. They are the amazing acrobats and gymnasts that perform in Cirque du Soleil's outstanding the Beatles LOVE show. LINK /// < https://youtu.be/3gWGARfULfY > *) "COME TOGETHER... AGAIN" THE BEATLES LOVE GETS AN UPDATE o) EPISODE 7: REVOLUTION {Sep.01} The Revolution act gets some major upgrades during the refresh to give artists something that they could really have more fun with. One of those upgrades include changing the phone booth into a van. LINK /// < https://goo.gl/MBbb4o > o) EPISODE 8: A SHOW FOR ALL AGES {Sep.08} A SHOW FOR ALL AGES! Artists in our show range from 7 to 81 years old. Get to know them in this new episode of Come Together...Again. LINK /// < https://goo.gl/7Ky9y7 > o) EPISODE 9: WHILE MY GUITAR GENTLY WEEPS {Sep.15} In this episode, get to know artist behind the hand drawn projections of While My Guitar Gently Weeps. The show also gets new projections that bring more vibrancy and color to our show. LINK /// < https://goo.gl/hm2Ad1 > o) EPISODE 10: THE ARTISTS {Sep.22} The clock is ticking. With artists performing ten shows a week while fitting in rehearsals, our show's refresh starts to take a toll on the artists. This new episode of 'Come Together...Again' gives you an inside look on how they're feeling. LINK /// < https://goo.gl/vPH322 > o) EPISODE 11: THE FINAL STRETCH {Sep.29} It's the final stretch! Check out all the progress we've made leading up to the big premiere in the latest episode of 'Come Together...Again.' LINK /// < https://goo.gl/kmzbci > *) MUSIC VIDEO w/LYRICS o) OVO - "Banquete" {Sep.12} Lyrics: Meu bem, cadê, cadê você? had been vim vim vim had been vim aqui só pra te ver meu bem cadê, cadê você? Eu vim eu vim eu vim eu vim somente pra te ver meu bem cadê? Coisinha linda cadê meu bem, cadê, cadê você? had been vim vim vim had been vim aqui só pra te ver Cheguei não tinha pronde ir you olhei não pude resistir sonhei o quanto consegui agora é meu cê e não vai me escapulir OK agora tá na hora entertained I love you my love te amo darling vamos todos festejar o amor que é a coisa bonita but that pod existir I love you my love I love you sweetie vamos comer, beber, dançar darling cadê, cadê você? I came here, here, to find you honey, cadé, cadé você? I came here, here, to kiss you chu chu, where are you? Coisa linda cadê? Honey, cadé, cadé você? I came here, here, here for a kiss o mundo é minha home your eyes two shining stars looks mi corazón que eu tenho tanto pra te dar você é como has água não pode faltar me o meu amor não para como o rio dà No. Mar OK you now know the time to have fun Tempo eat, dance tempo is the time to celebrate the world is my home your eyes two shining stars looking Mi Corazon who was there with you you are like water that falls on the earth as the waters of a River that flow into the sea into the sea into the sea LINK /// < https://youtu.be/GEJ1GpgnD28 > o) VAREKAI - "Lubia Dobarstan" {Sep.26} Recited text (in Spanish) : El camino del mundo que de la arcilla al oro, va de un mar a otro, une la Tierra entera la Tierra entera Sung text (in Grommelot): Az magoda lubia dobarstan Obicta nouka luban mèdènoh Niki yito tchézen polma tchézen Niki yo matchézen magodan Hé payavé Razpéno dayavan Hé payavé Razpéno zayanan Az magoda lubia dobarstan Obicta nouka luban mèdènoh Niki yito tchézen polma tchézen Niki yo matchézen magodan Niki yito matchézen Hé payavé Razpéno dayavan Hé payavé Razpéno zayanan LINK /// < https://youtu.be/OFskzpJ3zus > --------------------------------------------------- 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 22 - Q&A w/DAVID RESNICK... LIVE! {Sep.27} Former Totem acrobat David Resnick joins us for a second time on our first ever live episode! LINK /// < https://youtu.be/wHvlV-5S6ng > *) OTHERS... o) 45 DEGREES - REFLEKT /// < https://goo.gl/RcyB6y > o) VOLTA RED BULL TV /// < https://goo.gl/TB7LGT > o) TORUK AUTOMATION TECH /// < https://goo.gl/6g9SuK > o) TORUK PRODUCTION MGR /// < https://goo.gl/5JiPw1 > o) TORUK PLAYBACK ENGINEER /// < https://goo.gl/YFgpn7 > o) TOTEM BEHIND THE SCENES /// < https://goo.gl/dfUFSH > o) CIRQUE AT SEA MAKEUP /// < https://youtu.be/1f0FaZfKWNU > ======================================================================= FASCINATION! FEATURES ======================================================================= o) REVIEW /// "VOLTA in Toronto!" By: Henry Peirson - Toronto, Ontario (CAN) o) THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 1 of 3: "A Gem in the Jungle" Edited by: Ricky Russo - Atlanta, Georgia (USA) o) "We're Off and Running - A Series of Classic Critiques" Part 6 of 16: Saltimbanco, Part 1 (1992) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ REVIEW /// "VOLTA in Toronto!" By: Henry Peirson - Toronto, Ontario (CAN) ------------------------------------------------------------ I saw VOLTA in Toronto on September 10th at 1:30pm; nice show! Not as bad as people are making it out to be. It's certainly not as good as LUZIA or KURIOS, but I enjoyed it more than, say, TOTEM or OVO. I'd probably put it around Amaluna and Kooza in terms of quality. With time I'm sure it could improve to a better position in my books. Animation: The artists seem to have a lot of fun in this show, which is just wonderful to see. I was entering the big top right when they entered beside us from under the bleachers. They do a really great job of warming up the crowd, IMO a better job than Wayne Wilson's clown who's more-or-less the "co-host" of the game show. Opening: The opening relies on a video display to introduce the audience to Waz's background story, which I wasn't too impressed with (the video appears several more times throughout to give us more background and context). However this does ease and direct the audience throughout the story much better than the more misguided attempt at a narrative in DELIRIUM. Quid-Pro-Quo: The jump-ropers were AMAZING. Their timing and precision really helped launch us into the high energy of the show. The concept for the show, is, uh, interesting, to say the least. A game show? Seems a bit... too Earthy? Idk. Precision Walking: Omg, I LOVED this choreographed walking. Certainly brought out the whole feel of the monotone world of the Greys. Very reminiscent of Orwell's 1984 to me. One of the Greys was having trouble turning on the light on his "phone". Roller Skating and Basketball Manipulation: Nice introduction to the Free Spirits. During the act they all interacted really well with the audience; you could tell they were really into it. The act is no longer baton twirling (it was moved to later in the show), but now basketball manipulation. I feel like I would have been more impressed with the act if I hadn't been spoiled with the football freestyle from last year's LUZIA. No doubt he was talented, but I didn't feel like I was seeing anything new. Acro Lamp: I really loved this act. The guy was really talented, and because of the the nature of the object he was using, his tricks didn't feel like a boring old aerial act like aerial straps or anything. Stage was a bit empty though. But man, Camilla Bäckman can sing SO high! Clown Act 1: I thoroughly enjoyed Wayne Wilson's clowning, unlike from what I've heard from other people. Although it did feel out of place in theme (he's simply dealing with disruptive washing machines), I suppose that's not unusual for a clown act. Parkour: Out for the show, which I think is unusual considering it's a 5-6 person act - group acts, of course, would normally just have an alternate routine if one or two people were out. I mean, what if a banquine artist was out in Quidam? You can't just cut it out! As far as I know I didn't notice any artist throughout the show being out, so maybe they cut the act but somehow I doubt that. Flatland Bike and Ballet: A nice act - I really enjoyed the relationship between the two artists. They looked very young, 13-14 maybe, but I'm not sure if they're actually teens or just young looking adults. The flatland biker made some minor mistakes, and he seemed to look frustrated with himself as a result of that. Swiss Rings and Bungee: A very energetic act to end of act 1. I was in awe seeing the bungee in the big top - it made me wish I could've seen Saltimbanco's bungee under the tent. The swiss rings had some really great tricks, and I feel that the bungee may have diminished in effect as a result of that. As much as I was in awe of them, they didn't have the chance to perform many big tricks. It felt like a 70/30 balance when it should have been 50/50. Hopefully they'll develop the act a bit more to co-ordinate it as to have a result that's more similar to LUZIA's cyr wheel/trapeze in balance and quality. Act 2 Opening: Another "precision" choreographed walk opened act 2, this time with the Greys interacting with newspapers. I LOVED this one! It was so flawlessly choreographed and brought up so many images I can't even begin to describe. A truly beautiful, albeit short, moment that builds and improves on the previous choreography's strengths. Acro-Ladders: Fairly good act, kinda slow paced and out of place. It sorta just happened. Since the ladders were positioned and manipulated far over on the right edge of the stage, I imagine the act was far more entertaining for those seated over there as the artists quite literally dangled above them. Saw quite a few phones