======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 12 December 2017 ISSUE #167 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. As always, there's a lot to discuss... but before we get started, congratulations are in order for the cast and crew of JOYA, who celebrated reaching their 1,000th performance on November 30th! A special 9:15pm dinner and 10:15pm show marked the occasion. Earlier in the month, on November 9th, LUZIA also had reason to celebrate: the Waking Dream of Mexico celebrated its 600th performance - right here in Atlanta! (Unfortunately, though, I couldn't attend.) In any case, congrats! Unfortunately, though, we do have to say good- bye to two fan favorites: Varekai (on December 23rd) and La Nouba (on December 31st). Thanks to everyone - cast and crew alike - who have labored (with love) to produce these shows for us. You, like the shows themselves, will be missed. * * * CIRQUE DU SOLEIL REBRANDS - NEW LOGOS! * * * Perhaps one of the biggest bombshells to hit the fan community this month was the update Cirque du Soleil gave its logo. In a video posted across its social media footprint, Cirque du Soleil shocked the fan community with a re-branding effort that would, in their words, "take the company into the future of entertainment." The sun is shining even brighter for Cirque du Soleil as we introduce two new logos that embrace and respect our heritage at the same time as evolving with us: a logo for the Cirque du Soleil Entertainment Group and one for our circus arts brand. Follow the inspiration and evolution of these distinct visions of our iconic #CirqueduSoleil sun. VIDEO /// < https://youtu.be/CO-N7j7zfU4 > Our world is evolving... ever expanding / Times change and we reinvent ourselves everyday / Staying true to our core, our essence / Building on our heritage / But now simplifying, refining, and improving / To move forward / This is our core / A new interpretation of the sun / A symbol of life, energy, fun, and folly / One that defies conformity / And shines a light on worlds of / infinite possibilities / A new icon / One that travels much further / Crossing all barriers / This is the heart of Cirque du Soleil. See the new logos < http://www.cirquefascination.com/?p=11056 > and read more about this rebranding within. Meanwhile... * * * BIG TOP 2018?! * * * Here's a bit of something else that caught us all by surprise - it appears Cirque is prepping a new big top show for 2018! The news is surprising because, to be honest, the last we'd heard, the Cirque was taking a year off and would produce their next big top touring show in 2019... why there's been a change of heart we're not at liberty to say, however, the recent job postings have some insights into what Cirque expects from this tour: "Touring in unexplored markets: be the first Production Manager to set up the Big Top in countries and towns where no other Cirque show has gone before; Be the first Company Manager to lead a team eager to put on shows in markets Cirque has yet to explore!" Past rumors suggested that Cirque du Soleil wanted to break into the Chinese market with a market-only touring show... could this be that show? Time will tell. In the meantime, this will be The Cirque's first new back-to-back-to-back big top production since early days. And what of 2019? Oh, stay tuned! * * * "O" AT BELLAGIO, FILMED * * * Sit down for this one folks, you might need a chair! Reports began circulating last month that video cameras were seen filming "O", Cirque du Soleil's aquatic show at Bellagio, over a few nights at the end of October (much to the chagrin of some of the patrons). We know that Cirque du Soleil does film its shows for posterity, and for archival purposes (such as La Nouba, or Viva Elvis, or Zarkana at the Kremlin). Sometimes these recordings are packaged and given to the artists (like ZAIA, ZED, Zarkana's Final Show in Las Vegas, and IRIS). But what makes this news exciting is the fact that these cameras had the logo of a European media company, and 'lo and behold, ARTE - the French/German TV channel will be broadcasting the show on Wednesday, December 27 at 8:15pm local time. (ARTE, you may recall, was responsible for broadcasting KA back in 2007, and an edited version of Amaluna in 2012). To say we're excited here at Fascination would be an understatement! We can't wait to see it! Check out of the following link for more: https://goo.gl/2yJCqG). * * * CORTEO IS BACK! * * * It's been a long time coming - first announced way back on July 21, 2016 (http://www.cirquefascination.com/?p=8756) - but it's now official: CORTEO makes its arena premiere on Friday, March 2, 2018! (You can thank CRYSTAL for the delay...) Corteo first premiered in Montreal in 2005 and has visited more than 60 cities in 19 different countries as a Big Top show before trans- forming into an arena show, enthralling more than 8 million people. In the remount process (which you can thank CRYSTAL for the delay), a completely new stage and acrobatic structure have been fabricated. A good portion of the original design had to be adapted, with only a small adaptation to the original storyline... "Get Carried Away With Life"... The clown Mauro has passed, but his spirit is still with us. Instead of mourning, the funeral cortege celebrates the here and hereafter with laughter and exuberance. Rich, extravagant memories frolic with the senses. The sound of laughter peals around the stage, visions of joyous tumblers and players fascinate the eyes. Regret and melancholy retreat in the face of a cavalcade of lively recollections of a life gloriously lived. A festive parade that entertains; the perfect accolade for an artist whose life was dedicated to revelry and making merry. And some new acts! Hula-Hoop -- At the height of a frenzied moment, a gypsy performer emerges, causing everyone to stop. Using her entire body and all her limbs, she dazzles them with her ability to spin and twirl a multitude of hoops. [This act will replace the Duo Adagio, according to the Press Kit.] Suspended Pole -- Accompanied by the distant sounds of guitar