in that section capturing the moment. (EDIT: I've come to the realization that the act is normally two couples on the left and right of the stage, whereas for me it was only one couple. That may explain why it felt so slow paced and out of touch). Shape Diving: Ooof. That performance was not a good one for those artists. I felt bad for them. I counted around 7-10 mistakes alone during the act, although admittedly it's a VERY hard act to pull off (I saw 2-3 mistakes with the same act last year in LUZIA). Despite this, however, the act was quite a show-stopper. The artists were really good about not letting their faults get to them (or at least didn't show it on their faces), and kept encouraging the crowd to clap along with the music, which the audience enthusiastically agreed to. In a sense, too, it almost felt like the tricks were more impressive after they screwed up and then got it right - there was a certain great gratification that comes along with that feeling. (If you haven't noticed yet, this act got moved from act 1 to act 2. Probably a good idea, it certainly balances the two acts better.) Tightwire: Not in the show. I thoroughly believe this act has been cut, considering that I haven't heard of anyone having seen the act. Plus it wasn't like the artist was out sick or had an injury: he was one of the divers in the shape diving act! Ring (again), Trial Bike, and Roller Skating (again): Another aerial act? Jeez, this one just seemed like a crossover between acro lamp and swiss rings. But it was basically just a minute of a guy spinning in the air (which I'll give him credit for is very impressive) before making through for the main act: the trial bicyclist. There was a nice moment of awe when the hydraulic lifts were revealed from the stage. Those were CRAZY!! Most of his tricks were reminiscent of La Nouba, but his final trick (staying on the highest lift as it when to a crazy steep angle) was a nice treat. Clown act 2: Weird act but I still enjoyed it. It reminded me of the couch clown act from KURIOS in the sense that the clown essentially went through a bunch of diverse and crazy moments of comedy, only stringed together by the fact that he had accidentally eaten some berries that made him high. His "King Lear" moment (as I saw it) was hilarious - don't ask me what that means, you'll have to see for yourself ;) Hair Suspension: ABSOLUTELY. INSANE. What a showstopper. Man, she glided with such elegance around the stage; it was unbelievable. Akin to an aerial ballet if anything. Admittedly, the act is completely out of place. The whole atmosphere seems much more fitting for LUZIA than VOLTA - it would make a nice replacement for Benjamin Courtney's aerial straps if he leaves the show. Duo Unicycle: Pretty much the same comment as everyone else before me has said: the music is too epic for so mild an act. No doubt, the act was impressive, but it deserves to be found in the middle of the show as opposed to being the penultimate act. The atmosphere was nice though - the choreography with the drapes from the top of the tent was well done. The drummer that was the filler to set up for the act really did feel like a filler. Contemporary Dance: I've neglected to speak much about Joey Arrigo's Waz so far - he does a wonderful job. I feel if anyone else took on the character he would become just a complete caricature of the [rather generic] story. He does a great job physicalizing the character, which of course climaxes in this contemporary dance. Naturally he does a great job, considering his dance background. I would list this as one of the highlights of the show for me, actually. Batons and BMX: The baton twirling were moved here from its earlier placement in the show to act more-or-less as a distraction from the set-up of the BMX ramps. She does a lovely job but it does feel rather truncated. The BMX, naturally, was invigorating. Truly as crazy as it sounds, it really is a miracle that they don't fall of the stage or slam into each other. I'm glad I was seated in left side of the tent as opposed to the centre, because it really seemed like trying to enjoy the act by looking through one of the see-through ramps wasn't very fun. Finale: YEESH, they need to PICK. UP. THE. PACE. This finale (which more-or-less transitioned directly into bows) was one of the slowest, most awkward ones I had seen in a while. As a result of the BMX ramps, they've opted to allow the artists to pile off the stage and into the aisles to be applauded. It sounds okay, but the issue is that the only stairs that were open and available to them were the ones directly out front the stage. It took them quite literally several minutes to get off the stage (and keep in mind that this is the length of time it's taking them after having done done the show for 5 months now). Naturally this made a standing ovation awkward for the audience as we had no idea what to do with ourselves. IMO the bows just needs to be completely overhauled. They just need to find some way to keep the artists on stage for the bows and keep it simple, quick, and effective. (As a side note, some bald man came from backstage dressed in all black. I have no idea who he is but it's clear to me that this was some special performance for him because the artists all went and hugged him as he was there. It seemed like it was his last show or something, and it is BOTHERING ME that I have no idea who he is!) Anyway, there you have VOLTA as it is in Toronto right now. It's a good, fun show, and right now I'd give it 3-3.5 out of 5 stars. It has high potential, and with development over time I'm sure VOLTA can become a great show. I'm certain its better now than ever, and it will only continue to get better with each performance. Other notes on the show: - DARIUS. HARPER. OHMYGOD. HE is absolutely the highlight of the show. 100%. His stage presence is absolutely enthralling. Not only is he an amazing singer, but he just steals the show every time he steps out onto the stage. He absolutely commands it. The show is certainly not the same without him there. I even found it hard during the opening skipping ropes to pay attention to the act because his presence on the stage was just eye catching. - The music as everyone has already noted is great. My one regret is not going to the show a week later when I could actually buy the CD. - I LOVE Elani Uranis' makeup design. - Wish I could see the band more - they're even more hidden than Dralion's band (if that's even possible). I saw them lit up may 2 or 3 times the whole show, and even then I struggled to point them out to those around me. - Act one seemed awfully short, clocking in at just above 45 minutes, though this may be because parkour was out (then again, in the badly- filmed version of VOLTA on YouTube, which does have parkour, the first half clocks in at 46 minutes...). Act two was about 55 minutes. - Cirque no longer allows videos (I'm pretty sure they allowed them before, right?). They said only non-flash photos (which is ironic considering they were selling these flashing flower crowns to children at intermission, which naturally were flashing for the first few minutes of the second act). - Merchandise is SO. LAME. right now. There was not one CD or DVD of any show (at LUZIA last year there was TORUK, Varekai, Kooza, Quidam, etc.). The only thing that was worth buying for me was the program, which I will note is very nicely printed and put together, although it would be nice to have one that's more updated with proper photos from the show as opposed to photos from creation. ------------------------------------------------------------ THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 1 of 3: "A Gem in the Jungle" Edited by: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- "If I were to tell you the story of my relationship with my grandfather it would be difficult to separate reality from fiction. For a child, is there really a difference?" – Joya Behind the veil of the lush Mayan jungle exists a world of crystal- clear water pools, coral rocks, and rich flora and fauna – an oasis within an oasis. A wooden walkway leads to a theater perched above a massive lagoon cascading in a majestic waterfall. This is the world of JOYÀ – a unique entertainment and culinary experience by Cirque du Soleil. Inspired by the fabulous migratory journey of the monarch butterfly in which life is passed from one generation to the next to ensure the survival of the species, JOYÀ (Hoy-ya) follows the adventures of a rebellious teenage girl whisked away to a mysterious jungle in her grandfather's fantastical world. Surrounded by a strange band of half- human, half-animal masters inspired by ancient Mayan iconography, the aging naturalist yearns to pass on to his granddaughter his relentless quest for the meaning of life. Inhabited by entrancing characters that work hand-in-hand to perpetuate the love of life, JOYÀ abounds in subtle allusions to the history and culture of Mexico, from the 5,000-km migration of the monarch butterflies (from Canada to Mexico) and the 66 million year old Yucatán asteroid believed to have caused the extinction of the dinosaurs (a dinosaur puppet that trots on stage also refers to this cataclysmic event) to artists such as Diego Rivera and Frida Kahlo (vines, giant flowers and jungles are oblique references to the artists), and with mariachis, masked wrestlers, pirate legends (famous pirates took refuge on Isla Mujeres – the Island of Women – in the 17th and 18th centuries), and the rhythms and sounds of Mexico: cucaracha, marionettes, horror films (in reference to master of horror Guillermo del Toro), and even the underwater sculptures of Jason deCaires Taylor. It's an engaging, immersive, multisensory experience in which joy, courage, and friendship conquer all, but with the show beginning its fourth season in the Riviera Maya (on Wednesday, September 27th), I realized there's very little I, here in the United States, know about this unique show. A few weeks back I sought to rectify that by getting my hands on a hardcover book Vidanta Resorts provides to its members: THE BOOK OF JOYÀ. This book, while not a tell-all, is a wonderful reference source about the production and has given me wonderful insights into not only the show itself, but the Theater, the Grounds, and the Menu! So, in celebration of JOYÀ beginning its fourth season (it'll also celebrate its third year of existence in November), I'm going to share the texts found in the book with you - in three parts. Part One: "A GEM IN THE JUNGLE" covers the development of the concept and the grounds. Part Two (November): "SWEET, SAVORY, and SURREAL" takes a peek at the menu and the show itself. And in Part Three (December): "INNOVATOR PROFILES" we'll meet creators and some of the cast that brought the show to life. Let's get started, shall we? --------------------------- THE BOOK OF JOYÀ, PART ONE: "A GEM IN THE JUNGLE" --------------------------- "Through our partnership with Cirque du Soleil, we are providing an entertainment experience beyond what currently exists in Mexico or the world. This is an entirely new category of entertainment that everyone must see, hear, and taste. We are extremely proud to bring this dream to life" - Daniel Chávez Morán, Founder of Grupo Vidanta. The story of JOYÀ begins with a dream. It was a dream to do something bigger and more extraordinary than anything Vidanta had ever done before. We wanted to create a magical world where happiness ruled and the imagination ran free. A mesmerizing place where families and friends could come together to smile, laugh, and share unforgettable moments. It would be an entertainment experience that would do more than just dazzle audiences - it would inspire generations. They needed a partner who could dream right alongside us and who knew a thing or two about happiness. We considered only one company - the most beloved performance company in the world - Cirque du Soleil. So in the fall of 2009, Cirque du Soleil and Vidanta embarked on a miraculous journey and a whirlwind of beautiful collaboration. It was unprecedented. Here were two visionary companies dreaming together, both dedicated to pushing the boundaries of the imagination and bringing happiness to the world. It was an incredible time. Everyone involved knew that this project was special. And after almost five years of planning and preparation, the dream came true - Cirque du Soleil JOYÀ made its debut at Vidanta Riviera Maya on November 21, 2014. "Welcome to Our Dream. It's here for you and all the world to experience. From its beautiful home hidden deep within the Mayan jungle, JOYÀ will enchant you with spellbinding performances, amazing music, culinary wonders, and theatrical magic. Through astonishing new sights, sounds, and flavors, JOYÀ will take you to fantastic worlds and show you the beauty of nature and the unbreakable bonds of friendship and family. JOYÀ has truly become one of the world's most extraordinary entertainment and dining experiences. It is a dream come true. It was ours. Now it is yours." AN OASIS WITHIN AN OASIS ------------------------ The Cirque du Soleil Theatre is perched above a massive lagoon overlooking the Mayan jungle on the Vidanta Riviera Maya property. It is an oasis within an oasis. The JOYÀ experience begins the moment you enter the grounds. You wind your way through the lush Mayan jungle – quiet, peaceful, mysterious – and the fantastic world of JOYÀ slowly unfolds before you. You walk beneath palapas (a traditional Mexican shelter roofed with palm leaves or branches), through a world of lush vegetation, waterfalls, and rich flora and fauna, and you hear the sounds of Cirque du Soleil - you're far away from the hustle and bustle of the city. Warm smiles welcome you. Then you see it – the breathtaking Cirque du Soleil Theater perched atop a waterfall overlooking the lagoon, the grand centerpiece of the impeccably designed grounds. As more people arrive, the buzz of excitement builds. The sun begins to set; brilliant colors emerge from the darkness, and faint points of light twinkle in the secret island. Everyone knows they will soon be experiencing something magical. The night of JOYÀ has begun. Unlike other shows where you watch the performance and head home, the JOYÀ experience begins well before the first act and lasts long after the actors take their final bow. Before the show, friends and families enjoy dinner at Nektar (Yucatecan Grill & Lounge), couples relax in lounges overlooking the water, and giddy children dart about the wooden pathways. Afterwards, the experience continues with live music and drinks at Nektar, shopping at the JOYÀ boutique, or a pleasant walk around the lagoon. When you are here, time doesn't matter. Watch the stars come out. Listen to the water. Take in the view of the jungle at night. Enjoy your loved ones. Make the moment last. That's what JOYÀ is all about. You'll even find a few surprises... Before the show, guests are treated to a Mayan fire dance where performers recreate an astonishing ancient ritual. It begins as the performers mingle with guests and spread the rich aroma of incense harvested from local Copal trees. Then they slowly traverse the lagoon in a small boat and light up the darkness with spinning rings of fire. The beautiful dance of light is brilliantly reflected in the waters below. And, along the wide wooden pathway leading up to the Cirque du Soleil Theater, is the JOYÀ Boutique. Inside this small palapa, everyone can find that perfect piece of JOYÀ to take home – JOYÀ-themed sketchbooks, clothing, and collectible characters; soundtracks from JOYÀ and other Cirque du Soleil shows; even one-of-a-kind pieces of art and lighting. WHERE THE MAGIC BEGINS ---------------------- From far away, you can just barely see it above the trees, curiously peeking out from the jungle canopy. As you get closer, its strange shape makes you wonder, "What is this?" Maybe it's a giant flower with its petals unfurled toward the skies. Or a furry animal sleeping soundly on the jungle floor. Is it alive? Who lives there? This strangely beautiful place is the Cirque du Soleil Theater – JOYÀ's home – at Vidanta Riviera Maya. When Vidanta and Cirque du Soleil set out to build the theater for JOYÀ, their top priority was to create a completely unique and immersive theatrical experience that had never been done before at a resort. Vidanta's team of master architects, designers, and engineers worked closely with the lead creatives at Cirque du Soleil to bring the dream to life. Grupo Vidanta architect Arturo Hernandez based his designs on three guiding principles: have the utmost respect for the jungle environment, conceal the theater among the mangroves, and play with sinuous lines and organic shapes. The beautiful result of their work is the Cirque du Soleil Theater at Vidanta Riviera Maya – an awe-inspiring structure that transports audiences into the dreamlike world of JOYÀ with timeless beauty, gorgeous natural surroundings, and intricate details. The Theater was purposefully designed to reflect and blend into the lush Mayan jungle, almost like it just sprouted there. With it organic shape and decor, the Theater recaptures the essence of nature – the swaging trees in the breeze, the fluttering of butterflies, animal migrations, and the cycle of life. In fact, if you've stepped foot onto any of Vidanta's resort destinations, you've experienced Chief Architect Arturo Hernandez' brilliant mind at work. Throughout his prolific 33-year career, Arturo has seen the completion of more than 1,500 architectural projects in Mexico. Majestic vistas; soaring palapas; giant tiled columns; brilliant colors; elements of the surreal; playful combinations of water, fire, wood, stone, and metal – these are all the hallmarks of Arturo's visionary style. Most of Vidanta's sweeping structures and breathtaking buildings have been designed by this incredible talent. Many of which have helped Vidanta reinvent the Mexican resort experience. Joining him in executing these amazing feats of architecture is a full team of more than 125 architects, engineers, designers, and staff. Arturo is an architectural pioneer whose structures often defy physics. His inspiration comes primarily from the natural beauty of Mexico and its wealth of art and cultures, and he cleverly incorporates both into almost every design. Arturo is a true leader and a kind, humble man. Just spend an evening in the Cirque du Soleil Theater... look around and take it all in. You'll see firsthand why he deserves such praise. A MARVEL OF FORM AND FUNCTION ----------------------------- When