and impassioned vocals, a young ingénue discovers the sheer pleasure of exploring movement and contortion-like shapes while flying above the ground on a suspended pole. [This act replaces the Tightwire act, again according to the Press Kit.] Check out our online post for an image of the show's new poster: < http://www.cirquefascination.com/?p=11042 > and our ITINERAIRE section for the show's current tour stops. * * * LUNA PETUNIA: SEASON THREE * * * For those of you who have little ones (or just happen to like Luna Petunia), the third season of SABAN and Cirque du Soleil Media's animated show began airing on NETFLIX Friday, November 17th. The new episodes are: 1. "A Big Stretch / Learning to Fly" After Sammy gets all stretched out, the friends help him accept his new shape. The gang pitches in to teach an embarrassed baby bat how to fly. 2. "Lil' Rooey / How Does Your Garden Grow" When a distracted Karoo loses Lil' Rooey in a maze, the gang rushes to find him. The friends face a tough decision after a thief raids their garden. 3. "Super Gloop / Perfect Toy" After getting Donnie's super-strength gloop on him, Karoo must learn to be gentle. Karoo needs his pals' help after breaking Lil' Rooey's special toy. 4. "Luna Day / The Big Sleep" Luna's pals panic when their big Luna Day party plans hit some snags. The gang climbs high to see a late-night mega meteor, but Karoo falls asleep. 5. "Plant Power / Caterball" Luna plucks a rare flower without asking, causing an uproar in the Jelly Jungle. Luna struggles to learn caterball, but her pals jump in to help. 6. "Treasure of Amazia" Luna and the gang go on a quest to find the Lost Treasure of Amazia, following clues and solving puzzles to unravel a mystery and make a new friend. And according to KidScreen - the leading international trade publi- cation serving the informational needs and interests of kids entertainment professionals - NETFLIX has ordered a fourth season of Luna Petunia. The upcoming season, which will feature new characters and a new land, is set to launch in early 2018. WOWZA! * * * MSC CRUISES NAMES 3RD MERAVIGLIA-CLASS SHIP * * * MSC Cruises celebrated construction milestones for two of their ships on November 15th at the STX France shipyard. The traditional coin ceremony was held for MSC Bellissima, as well as the cutting of the first steel for the first Meraviglia-Plus class ship. As part of the steel-cutting ceremony, the name of the Meraviglia-Plus ship was revealed: MSC GRANDIOSA. The second part of the festivities was the coin ceremony for BELLISSIMA, where two commemorative coins were placed into one of the ship’s blocks as a sign of blessing and good fortune for the ship, her crew, and guests. The two mega ships are due to enter into service in March 2019 and November 2019. The Meraviglia- Plus ships are a further evolution of the Meraviglia design, which includes both MSC MERAVIGLIA that launched in June 2017, as well as BELLISSIMA. They are 181,000 gross tons and can hold a whopping maximum capacity of 6,334 guests. The plus class ships will feature the first fine art museum at sea, with a collection of both classic and contemporary art. Another highlight aboard both ships will be CIRQUE DU SOLEIL AT SEA. The longterm partnership between MSC and Cirque du Soleil will see the world’s leader in artistic entertainment create a total of eight original shows just for MSC Cruises’ Meraviglia and Meraviglia-Plus ships. Each of the four vessels will feature two contrasting shows – two of which (Viaggio and Sonor) have already debuted aboard MSC Meraviglia earlier this year. Learn a bit more about Viaggio and Sonor in our news section below. * * * IN THE ISSUE * * * Although the NFL Experience opened for previews during the month of November before it's grand premire on December 1st, CRYSTAL is still the talk of the press. So you'll find most of the CRYSTAL- related posts this month under the banner "SPECTACLE - CRYSTAL IN THE PRESS" again this month. And for those who are interested in the NFL EXPERIENCE, check out their collected articles under the BEYOND THE BIGTOP banner in our news section as well. We continue our look back at classic show critiques with 1994's reviews of Alegria, and conclude our three-part series on JOYA, by hearing from some of the show's creators and artists. And plenty more! 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 * Spectacle -- CRYSTAL in the Presse * Beyond the Bigtop -- NFL EXPERINCE in the Presse 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 * "CIRQUE DU SOLEIL REBRANDS: The New Le Groupe du Soleil?" By: Ricky Russo - Atlanta, Georgia (USA) * THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 3 of 3: "Sweet, Savory, and Surreal" Edited by: Ricky Russo - Atlanta, Georgia (USA) * "We're Off and Running - A Series of Classic Critiques" Part 8 of 16: Alegria, Part 1 (1994) By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- Cirque du Soleil Shines Spotlight on C&W {Nov.06.2017} ------------------------------------------------------- Cohn & Wolfe has scooped up global PR duties for Cirque du Soleil, the Montreal-based entertainment company that bills itself as the world’s largest theatrical producer. The WPP unit will staff teams in New York, Austin and Shanghai to handle corporate positioning, media relations and events for the “Circus of the Sun.” Expansion into the Chinese market will be another focus of the company that has entertained more than 180 people in more than 450 cities since it was founded in 1984. Fosun Industrial Holdings, a Chinese investment company; TPG Capital, private equity firm; and Quebec Deposit and Investment Fund bought a 90 percent stake in Cirque du Soleil. { SOURCE: O’Dwyers | https://goo.gl/GSWNms } ------------------------------------------------------- LV Community Unites For Vegas Strong Benefit Concert {Nov.07.2017} ------------------------------------------------------- Las Vegas’ entertainment industry is uniting in unprecedented fashion in support of the victims of the October 1 tragedy. On Friday, December 1 at 7:30 p.m., T-Mobile Arena will host the Vegas Strong Benefit Concert, a special evening of entertainment featuring Boyz II Men, Cirque du Soleil, David Copperfield, Imagine Dragons, Penn & Teller, The Killers, and others soon to be announced. Proceeds from the event will benefit the Las Vegas Victims Fund. Tickets ranging from $75 – $125 go on sale Wednesday, November 8 at 10 a.m. and will be available online at www.AXS.com or by calling the AXS Call Center at 888.929.7849. In-person sales begin Thursday, November 9 at 10 a.m. at any MGM Resorts International Box Office or Concierge Desk. FROM THE ARTISTS ON PARTICIPATING IN THIS SPECIAL PERFORMANCE: Boyz II Men Nathan Morris of Boyz II Men said, “Las Vegas has embraced us since the moment we arrived. We are honored to be part of this event, and play a role in the healing process for the community and all those impacted by this tragedy.” Cirque du Soleil Jerry Nadal, Cirque du Soleil’s Senior Vice President of the Resident Show Division said, “We look forward to standing together with this amazing city to pay tribute to all those affected by the October 1st tragedy and show the strength and resilience of this community.” David Copperfield “What happened last month was such a tragedy, but people came together immediately to support each other and help ease the pain. I’m honored to be part of this benefit as we continue to show the love and strength of the Vegas community.” Imagine Dragons “Las Vegas is our home, and it’s an incredible, tight-knit community. The world has seen the resilience, unity and heart of the city this last month,” said Imagine Dragons. “This show is about raising money to help those impacted by the tragedy and about experiencing the healing that comes from gathering to celebrate the bonds we share.” Penn & Teller “Teller and I are humbled to be asked to pay tribute and to help those affected and those who aided in last month’s tragedy. Mr. Rogers once said we should ‘Look for the helpers,’ during difficult times. We are proud to join our fellow Las Vegas entertainers in giving a little help to the real helpers and heroes in our incredible community,” said Penn Jillette of Penn & Teller. The Killers “For us, Las Vegas is a vital part of who we are as a band and who we are as human beings. We are humbled to be from a place where people rise in the face of tragedy to do what’s right. Please join us as we do what we do best in honor of those who lost their lives and celebrate the heart and humanity that keeps us united,” said Ronnie, Mark, Dave and Brandon. T-MOBILE OFFERS TEXT-TO-GIVE TO SUPPORT VICTIMS Anyone can donate directly to the relief of those affected by the Las Vegas shooting by simply texting VEGAS to 20222 to give $10 to the National Compassion Fund. T-Mobile customers will see the donation on their next T-Mobile bill. Message & data rates may apply for customers who aren’t with T-Mobile. The National Compassion Fund continues to support the immediate and long-term needs of the victims of the October 1 shooting in Las Vegas, Nevada and donations are providing critical support to the victims and their families. 100 percent of the funds raised will be distributed to the victims of Las Vegas. For more information on text-to-give, visit: < http://www.mobilegiving.org/terms-and-conditions/ > { SOURCE: PR NEWSWIRE } ------------------------------------------------------- MSC reveals details of Cirque aboard MSC Meraviglia {Nov.08.2017} ------------------------------------------------------- The long-term partnership between MSC Cruises and Cirque du Soleil has seen the creation of the entertainment concept Cirque du Soleil at Sea and will result in a total of eight original shows that will be exclusively available on MSC Cruises’ four Meraviglia generation ships, coming into service between 2017 with MSC Meraviglia and 2020. TO THE NEXT LEVEL Mr. Vago, Executive Chairman of MSC Cruises, had the vision to take the entertainment offered on board to the next level. Since MSC Cruises always seeks to work with innovative, world-class leaders, it was only natural that they would look to approach Cirque du Soleil. A first contact was made back in 2013, through Cirque du Soleil’s events and special projects division, 45 DEGREES. That led to a trip to Las Vegas with Mr. Vago, architect De Jorio, and other members from MSC Cruises to experience two of their shows. From there, a dream was born; MSC Cruises began to work with Cirque du Soleil’s 45 DEGREES’ team to create a purpose-built entertainment lounge and the first two Cirque du Soleil shows for MSC Meraviglia. FOUR YEARS IN THE MAKING Work began on the partnership in back in 2013 and the plans for the purpose-built Carousel Lounge were integrated in the ship design with construction beginning in 2015. In 2016 the creative process began and the concepts for the two shows were finalised. Cirque du Soleil’s 45 DEGREES’ team then recruited the cast and began workshops in Montreal. The performers and creative team moved on board whilst the ship was still at the shipyard in St Nazaire to finalise the shows in May earlier this year and rehearsed in the space, putting the finishing touches to the performances. The first show was then performed at the Christening in Le Havre on June 3rd. EIGHT UNIQUE EXCLUSIVE SHOWS The Cirque du Soleil at Sea shows have been specially created for MSC Meraviglia and cannot be seen anywhere else in the world. For each ship there will be two very different, contrasting shows, each with a different concept, ambiance and storyline. Each show features an original soundtrack, staging and costumes. Work is already underway for the next two new shows for MSC Bellissima, which comes into service in 2019. A CAST OF VERY SPECIAL ARTISTS All of the artists were carefully selected by Cirque du Soleil to meet the specific needs of the shows. Some of the artists had performed in other Cirque du Soleil shows whereas others were chosen specifically for the Cirque du Soleil at Sea shows. All of the artists were selected for special skills and trained to the high standards required of Cirque du Soleil