you first saw it, what did you think it was? A plant? An animal? It's been described as many things – a pomegranate, a furry moth, even an alien. Arturo Hernandez calls it a "beautiful flower." This is the beauty of the Theater – it invites you to explore your own imagination. It begs you to think about your world, what is a dream and what is reality, and if there really is any difference. Much like the journey of JOYÀ itself. Because of the Theater's complex geometry (not many right angles here!), one of the main construction challenges was in the installation of the HVAC systems. The kitchen, the stage, the audience areas, the basement, and other areas all require different temperatures at various times during the show! But that's not all. Construction in this ecologically rich part of Mexico is subject to stringent environmental controls and restrictions; it is prohibited, for example, to build anything above the 12-meter tree line of the lush, low-lying jungle that is not made of natural materials. During construction of the JOYÀ site, Vidanta went to extremes to protect the jungle. Trees, rare plants and animals were all displaced. Every plant that was moved, no matter how large, was relocated and replanted. Hundreds of new trees were planted in and around the site. To better preserve the natural habitat, the wooden walkway leading to the theatre was deliberately built above ground, allowing animals to pass freely underneath. 80% of the Theater was preserved as pristine jungle. 100% of permeable ecological concrete was used for roads and parking lots around the site. And local woods were used for pergolas and other decorative elements. Did you know, hidden away on the island in the lagoon, is a small cenote? Abundant in the Yucatán Peninsula of Mexico, cenotes are naturally occurring sinkholes resulting from the collapse of limestone bedrock that expose groundwater underneath. The Maya believed these pools were sacred gateways to the afterlife, their openings representing sacred portals to a mythical underworld, a place of awe. The architecture and esthetics of the JOYÀ site reflect and celebrate the Maya's reverential respect for nature and are inspired by the natural beauty of the surrounding jungle, which sits atop an intricate underground labyrinth of rivers and cenotes. In fact, the entire JOYÀ site concept is meant to give the impression one is stepping into a large cenote among the mangroves, complete with crystal-clear water pools, coral rocks, and a magnificent waterfall. When architects discovered it during construction, they protected the cenote by creating the island around it. If you peek behind the curtain and look past its stunning artistry, you'll see that the theater is a marvel of form and function. Despite the theater's organic shape and softness, it is one of the most technically advanced theaters ever built. (In fact, The Cirque du Soleil Theater has the most highly advanced sound system of any public building in Mexico!) For its groundbreaking design and adherence to high quality standards required for safety of performing artists and the public, the Cirque du Soleil Theater won the coveted "Building Project of the Year" award in 2015. Given by Grupo Expansion and Obras Magazine, this achievement recognizes the most important construction projects for innovation, development, engineering, technology use, and economic impact. An intricate web of curved steel girders and woven palapa roof create an intimate 600-seat theater with a multi-level, 360-degree stage. Above, behind, and underneath the stage, there is amble prep space – rehearsal areas, a costume shop, dressing rooms, lobbies, two bars, lounges for actors and audience, and, most impressively, a full commercial kitchen that supplies eager guests with a three-course gourmet dinner. In this incredible space, actors and acrobats, musicians and magicians, chefs and servers, and bussers and bartenders can all safely do their jobs and create the unforgettable experience that is JOYÀ. * * * The Cirque du Soleil Theater is more than a physical place – it has become another lovable character in a show that amazes audiences each night. Did you know it took 18 months to build? With 600 seats, it is the most intimate Cirque du Soleil Theater. Even the seats farthest from the stage are only 18 meters away! Guests enjoy 2 distinct dining areas, 2 bars, and 2 lounges. 832 tons of steel were used to make the structure. 218,362 meters of electrical cable run through the theater. And 17,000 square-meters of ecological concrete were used for roads and parking lots, all 100% permeable. But there's more to JOYÀ than just the theater and grounds. There's also the food! Did you know the kitchen crew - the chefs, sous chefs, servers, and bussers - have to rehearse their parts just like the actors? Leading up to the show, the dinner service was rehearsed for weeks to get the timing just right. In our next installment - "SWEET, SAVORY, AND SURREAL" - we'll learn a bit more about the creation and highlights of the fantastic menu, and a bit about the show itself! ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 6 of 16: Saltimbanco, Part 1 (1992) 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, 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? It was time to peck through the archives. What I found was extraordinary, and more than I expected. And I'm sharing these discoveries here in 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 on from there. This month we continue on with 1992's reviews of Saltimbanco. # # # OTHERWORLDLY DELIGHTS By: Don Shirely | LA Times October 10, 1992 The creators of "Saltimbanco," the latest extravaganza from Le Cirque du Soleil, contend that their theme this year is "urbanity," as in "city life." "We tried to take a good look at society as it is now," wrote "director of creation" Gilles Ste-Croix in the program notes. Oh, oh . . . a "post-riot" Cirque, perhaps? Forget all that. "Saltimbanco" is the most fanciful production that Le Cirque has brought to Los Angeles. If this is a picture of "society as it is now," let's all move to the Cirque's home in Montreal. Maybe that "society as it is now" claim stems from the fact that the level of audience involvement has increased. More than in the past, audience members are coaxed/coerced into the action before the show proper even begins. On opening night, one woman was carried to the other side of the tent by a set of goofy-looking clowns. One man was stripped to the waist. Clown Rene Bazinet's solos depend heavily on audience response. Clad in a baseball cap, bow tie and baggy shorts, with a buck-toothed grin, the supple Bazinet pitches imaginary baseballs at spotlighted audience members, who respond by "throwing" them back. Later, he recruits a spectator for an extended set of let's-pretend mime on center stage, accompanied by peerless sound effects. Up close, this was a fascinating evocation of theater's roots in simple play. But friends who were seated farther back said there were problems seeing this act, and one wonders what would happen if Bazinet chose the wrong man. Leaving aside the audience participation, however, the Cirque performers themselves look and act like creatures from another planet. Unlike previous Cirque shows, none of them is dressed as a mere mortal at the beginning, only to become transformed upon entering a magical world. Other than an obligatory thank-you to the corporate sponsors, this is a fantasy from the get-go. True, we see a sleeping man (Guennadi Tchijov) enter a dream world. But he's no Joe Six-Pack, dozing off in front of the TV set. This guy has a blue tail even before his "dream" begins. Director Franco Dragone, composer Rene Dupere, choreographer Debra Brown and the designers (costumes Dominique Lemieux, sets Michael Crete, lights Luc Lafortune, sound Jonathan Deans) cradle us completely in their imaginary world. Even the most marginal member of the troupe maintains the illusion at every moment. Among the featured "dreams," first up is a Russian Dad (Nikolai Tchelnokov), Mom (Galina Karableva) and little boy (7-year-old Anton Tchelnokov). Dressed as if for "Star Trek," these three twist themselves around each other in a breathtaking display of strength and flexibility that ends in an embrace that's touching in more ways than one. The family that contorts together, stays together. Next, a team of 15 acrobats in brilliantly striped body suits cavort around and among four tall poles. They climb up in a "look, Ma, no legs" style and then descend head first, stopping just in time to avoid brain damage. The rest of the first act isn't quite as eye-boggling. The cable around tightrope walker Jingmin Wang's waist may make everyone breathe easier, but should that be the goal at a circus? Juggler Miguel Herrera, though much more than adept, dropped the ball a few too many times. Ann Bernard and Helene Lemay whip up an impressive frenzy with their "boleadoras" act, involving twirling ropes, flamenco steps and furious drumming by Francois Beausoleil, but the act doesn't look as superhuman as most. After intermission, 15 acrobats take turns leaping off a giant swing into a net. But that's just the warm-up for the trapeze act of identical twins Karyne and Sarah Steben. It's not just their gymnastic prowess that