performers., The Cirque du Soleil team needed to find artists that were multi-disciplinary, with a background in dancing and character work for most as the artists all would have to have a very strong presence on stage due to the intimate nature of the theatre. THE CHALLENGES OF A SHOW AT SEA For the shows on the ship the artists needed to get used to performing at sea and we have worked on ensuring that the shows can be adapted to the sea conditions all the while ensuring that the audience experiences the same quality of show each night.. The shows are tightly choreographed but always have different scenarios so that if conditions are rough or an artist is injured, the performance can be adapted. Finding their “sea legs” has been easier on some then others! DESIGNED FOR THE CAROUSEL LOUNGE The Carousel Lounge is one of the most intimate venues that Cirque du Soleil has created a show for, challenging the Creative team to expand the boundaries of their imagination with this performance space. The ceiling height is a much lower than for a usual show, so one of the challenges was to look at different kinds of aerial acts and to incorporate new and fascinating visuals. The Carousel Lounge abounds technical elements: a 40 metre LED screen, a rotating stage, lifts, retractable staircase, to name a few, all elements that gave fuel to the creative team in dreaming the concepts of both shows. Some acts you can find in the shows: aerial hoop, silk, straps, roue Cyr juggling, cheerleading, dancing, acrobatic duets, ladder and a beat- boxer. { SOURCE: World of Crusing | https://goo.gl/wjURTX } ------------------------------------------------------- What is François Girard up to now? ‘Hochelaga: Land of Souls’ {Nov.14.2017} ------------------------------------------------------- Montreal is celebrating its 375th anniversary this year. And to mark the occasion, the celebration committee turned to François Girard, the art house director of “Thirty Two Short Films About Glenn Gould” and “The Red Violin,” to tell the story of Hochelaga, the 16th century city that resided in modern day Montreal. Though Girard has worked in film, opera and with Cirque du Soleil (ZARKANA and ZED), he said at TheWrap’s Awards and Foreign Screening Series of his film “Hochelaga: Land of Souls” that he’s never truly captured his home in his artwork. “For my own sake, I needed to dig into my own roots,” Girard told TheWrap’s Steve Pond at the Landmark Theatres in Los Angeles Monday night. “I felt the need to go from my roots, dig and understand better who I was at that point in time.” Hochelaga was an Iroquoian fortified village near present day Montreal that welcomed the explorer Jacques Cartier in 1535. Girard’s film gives fictional characters this historic background, and Girard uses the metaphor of a sinkhole spontaneously opening in the ground as a portal to uproot the past and trace a line back to the present. “Hochelaga” jumps through 750 years of history in a non-linear narrative and incorporates six different languages in a sprawling, ambitious portrait of Montreal. In telling this story, Girard and producer Roger Frappier went into painstaking detail to recreate the film’s many time periods. They solicited the advice of native Algonquin experts and archaeologists to portray the immense scope of the native civilization. They said they knew that if “Hochelaga” were to be about the identity of modern Quebec as much as ancient Canada, they needed to get their facts straight. “If you launch a rocket, you better know where it lands,” Girard said. “What they talk about is tied to history, but they themselves are fiction. And that distance is very useful. Even if you want to represent the truth, sometimes, historical figures are an obstacle.” Frappier said researchers are continually unearthing new details about the exact location of Hochelaga, and he believes the location they shot on is the closest yet. “Hochelaga” is Canada’s official submission to this year’s Oscars Foreign Language race, so he considers it a great privilege to represent his country in multiple ways. “This year we’re one of 92 films, so it’s recognition not only for us at home, the movie will be released in January, so already being able to represent Canada, it’s made awareness for the people,” Frappier said. “I feel lucky to keep going back to school with every film,” Girard added. “For the team, there’s something special that happened digging for my roots and everybody else’s roots. It’s not Roger’s next film or my next film, it was a little more than that. It was a collective dig. We were making a movie yes, but we thought we were into something bigger than that.” { SOURCE: The Wrap | https://goo.gl/jK4xTb } ------------------------------------------------------- Bloomberg: The Future of Cirque Isn’t the Circus {Nov.29.2017} ------------------------------------------------------- In the past three decades, Canada’s Cirque du Soleil has reimagined the notion of a circus by crafting visually arresting aerial extravaganzas that are a world away from P.T. Barnum’s brassy Greatest Show on Earth. Yet at the new Cirque-designed NFL Experience in New York’s Times Square, the closest thing to acrobatics comes from the onscreen football players that audiences witness up close as they’re immersed in the game through a combination of video, sound, moving seats, and even smells. Many visitors may remember the 11-minute multisensory film “ride” as the highlight of this four-story permanent paean to all things gridiron, slated to open on Nov. 30. But for the 33-year-old Cirque, the joint venture with the National Football League is a chance to showcase how the creative minds behind its trademark shows can be harnessed for different formats as it expands into new markets with the backing of private equity firm TPG Capital LP. “They can do anything, from a permanent location on Broadway, to a traveling show that pops into towns for two to three weeks, to a show that just appears for a day on a football field,” says NFL Chief Marketing Officer Dawn Hudson. “That is easy to say and very hard to execute.” The collaboration, which uses digital technology and old-fashioned memorabilia to put visitors in the shoes of an NFL player, is one of several new directions for the Montreal-based company. It’s now offering performances on cruise ships, developing a theme park in Mexico, adding its first show on ice, and expanding in China. Four months after the acquisition in July of music and comedy act Blue Man Group, the company even changed its name to reflect broader ambitions: Cirque du Soleil Entertainment Group. A major influence behind the transformation is TPG, which has a majority stake in talent management company Creative Artists Agency LLC and co-founded film and television studio STX Entertainment; it hasn’t disclosed its percentage ownership in STX. After acquiring a 55 percent stake in Cirque when founder Guy Laliberté sold 90 percent of the company in a deal with a total value of about $1.4 billion in 2015, the buyout firm overhauled management and helped develop the growth strategy. Seventeen of its 22 highest-ranking executives are new to the company. “We saw this as ‘Wow, we have this unique capability; we’ve got this global, recognized brand. There’s a lot more we can do,’?” says David Trujillo, a TPG representative on Cirque’s board. Diversifying the company opens up options for its future, including going public, he says. TPG helped beef up marketing to revitalize sales in Las Vegas, where Cirque runs seven permanent circus and musical shows in casinos. Tickets are now easier to buy on mobile phones, and prices fluctuate with demand. Cirque also has adopted more aggressive social media and corporate sales strategies. All this has helped revenue per available seat rise 20 percent this year, Trujillo says. An additional 11 shows are on tour in places including Madrid, Shanghai, and Perth, Australia. Cirque’s long-standing relationships with promoters and venues are being used to negotiate new stops for Blue Man shows, says Chief Executive Officer Daniel Lamarre. “Thanks to our distribution strength and our many promoters around the world, we’ve just given the Blue Man Group a new impetus,” he says. “We’re seeing benefits faster than we thought.” Cirque’s headquarters complex in Montreal brings together creative teams, costume and accessory makers, as well as artists practicing acrobatics or learning how to do their own makeup. Instructions at the gym come in five languages, a reminder there are about 50 nationalities among the 4,000 employees. Lamarre hasn’t spent much time there lately. In October he traveled twice to China, where Cirque will inaugurate its first permanent mainland show, in Hangzhou, in early 2019. Half the artists in that production will be Chinese. Shanghai-based Fosun International Ltd., which owns 25 percent of Cirque, is helping it expand in China, where one show is already touring. A second show set to hit the road will be Cirque’s adaptation of the film Avatar, which was a huge success in China. The company’s overall ticket sales could double within five years thanks to China, says Lamarre. New growth avenues would be a welcome addition for Cirque, whose credit rating is “weakly positioned” because of the large amount of debt taken on to complete its leveraged buyout, says Alina Khavulya, an analyst at Moody’s Investors Service Inc. Expansion beyond circus shows could change that. “It’s a broader opportunity,” she says. “I don’t know that it’s less risk.” Other corners of the Cirque empire have moved beyond their circus roots. At 45 Degrees—a special projects unit named after Montreal’s latitude—the team recently helped design the show of German singing star Helene Fischer, featuring a 30-foot wall on which acrobats perform and a dress made of cascading water. Cirque’s multimedia arm, 4U2C, has worked on the concert tours of Bon Jovi and Justin Timberlake and pitched in on the NFL Experience. Cirque officials had already collaborated with the NFL on Super Bowl entertainment in 2007 and 2012, but the Times Square project treads new ground. Visitors walk through locker rooms, are taught a play by former NFL coach Jon Gruden’s hologram, see themselves on screens dressed as players, throw real passes in competitions against other visitors, win the Super Bowl, and watch themselves on big screens running before cheering crowds. But nowhere will they see the Cirque name. That’s just fine with CEO Lamarre, who says the TPG-led owners have helped his team recognize the great potential the company has beyond circus performances. “We believe our expertise is in creation and in production—it’s for live experiences,” he says. “That’s the DNA of Cirque du Soleil.” { SOURCE: Bloomberg BusinessWeek | https://goo.gl/mxSnbt } ------------------------------------------------------- Helene Fischer fills Arenas, but Americans Never Heard of Her {Nov.30.2017} ------------------------------------------------------- Helene Fischer is almost completely unknown in America. But in Germany, she is seemingly more popular than Volkswagens. You want measures of that popularity? Her CD and download sales over a recording career that began in 2006 run to greater than 9 million. (If that seems less than dazzling, remember that Germany’s population is only about 82 million.) Her mega hit, “Atemlos Durch die Nacht” (“Breathless Through the Night”), holds the record for the most downloaded German pop song in history. She is currently on a 70-concert tour, and is doing multiple shows at every stop, with most being sold out. Punch Shaw, from the Star-Telegram, caught up with the current Fischer tour for the first of five shows in the 12,000-seat Arena Leipzig on Oct. 10. Punch had seen the YouTube videos and the DVDs of previous live performances and been gob-smacked by the energy the singer can bring to a concert hall. But nothing could have prepared Shaw for the visceral intensity of being in the same room with the Fischer phenomenon. FROM RUSSIA, WITH LOVE Fischer, 33, was born in Siberia, but her family moved to Germany when she was young, and she has blossomed into the quintessential