astonishes; it's also their uncanny resemblance, which extends beyond looks to what appears to be a remarkable blend of two souls in one, as if they used to be Siamese twins. This theme continues with the hand-to-hand balancing act of two brothers, Paulo and Marco Lorador. This looks more excruciatingly difficult than anything else in the show, but these guys' muscles could apparently move mountains. Finally, a bungee-derived act launches four angels into graceful flights around the Big Top, accompanied by astral-sounding soprano Francine Poitras. Incidentally, don't bother trying to decipher the lyrics in this first Cirque show with singing; most of them are made- up words, befitting a made-up world. * * * * * * Review: ‘Cirque Du Soleil: Saltimbanco' Christopher Meeks | VARIETY OCTOBER 12, 1992 Spooky masked, long-snouted clowns who look as if they might have arrived from outtakes of "Brazil" weave through the audience creating hilarity as a blue Alice-in-Wonderland cat-like mime prances on a shrouded white stage. The shroud is sucked through a hole in the sky as a rock band, beneath a stained-glass-like green canopy, launches into a pulsating song, and a caped, snake-haired master of ceremonies enters. So begins Cirque du Soleil's fifth anniversary show, "Saltimbanco," which means "skilled street performers and travelling acrobats." The evening proves that success has not spoiled the artful, enchanting and lyrical troupe. Once again the Canadian-based company demonstrates they operate with different rules of gravity and musculature while melding circus with dance, music and theater. If one has never been to Cirque du Soleil, be prepared to redefine the meaning of "circus." Without animal acts or three rings, and based solely on human exuberance and physicality, the performers enthrall with one act after another, seamlessly joined by stage hands whose costumes, choreography and clown antics are events in themselves. Each act is a madeleine to be cherished and remembered as a beautiful sight that passes all too soon. The show has a different flavor than last year's "Nouvelle Experience," whose fog, lighting and acoustic music had more of a timeless feel. "Saltimbanco" gives a harder edge with its electronic music and performers who appear anonymous and unisexed behind masks, white-face and leotards that swallow them from head to foot. The show is different, but the lyricism and sense of wonder remain. In this year of questions of what is family, three acts in particular answer in a kind of visual poetry. In the opening act, Nikolai Tchelnokov, his wife Galina Karableva and their six-year-old son, Anton, perform contortion acrobatic marvels that join them like rose petals to a stem. One senses their constant physical connection speaks of love and interdependence. Later on, the heavily muscled brothers Marco and Paulo Lorador execute a series of hand-to-hand balancing and gymnastic movements that combine grace with strenuous tests of endurance. The trust one has for the other permeates the performance. Before them, 17-year-old twin sisters Karyne and Sarah Steben perform 50 feet up on a single trapeze like synchronized swimmers of the air. As in past shows, most of the routines offer such a simple setting that less is more. Fifteen gymnasts take to four 20-foot poles– "Chinese poles" based on the traditional Chinese circus–and appear as if they're made up of steel wire and feathers. A juggler, Miguel Herrera, performs on an acrylic set of stairs. Jingmin Wang walks up a guy wire to a set of uneven tightropes where she dances, jumps, even flips from a unicycle onto her feet. Two lithe young women, Ann Bernard and Helene Lemay, in flame-colored suits, perform a Spanish flamenco using Argentine "boleadoras"–hard balls on a string that hit the floor–to dance to the accompaniment of percussionist Francois Beausoleil. The funniest act on opening night was when clown Rene Bazinet, performing mime with self-produced sound effects, ensnared a denim- dressed man from the audience to join him. The man warmed to the clown's wordless mime lessons, and they enacted eating bananas, slipping on the peels, and, in inspired shenanigans , a shootout at high noon. The evening ends in a bungee ballet, with four aerial acrobats who, connected to bungee cords and working off of trapezes 50 feet up, fly over and under each other and eventually connect like parachutists in a display. With them flies the voice of singer Francine Poitras, in operatic splendor. Poitras lends her vocal talents at several points throughout the show. The highly creative set by Michel Crete unifies all the other elements and allows the performers and stage hands to slip into a backlit horizon. The light design and special effects by Luc Lafortune and the sound design by Jonathan Deans maintain the high standard of previous Cirque du Soleil shows–to the point it can spoil other circuses. Costume designer Dominique Lemieux seems to have an unstoppable and vibrant imagination that combines commedia dell'arte clowns with sprites of various sorts to create swirling spirits of color. Rene Dupere's score carries the show and one's emotions to the heights. * * * * * * CIRQUE BIG TOP IS BACK IN COSTA MESA By: Lori E. Pike | LA Times January 28, 1993 There is a moment early in "Saltimbanco," Cirque du Soleil's latest show, which trumpets the fact that this shimmering, 2 3/4-hour extravaganza under a Big Top is neither pure circus, nor vaudeville, nor theater, but a different entertainment animal altogether. That moment comes when an acrobat walks on stage carrying what looks like a domed, stained-glass cake plate, illuminated from the inside, its panels glowing the same blue and yellow as the stripes of the circus tent. As the music swells and the lid is dramatically raised, what does the audience see? A cake? A diamond necklace? No. A chair. There, revealed for the curious crowd, sits a tiny, shiny chair, pink and yellow and turquoise, looking like a whimsical, overstuffed confection concocted by Willy Wonka. Twice now I have seen the show, and both times I was haunted by that wee chair with its psychedelic splotches. What is its meaning? Perhaps Andrew Watson, Cirque du Soleil artistic director on this tour, could solve the mystery. We spoke in mid-December in an office alcove in the circus rehearsal complex in Santa Monica, accompanied by the sounds of tumblers and dancers leaping, flipping, flopping, strutting and stretching on mats nearby in their pre-show warm-up. The mood of the troupe seemed upbeat. In one week, all the performers and technicians would be on holiday hiatus, 94 successful L.A. performances for 2,500 people a night under their belts. After a nice, long vacation, the Montreal-based troupe of performers from 10 nations would gather again to continue the show's California run in Costa Mesa, where they set box office records during their last appearance in 1991. That show was called "Nouvelle Experience." The '92-'93 model, "Saltimbanco," takes its name from an Italian word that loosely means "a jump on the bench," or the art of street-performing. "I think the '87 show (Cirque du Soleil's U.S debut, 'Cirque Reinvente') was less technical and more naive. Perhaps more in touch with everyday moments," Watson says. A later version of "Cirque Reinvente" was "a bit darker--a different show altogether," according to Watson. Next came "Nouvelle Experience," the Cirque's extremely successful '90-'91 offering. And now Saltimbanco. "This show is lighter, and really fancy and quite high-tech, and we sing in it and have a rock 'n' roll band," he says. "Everybody has a preference, and that's fine. I don't think any one show is better than another." In his jeans, horn-rimmed glasses and baseball cap, Watson looks more like a young screenwriter than artistic director and all-around trouble-shooter for a circus--albeit a distinctive circus. The cast of 40 that Watson is responsible for ranges from goofy clowns in purple dreadlocks to a petite, high-wire artiste from China who does daring feats with her feet while dressed in a bubblegum-pink unitard, snail- shaped sequin bustier and futuristic tutu. Asked what it's like to steer an entertainment vehicle that has everything from a full-blown rock band to the Elastiques, nimble people who resemble a spandex-clad sextet of spiders as they dive smoothly through the air while tethered to bungee-cord-like white filaments hooked to their hip harnesses, Watson replies: "My work is to maintain the excellence of the show and the excellence of performance. At the same time, my job is to evolve the show: the characters, the technical aspects, the acrobatic technique. It's like baby-sitting the show and at the same time, helping it to grow up." Part of that evolution means that the Orange County version will feature a new vocalist, Chantal Girard, for some performances. She and Francine Poitras, the main singer, croon no English words--only hauntingly beautiful phonemic sequences in Swedish, German and other languages. The effect is an otherworldly cross between singing in tongues and the music of the Cocteau Twins, British alternative pop artists known for vocalizing in their own made-up syllables. The Costa Mesa show will also see the debut of a new act called the "vertical ropes," which features a