Teutonic pop icon of her second homeland. She has parlayed her good looks and tremendous vocal and dancing talents into a career in a genre of music the Germans call “schlager” — an extremely elastic term that they often describe as folk music (Fischer herself has likened schlager to our country music). But to Americans, it likely sounds nothing like those forms. Instead, we would label it as Top 40, Euro pop, or just pop. Her catalog is filled with catchy numbers that are most often synthesizer driven, along with a slew of affecting ballads that cross over into many genres. She usually sings in German, but also sometimes in Russian. Want another measure of her popularity? Consider the list of non- German artists with whom she has performed or recorded duets. They include Andrea Bocelli, Placido Domingo, Il Divo, Chris Botti, Tom Jones, Ricky Martin, Adam Lambert and Michael Bolton. The aforementioned list does not include her duets with filmed performances by great singers of the past, including Frank Sinatra and Bing Crosby. Topping those is a duet from the 2016 installment of her annual television special — “Die Helene Fischer Show,” which airs Christmas night — with Elvis Presley, singing the relatively unknown “Just Pretend.” As if that weren’t enough, she invited Priscilla Presley up to the stage for a chat before the number. That is the kind of clout she has in Germany. It’s also an example of the general fearlessness of Fischer. She will test her abilities against a great opera singer or a legend of rock with seemingly equal sangfroid. While Fischer is focused on her new, eponymous, double CD on this tour, previous shows have seen her doing works by composers ranging from Lady Gaga to Martin Luther. She also appears to get a kick out of country music, and is especially adept at negotiating her way around a show tune. INCREDIBLE PHYSICALITY As the concert opens in Leipzig, Fischer makes an immediate impact by participating in the unexpected drumline intro to “Nur mit dir” (“Only With You”). Fischer, glitzed out in a sparkling blue leotard, hammers away in sync with a half-dozen of her supporting players (her concert features about a dozen dancers, a six-piece band and three backup singers). Her fearlessness extends to the physicality of her concerts. In addition to extensive and demanding choreography, Fischer and company engage in a great deal of Cirque du Soleil-esque acrobatics (the show was designed by 45 Degrees, the design division of the Cirque du Soleil company). On the pulsating, dance-club-ready “Herzbeben” (something like “Pounding Heart”), Fischer is pulled up out of a jungle gym-like sphere and onto a tether and pole that then rises better than 20 feet above the stage. There, she continues to sing and make gymnastic dance moves while dangling on the grip of a single dancer. Only a safety line stands between her and certain disaster. CULTURAL ICON Beyond being just another pop star, Fischer occupies a place in German culture that does not have a parallel in this country. Perhaps the most stunning proof of her degree of fame came when the German national soccer team won the World Cup in 2014. When the team returned to Germany and was taken to Berlin’s iconic Brandenburg Gate to celebrate with fans, the players were greeted not by Chancellor Angela Merkel or some other politician, but by Fischer, who hoisted high their newly won trophy. She then led what seemed like all of Germany in a sing-along of her hit “Atemlos Durch die Nacht.” NEW CD, NEW CONFIDENCE Riding high on such popularity, Fischer could have played it safe and gone through the motions with her new release. Instead, the 24-track CD has not a single clunker on it. Fischer sings with a new level of insight and confidence throughout, and she does so across a surprising range of genres, including country music. Back in Leipzig, she and her band are line dancing at the front of her massive stage while performing the boot-scootin’ “Dein Blick” (“Your Gaze”) — a faithful remake of Hayden Panettiere’s “Telescope,” except in German. It is followed by the Billy Bob’s-ready “Mit dem Wind” (“With the Wind”). It is a strange sight to see. Judging by the Leipzig crowd and those seen on her DVDs, Fischer’s core audience is women of all ages and middle-aged men. But while those were the dominant demographics in Leipzig, there also were more males under 40 than have been seen at past concerts, an indicator of her musical growth.. Unlike other female artists like Celine Dion, Fischer does not rely on “the big note” — that soaring finish used to make an impact. Instead, Fischer wins her races in the straightaways with exceptional phrasing. She does go for spectacle when it comes to costumes. In the only song for which she stands still during the delivery in Leipzig, Fischer appears as a water fountain. Her white top is ordinary, but from the waist down, she is attired in a circular cascade of water in the shape of a dress. Incredible. WHY NOT AMERICA? So if Fischer is knocking them dead across the German-speaking world, why is she completely unknown in America? She has performed with American artists, has a love of American musical theater, and has good command of the English language. The answer, in short: It’s a mystery. A request for an interview with Fischer, or anyone in her camp, was ignored. It may simply be that Fischer is too busy counting euros to be interested in dollars. "ATEMLOS DURCH DIE NACHT" Back in Leipzig, the crowd is not the least bit concerned about Fischer’s lack of support from the States. It is gearing up for Fischer’s big finale. Few singers have been as closely and indelibly linked to a specific song as Fischer and “Atemlos Durch die Nacht” (Tony Bennett with “I Left My Heart in San Francisco” is among the few that might come close). Since she introduced the song on her album “Farbenspiel” (“Play of Colors”) in late 2013, it has been her signature number. A video of a performance of the song from the Swiss television show “Hello Again,” for example, has drawn more than 50 million views. She typically performs