Soviet family trio performing graceful and dramatic acrobatic moves. Development and transformation are highly valued by the Cirque's directors and performers. Rather than imposing a single artistic vision on cast members and demanding they rigidly follow that script throughout months of the show's run, Watson and director- conceptualizer Franco Dragone heartily welcome collaboration. "People are encouraged to evolve. It makes it better for everybody. As we're doing so many shows, that keeps it more interesting for the cast," Watson says. "But all that has to be kept in context with the content of the show. Also, when someone is sick or injured, then it's a different sort of change. You have to heal the show. If you take an act out, then you have to marry the two ends of the show that remain." Then came the question: What about that enchanting little chair? Watson's free-flowing answers became more circumspect, and couched in their own aura of mystery. "It's a symbol, yes, but I really don't think I want to talk about it," he says. "Everybody who sees the show has his own vision. Each tableaux, each scene, has such a different feeling. I think people really have space to dream inside the show. And if I start explaining my opinion of what everything is. . . . " He trails off, no doubt contemplating the horror of constricting potential Cirque-goers' artistic vision before they've even gone to the show. Suffice to say, Cirque du Soleil is impressionistic. It is a bit of music, a bit of clowning around. A bit of teamwork, a bit of solo panache. A bit of broken-bone-defying daredeviltry and a bit of comic relief. Throughout the show, audience members are given the emotional space to lay their own template of wishes and dreams upon the actions on stage. Below, several performers give their own impressions about their role in the show's entertainment equation. As for that chair . . . well, I have my theories. And if you see the Cirque, you can formulate a few of your own. It's somewhat disorienting to see Rene Bazinet so still as he sips tea at a table in the Cirque's canteen tent. As "Saltimbanco's" emcee and ringmaster, the German-born performer is in perpetual motion, giving his pantomime and comedic talents free rein as he plays a few minor characters and three very different major roles. There is the Baron--a strutting figure in candy-striped red-and-black tights, flowing cape and silver-swizzle-streaked bride-of-Frankenstein hair. Then there's the Old Man, a hooded, hunched grandpa of doom who tries to be ominous but only succeeds in drawing laughs with his theatrical wheezing. Bazinet's piece de resistance, though, is Eddy, a bucktoothed little boy with an oversized cap, an exaggerated slouch that turns his spine into a question mark, and a huge pair of striped boxer shorts that he's fond of yanking up to his armpits. He emphasizes this "boy's" brattiness with one of the most expressive tongues seen on stage in a long time. He also employs a catalogue of whistling and various aural effects (amplified by a discreet headset microphone) which communicate as much as words ever could. "Yeah, I'm a bruiteur -- that's French for 'sound maker,' " he says, making a quick, screechy whistle to demonstrate. With his perfectly arched eyebrows and chiseled cheekbones, slender neck wrapped in a scarf and wavy, prematurely gray hair, Bazinet comes across more as the European aristocrat than the clown. He's been rather soft-spoken and serious up to this point in a brief pre-show interview, but a question about the buckteeth brings a flash of mischief to his face. "I have a spare pair right here in my wallet," he says. "I bought them from a carnival shop." No buckteeth are located, alas, but he does find some vampire fangs that he happily inserts into his mouth, stretching his lips into a most ridiculous Dracula grin. Bazinet is hyper-thin, which serves his sassy, little-boy role very well. But that seeming gauntness masks a body that is as strong, flexible and toned as any dancer's. One moment that highlights this versatile performer's body control and deftness of movement comes as he pauses at the edge of the stage, debating whether to step up or not. Bazinet points and flexes his foot in its black jazz shoe until it seems like the sniffing muzzle of a dog, now touching down gingerly here, now recoiling there, now spiraling slowly, looking for a place to safely plant itself. That foot has the arch and precision of a ballet pro. In another hilarious pantomime portion that involves an imaginary overflowing toilet and a stuck bathroom door, Bazinet's physical finesse makes the silly situation completely believable. That kind of motion, as effortless as it looks, is anything but. "I'm standing on one leg for minutes, 'swimming' through air, puffing my cheeks out and trying to breathe at the same time--it's very tiring," he says. "I'm basically pooped after that." In each show, one audience member has the rare opportunity to cross the invisible barrier between the cast and crowd and join Bazinet onstage for some spontaneous pantomiming. It's usually an amusing segment that allows the audience to root madly for one of its "own." But does it ever backfire? "Oh, yes," Bazinet says, though he has generally found the people he's pulled out of California audiences "more open and daring" than most. "One guy in Quebec just didn't want to do it, and he felt uncomfortable, and had to protect himself, and he wasn't listening to me. He tried to pull one over on the clown, if you know what I mean," Bazinet says. He shrugs. "So sometimes I just let it die. It's not funny anymore." He pauses, this man who has fished for laughs for years in Germany, France, Canada and now the United States, pondering the deeper rhythms of clowning. "Certain things just speak for themselves," he says. "There's a high level of intelligence in the viewer. And you can de-mask yourself by not wanting to take off the mask. "By not wanting to be an idiot, you turn out to be a very great idiot- -by not just trusting in the situation and just going along with it and knowing that you're all right anyway, and don't need anybody's approval." So, if you happen to be the lucky one chosen from the audience to share the stage with a bow-tied, bucktoothed, gifted clown, don't panic. "Just hang loose," Bazinet offers. "It's not that easy. But I'll give you a hand." If Bazinet rules the ridiculous in "Saltimbanco," then brothers Paulo and Marco Lorador preside over the sublime. The Portugal duo known professionally as the Alexis Brothers (in honor of their father, a circus performer himself), has traveled the world for 16 years performing the time-honored act of hand-to-hand balancing. With their sparkling white, chest-baring unitards and perfectly tuned, symmetrical, bronzed bodies, they look almost superhuman up on the round performance platform. The muscle-rippling poses and impossible balances that they strike are often more challenging than anything even Olympic gymnastics has to offer. "Sometimes people see me offstage and say, 'You're not the guy who was in the show. You looked so big. And those legs,' Paulo says, grinning. Marco, 25 and the slightly smaller brother, is feeling a bit under the weather. So 27-year-old Paulo, who acts as the foundation for their lifts, gives a solo description of the " Main-a-main " experience, as hand-to-hand balancing translates in French. On this rainy afternoon, he is clad in jeans and a leather jacket which reveal nary a muscle. Without the benefit of the lights and the costume, he does indeed look rather ordinary in stature, though his handsome face and bleached-blond buzz-cut with a dark streak through it make him look like a trendy, Pepe Le Pew-ish punker. The Elastiques, the trapezists and the Russian Swing divers may rule over the more harrowing moments in the Cirque. But the Lorador brothers, through pure strength, streamlined grace and balance, provide one of the Cirque's most beautiful and, surprisingly, emotionally stirring acts. The Loradors have burnished their teamwork into fine art, and audience members gasp audibly and repeatedly as the brothers strike what seem like impossible angles time and again, dependent fully on the strength of one another to keep them from tumbling to the ground. Purrs of pleasure from the audience can also be heard throughout the brothers' performance. It's undeniable--there is something simultaneously noble and sensual about their seven-minute display. When asked if he and Marco ever receive mash notes, Paulo modestly replies: "Well, you know. You have fans who come to see the show, and stop to say 'hi.' I like compliments, of course. It makes my day easier." Having worked together since they were boys, the brothers find no problem synchronizing their moves. "We don't have to communicate. We know already. That comes automatically," Paulo says. It helps that both brothers are "very professional," he adds. "When you get on stage, you forget about everything else. We never argue; or at least, very rarely. The good thing is that we have respect for each other. As soon as you lose respect--forget about it. You start calling each other names and things like that--that doesn't work." Which doesn't mean that they are the Bobbsey Brothers of the Cirque. (There is a pair of identical twins in the show, though--trapezists Karyne and Sarah Steben). With all that togetherness on stage and in practice, they prefer to live separate lives of leisure. "Marco likes to go out, and I like to stay home and watch TV. I'm more of a mellow guy," Paulo says. After all these years of performing, the elder Lorador brother is matter-of-fact about the impact he and Marco have on the audience. "When we're onstage, it's like we're in another world, and people watching us somehow want to be us," he says. "People think--'Oh, those guys--look at them!' We seem superior. "But after the lights go off, we're regular people--human beings who have feelings, too." * * * * * * TRIO TRIES TO LASSO CROWD WITH BOLEADORAS ACT By: Lori E. Pike | LA Times January 30, 1993 Mix two French-Canadian beauties with Madonna-esque cones of hair, Star Trek-style culottes and gaucho boots, a jazzy master of percussion, and eerie green fluorescent spheres on tethers sweeping through the darkness of a circus tent, and what do you have? One of the most striking--literally--acts in Cirque du Soleil. They call themselves Malamba, and they'll be appearing tonight and for the next five weeks with the Cirque in Costa Mesa. Helene Lemay, 31, Ann Bernard, 23, and drummer Francois Beausoleil, 31, have the distinction of being the act that spurs audience members to ponder, " What are they doing?" As Beausoleil, in harlequin attire, slams out a variety of beats, Lemay and Bernard do a boot-stomping flamenco in syncopation to the staccato percussion of their golf-ball- sized, floor-whacking boleadoras swirling from each hand. "It's a really 'groundy' dance, done deeply and loudly with the feet," Lemay explains. The effect is part Spanish senoritas from space, part Western women with innovative lassos--or mighty peculiar bondage instruments. The yelps of encouragement that the women and the drummer make to each other as they move through their intricate paces add to the mystery, and the momentum, of a dance that takes mind-boggling hand and feet coordination. Just how high this ranks on the skill scale is apparently lost on some audience members. Since Malamba--which takes its name from a dance rhythm, malambo --concludes the first act, intermission sometimes brings out critics in the crowd who wonder why they weren't treated to yet another high-risk, high-flying aerial stunt. But Bernard says their dance has risks of its own. "I hit myself once during the show," she says ruefully, explaining how a ball from the boleadoras smacked her in the temple. Said Lemay: "I looked over at her and thought, 'Oh my God!' while we were dancing. I knew she didn't know her head was bleeding." "It was a dramatic show," Bernard deadpans. The act got its start six years ago, when Bernard dated an Argentine man who taught her how to handle the boleadoras. "They first came from the gauchos in Argentina," she says. "They hunted animals with them." Back then, the cords were leather with stones at the end, and typically were thrown at cattle and other creatures to tether their legs. About 30 years ago, Argentines began to incorporate them into different styles of dance. Lemay met Bernard on the streets of Quebec City, where all three come from. "I wanted to learn that rhythm thing," Lemay says. "She started to learn, and she was good, so we say, 'Come on' " Bernard adds. "At first the dance was really hard for me," says Lemay, who previously performed with a modern-dance company. "I mean, I can dance and move, but there was something with the coordination. . . . We worked on the feet first, but when we added the boleadoras --that's not easy. Slowly, I got the rhythm. It became like a singing in my head." The two women were blazing a performance trail, since, according to them, it's usually men who do this type of dancing. "There are ladies who do the folk dances with the big dresses in Argentina, but this is considered more of a macho thing," Bernard says. Eventually, Bernard's former boyfriend dropped out of the act. The group has given another twist to tradition by replacing the standard single acoustic drum usually used for accompaniment with Beausoleil's work. The former jazz-combo drummer says he's aiming for a broad range of percussive sounds, including harmonics produced by synthesized drums. "We want to make a mix of this dance from Argentina, and music that has nothing to do with Argentina," he says. "No one else is doing that." Once the act's present lineup stabilized, the dancers started to make a modest living by doing performances. One night in 1992, as Malamba was strutting its stuff for friends in a small tango studio in Montreal, members of the Cirque du Soleil talent-scouting team saw them and offered them a spot on the "Saltimbanco" bill. "We were excited but also afraid," Bernard says. "It's a long tour, a lot of shows"--Cirque du Soleil artists sign two-year initial contracts, sometimes with a renewal option. "And we were just starting to have our own contacts and perform a lot. When you go on tour, you lose all of that. But, you do get to work every day." The boleadoras Bernard and Lemay use are a far cry from the leather- and-stones version of the Argentine plains. Lemay and Bernard assemble strong climbing rope and balls made out of a special type of hard plastic. "At first we were using wood, but it splintered," Lemay says. "We have to change the plastic often because it changes shape and flattens. And then the spin doesn't work right." The cords are almost four feet long. Tiny loops at the ends slip over the women's little fingers. "We have a tendency to try to take the cords longer and longer so that we can stand straighter, but that is hard. We lose the speed," Lemay explains. She and Bernard tape their wrists to help guard against the tendinitis that could develop from thousands of minute wrist revolutions they must make in every performance to keep the balls moving in their perfect circles. While Lemay and Bernard may command most of the audience's attention during performances, Beausoleil is treated as a full partner. Even in the interview, Beausoleil is given respectful room to contribute as many comments as they do. All three believe the success of the act depends on each artist following closely what the other two do throughout performances. "It's like music, but very difficult music, because the rhythm has to be so tight together," Beausoleil says. "There needs to be complicity between the three of us to keep it together. That's why we shout. We need to be on a very high level of energy to do this show right, because it's very difficult." The three continually work to refine what they do. "Costa Mesa's show will have some different music," Beausoleil promises. He often haunts local jazz clubs for inspiration late at night after his Cirque performances. The dancers do their part by "practicing a lot," Bernard says. "We watch videos of ourselves to see how we can improve. We're always changing something--little things. It keeps us alive." What's the thrust of Malamba? "It's rhythm," says the one who can hear it "singing" in her head. "Rhythm, rhythm, rhythm." * * * * * * CIRQUE DU SOLEIL OPENS WITH A BANG By: M. E. Warren | LA Times February 1, 1993 Lightning and hail crowned the opening of Cirque du Soleil at South Coast Plaza on Saturday night, and though nature put on a fabulous show, this circus is well-nigh impossible to eclipse. To experience it is to know what is meant by "the greatest show on earth." The big top is a colorful cocoon where magic incubates in this incandescent, exquisitely playful paean to an urbane future that defies gravity and personifies grace, in which even that old standard, the bathroom joke, is fancifully, hilariously reinterpreted with an edge of elastic optimism. For those who have never participated in a Cirque du Soleil extravaganza, this is a circus of two-legged animals who fly, slither, leap, tumble and tickle the funny bone as few other menageries can. Though children may wonder when the lions will be coming on, the adults will recognize the kings and queens of beasts, disguised as acrobats, gymnasts, trapeze artists, wire-walkers and clowns. The leonine Marco and Paulo Lorador's feats of unbelievable strength and balance had the audience roaring. The Steben twins, Karyne and Sarah, flip around a bar 20 feet in the air and catch each other with their ankles. Nikolai Tchelnokov does backward flips and gainers down a rope, from handhold to handhold. Sun Hongli walks not one, but two tightropes, bouncing from one to the other as if she were on a trampoline. So who needs monkeys? For anyone who has lived within the mortal coil long enough to have an awareness of its limitations, Cirque du Soleil is a revelation. The human body is a temple in which miracles can happen. Cirque du Soleil deifies not only the physical being but the imaginative, emotional being as well. As in past productions, the performance is rounded within a mystical story, not a plot, but a sensibility. Urbanity is the inspirational theme for Saltimbanco, as this show is called, in which the creative collaborators present a vision of our citified future exploding with diversity and questing for perfection. Saltimbanco is a 16th-Century word for "street performer" or "showman." The corps of the company, the comic acrobats, are