the song twice: the first time through is for the audience to sing it. It is an astonishing thing to witness, because while the audience is joyously singing every verse, Fischer is just laying over a couple of lyrics and a few long notes as accents. So the audience and the subject of their adoration are, in effect, doing a duet. Then Fischer takes it over and brings the thumping anthem home in spectacular fashion — from a swing hung from the rafters, with a rain of what looks like golden leaves. Then, more than three hours after it began, the show ends. In the sudden quiet, illuminated by the house lights, several fans weep. A few others sit stunned, as if trying to comprehend what has just happened to them. But most patrons ease out with broad smiles and a slight glow brought about by the all the musical and kinetic energy they have just vicariously absorbed. For my part, I am hoping that I someday see another concert I enjoy as much as I did this one. But it looks like I might have to go back to Germany to achieve that. { SOURCE: Star-Telegram | https://goo.gl/ob8ceY } ------------------------------------------------------- Jean-Francois Bouchard: The man behind C2 {Dec.01.2017} ------------------------------------------------------- Jean-Francois Bouchard had given up on attending business conferences by the time he decided to create his own. “Basically at some point I stopped attending business events because I thought they were awfully boring,” he says. “Always set in the same generic venues serving the same plastic chicken and there was a lack of originality”. The founder and chief-executive of Canadian advertising agency Sid Lee came up with the concept for C2 in partnership with one of Canada’s most famous exports, Cirque du Soleil. “With Cirque du Soleil as a partner we thought it was possible to do something in a radically different way and something that would truly amount to an experience,” Bouchard says. “Using our background in entertainment and creativity we set ourselves the ambitious goal of completely reinventing the business conference.” Bouchard says he was prepared to take the risk to fail and the first C2 was held in Montreal in 2012. “I’m not sure we understood what we were planning for the first year, we just jumped into it in a very naive way,” he says. “Thank God it worked out because it could have been a massive failure. It was basically our first event and we went from knowing nothing about this business to hosting 3000 people in a very progressive setting. It was typical entrepreneurial behaviour to jump in first and then figure out how to swim.” Bouchard is jumping in again as, after six years in Montreal, C2 will host its first ever international event in Melbourne in October. Bouchard and his team provided a taster of the main C2 Melbourne event on Friday. At the preview C2 transformed the large hall in Melbourne’s Convention Centre into a series of ‘eco systems’ with huge cloud like structures filled with mist and pits filled with plastic balls like a children’s play centre for networking with a difference. Bouchard says the secret to creating an organisation like C2 that swells to a team of 300 and operates with a $10 million budget comes down to identifying the entrepreneurial spirit in others. “The one thing that is a big learning from all of them is how important it is to surround yourself not just with great people but with other great entrepreneurs,” he says. “I really believe that companies in this day and age should be led by a collective of entrepreneurs not the heroic lone wolf mystique. The world has become so much more complex so the level of talent that is required in so many fields is staggeriang. When you hit a rough patch you can really survive difficult moments and even emerge stronger when you have a really solid team. For me it is about finding the right people for this entrepreneurial journey.” { SOURCE: The Sydney Morning Herald | https://goo.gl/4o9mEm } -------------------------------------------------------- Why you need to experience Cirque aboard MSC Meraviglia {Dec.05.2017} -------------------------------------------------------- A new Cirque du Soleil has landed and not somewhere you would normally expect to see it… Aboard a cruise ship! Designed to create a unique experience and change the world of entertainment on cruise ships, MSC have collaborated with Cirque du Soleil to create an entertainment lounge with a difference. Normally frequenting theatres and circuses around the globe, Cirque du Soleil is a synthesis of circus styles from around the world with live music, performers and breath-taking acrobatics. MSC Meraviglia (one of the largest cruise ships in the world) set on its maiden voyage last June, launching with it the first in the world Cirque du Soleil at sea. When on board you are able to view two different Cirque du Soleil performances: Sonor and Viaggio. Both are completely unique, telling a different story and presenting a rare atmosphere so that you can enjoy both shows with the multi-talented actors performing completely different roles between them. These are performed twice-nightly over six nights. The lounge is custom built for the show and very intimate, seating significantly less than the number of guests on board with just 413 spaces. Because of this, it is important you reserve your seat to guarantee entry to the performance – believe us you really do not want to miss it during your cruise! Pre-purchase your tickets for MSC cruises Cirque du Soleil to enjoy a complimentary signature cocktail during the show and if you would like to treat yourself to a really special evening, you can book in for a three-course dinner too. On our time aboard MSC Meraviglia we opted for the Dinner and Show package which is a must in our eyes. Dining in the lounge is as atmospheric as it is charming; a musician performs live on the stage while you relax with a glass of wine and catch up with your loved ones on the days activities and excursions. The staff are quick to attend to your every need, giving a thorough breakdown of the courses