like a gang of the future, with their fantastic punk outfits and hip-hop routines. Master of ceremonies Rene Bazinet clowns with the sophisticated wit and ease of a late-night TV megameister. His unique sound-effects language is at once reminiscent of the good old days of radio, and suggestive of a not-too-distant time when words will be obsolete. With the delicacy and strength of a spider's web, Saltimbanco straddles time and place and captures the imagination as only truly great theater can do. It is to kineticism what Shakespeare is to the English language, and the words of the bard are apt to describe the feeling that Saltimbanco kindles: "We are such stuff as dreams are made on . . ." The production design is as sumptuous as a Medici festival and as witty as modern technology allows. The live band rocks and rolls through the all new score, which includes the soaring vocals of Francine Poitras, whose singing is the incantation for Cirque du Soleil's transformative, magical spell. And never fear that you won't know when to applaud. Applaud all the way through. And don't forget to roar. * * * * * * FAMILY LIFE UNDER THE BIG TOP by: Jerry Holderman | LA Times February 3, 1993 Anton Tchelnokov is living an adventure most kids only dream of. He attends school two hours a day and spends his afternoons practicing gymnastics and acrobatics. He earns his own money without having to take out the trash or walk the dog, bounces on a trampoline whenever he pleases, and has swapped autographed photos with his hero, Arnold Schwarzenegger. He knows he will be the center of attention at least once a day, has free rein in a restaurant where cooks prepare his favorite foods to order, and sees his best friend--a 37-year-old-clown--no less than six days a week. A normal childhood? Hardly. The only child of renowned rope-climbing Russian contortionists Nikolai Tchelnokov, 32, and Galina Karableva, 34, Anton made his artistic debut with the Moscow Circus at the ripe old age of 3 and the 7-year-old is now touring North America as the youngest performer with Cirque du Soleil, which opened a five-week Orange County engagement at South Coast Plaza last Saturday. "I know his world is very different, but it's a beautiful life my son is living," says Tchelnokov, who performs two numbers in the show with his son and wife. "He is exposed to so much artistically and culturally. He speaks three languages (Russian, French and English), and he is seeing the world. It is an experience few young people ever have." Tchelnokov, whose own childhood growing up in the former Soviet Union was much more traditional, feels passionately that normal doesn't necessarily translate into better. "I was a regular kid," says Tchelnokov. "My mother was a construction worker and my father was a soldier who was imprisoned by Stalin during the war. When my father died, she raised six children alone. It was simple and it was, yes, normal, but was it better than what my son is doing now? I don't think so. Anton has a very good life." And a very busy one. In addition to afternoon rehearsals and nine performances a week, Anton attends school from 12:30 to 2:30 every afternoon in a circus trailer situated a stone's throw from the blue- and-yellow big top. Teacher Robert Ballard, whose job it is to educate Anton and the four older minors who travel with the show, readily admits that his littlest student often proves to be the biggest handful. "Anton has a lot of energy, and he really needs to be kept stimulated," says Ballard, who taught at a Montreal elementary school before joining Cirque de Soleil's North American tour 2 1/2 years ago. "He has the attention span of most boys his age. After 10 minutes he wants to do something else." While two hours of school a day may sound academically lightweight, Anton's father is quick to point out that the education his son is getting extends far beyond the classroom walls. "When I was in school for eight hours every day, I was always tired," recalls Tchelnokov. "It was too much information. I think for his age, he is getting what he needs. He has already taken in so much information about this world by being with people and just living life." In addition to the time Anton spends in the classroom, he's also expected to study in Russian for another two hours a day under the supervision of his parents as part of an agreement with the Russian government. Every two weeks, he takes proficiency exams in math, French, English and science. Copies of Anton's exam scores are submitted to the Education Ministry of Quebec and administrators at a Montreal elementary school, who oversee his education. Copies are also delivered to circus management when Ballard meets with them to review how Anton and the other child performer, 13-year-old acrobat Sonya St. Martin, are progressing with their studies. "We sit down once a week and assess whether the kids are getting what they need," Ballard says. "If they need to practice less and devote more time to their schoolwork, I explain why. I have a strong commitment to giving them a complete education because I know they won't be performing with the circus for a lifetime. I want to make sure that they will be prepared once this part of their lives is over." Because it's the only place where Anton regularly spends time with children close to his age (two of the students are 11, one is 13 and one is 17), Ballard says he makes a conscious effort to create a healthy, balanced environment "where the kids can be kids." "My first year with the show, four of the students were performers and one was not," Ballard remembers. "It was very difficult for the one girl because she always felt she was in the shadow of the others. I see the classroom as a great equalizer. The artists have no special privileges here. They're here to get a good education, and my job is to make sure that they do." But what about the developmental passages that children experience by interacting with their peers? Tchelnokov admits that while the adults his son considers playmates are "young at heart," there may be some disadvantages in not having same-age friends your age. "Not too long ago, Anton was playing a game with an 11-year-old whose parents work for the show," he recalls. "The older boy wanted to go first because he was bigger. Anton couldn't understand why that should be, because in his world, everybody is bigger. He sees adults differently than most kids because he's around them so much." As much as Tchelnokov and Karableva say they'd like for their son to meet children closer to his own age, it rarely happens. "Sometimes kids send nice letters to Anton and say, 'If you want to see our city while you're here, call us'," says Tchelnokov. "That makes us very glad. But we have only Mondays off, and he usually sleeps most of the afternoon. Yesterday, we went up the (freeway) to play little (miniature) golf and there were some children there." Though Anton is the youngest performer in the show, he's not the baby of the 110-person Cirque du Soleil community. That distinction belongs to 18-month-old Guillaume Gauthier, whose father, 31-year-old acrobat Alain Gauthier, agrees with Anton's parents that growing up beneath the big top can be "fantastic for a child". "There's a phenomenal energy here, and the kids absorb that," says Gauthier. "I bring Guillaume into the artistic tent during the show, and he's surrounded by all these friendly people wearing colorful costumes and makeup. He goes from arms to arms. He has lots of aunts and uncles, and he loves it. He's not afraid of anyone or anything. For him, it's a wonderland." But Gauthier agrees with Tchelnokov and Karableva that raising a child in such a world presents certain challenges. "It's tricky and you always have to keep your eyes open," says Gauthier, who lives with his wife, Marie-Eve Dumais, and son in a small trailer on site. "It can be a dangerous place, especially for an infant. There's lots of electrical wiring, lots of equipment being moved. Backstage, people who are rehearsing can fall on him, and there are plenty of places where he can fall. It keeps you on your toes." Even though his son won't start school for three years, Gauthier says Guillaume's education is something to which he's already given plenty of thought. Gauthier values education (he holds a university degree in geology and has done classical course work in Latin and Greek). "There are pros and cons to every way of living," Gauthier says. "Circus kids spend less time in the classroom, but they also get much more attention when they're there. In classes of 30 or 40 students, teachers can spend as much time disciplining as they do teaching. Here, it's like having a private tutor." Private tutor or not, Anton Tchelnokov is still no fan of the classroom. He returned to school last week after a month break, and he's clearly not thrilled about it. "I don't like it because I have to sit too long," he says with a sigh of resignation. # # # That's all for in this issue, but there's plenty more to come! 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) ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 17, Number 10 (Issue #165) - October 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. { Oct.06.2017 } =======================================================================