before you tuck in. A unique aspect to this package is that the food is kept a secret until the show, as it corresponds to what is happening on stage – making for a truly one of a kind experience. From the starter to the main and the desserts, the flavours of each course complimented each other faultlessly, teasing our taste buds – it was a gastronomic delight. Everything was presented nicely, and it was clear that courses, table setting, and music had been thought out specifically to complement the show. Although the menu options are limited they made sure the food was as good as the performance. The show we saw was Viaggio, which is described as: “The story of a passionate and eccentric artist who hears the call of his Faceless Muse. Mysterious and seductive, she beckons him into the vivid world of his unbridled imagination to complete his masterpiece. With each stroke of his paintbrush, the Painter reveals the details of his grandiose tableau. Electrifying colours fill the space with intriguing motifs and rich textures. Majestic acts transform the theatre into a living canvas. Before our very eyes, a masterpiece comes to life.” As we watched the show it soon became clear there wasn’t anything the performers couldn’t do. The atmosphere was electric and at points the entire lounge held their breath – particularly when one performer balanced another on his shoulders while keeping a ladder upright unsupported! But that’s exactly what brings such joy and excitement when watching the show. It combines optical illusion, trickery, lighting and so many moments you can’t quite believe what you are seeing with your own eyes. Utterly sensational, performers switch from being suspended on straps soaring round the ceiling to juggling on bicycles, flipping through hoops and creating breath-taking human towers. Contortionists, acrobats, smoke and fire, the costumes, acts and dances are performed with a dramatic yet poetic grace. The trickery, the acrobats, and the mind-boggling skills culminate to a show unlike anything you have ever seen – and unlike anything you will ever see again. Add to the mix that they are on the sea and it’s just mind blowing – a true professional and master in performance. With MSC Cruises Cirque du Soleil, you struggle to get your head round this is on a cruise ship in the middle of the sea, it feels like it is in a main London arena or theatre. And if you are lucky enough to catch one of the shows on board, you really won’t see it anywhere else. This is because the Cirque du Soleil shows on board the MCS Meraviglia are exclusive to the ship. When on board a cruise ship, entertainment is such a huge factor and one that can make a big difference to your vacation – and this is truly blown out of the water with Cirque du Soleil on board. This is real next level entertainment and something which takes cruise ship activities way above expectations. Cirque du Soleil is something known and loved worldwide and to get the chance to experience this on a holiday of a lifetime makes for a trip to truly remember. We were so impressed with this performance – not only was the show spell bounding, but the food delicious and the ship extremely impressive. (Let’s face it, if a ship has a staircase made entirely of Swarovski crystals how couldn’t it be?!) If you are looking to book your first cruise or are looking for something different, we highly recommend you book yourself onto MSC Meraviglia and experience the MSC Cruises Cirque du Soleil. CHECK OUT THE IMAGES THAT ACCOMPANY THIS ARTICLE HERE: < http://www.cirquefascination.com/?p=11118 > { SOURCE: Seen in the City | https://goo.gl/yqGsNc } ------------------------------------------------------- Magic City Announces Strategic Partnership w/Lune Rouge {Dec.05.2017} ------------------------------------------------------- In the “What is Guy up to lately” category... Earlier today, Magic City Innovation District announced a strategic partnership with Lune Rouge, the new company of Guy Laliberté, founder and creative visionary behind Cirque du Soleil. Mr. Laliberté and Lune Rouge’s team will have a pivotal role in the curation and creative direction of Magic City’s new technology, arts and entertainment district. Lune Rouge joins Plaza Equity Partners, a Miami-based real estate development and investment firm led by Neil Fairman, Anthony Burns and George Helmstetter; and founding partners Bob Zangrillo of Dragon Global, a Miami based private investment firm focused on venture capital and real estate investments; and Tony Cho of Metro 1, a forward thinking real estate brokerage, management and development firm. Magic City Innovation District intends to develop Little Haiti and Little River neighborhoods to create a distinctive and unique destination. The goal is to provide Miami with a walkable, campus-like neighborhood where individuals from all demographic backgrounds can enjoy a quality life and re-write history on how communities live, work, play and learn together. In achieving such, Magic City Innovation District intends to attract leading innovators with ambition of changing the world through advanced technologies. The development of the neighborhood could become a model for real estate development and modern urban revitalization leveraging the combination of traditional entertainment and technology. Mr. Laliberté built Cirque du Soleil into one of the largest live entertainment companies in the world. He now focuses his attention towards the entertainment technology sector. He has established Lune Rouge, a Montreal based company that develops and supports projects mainly related to the technology, arts, entertainment and real estate sectors as well as initiatives with a positive social and environmental impact. Lune Rouge promotes innovation, creativity and entrepreneurship. In the short term, the partnership wants to prioritize the activation of the former Magic City Trailer Park and will be applying for a Temporary Use Permit (TUP). “Magic City is an opportunity for us to put all our creativity to the service of entertainment and new technologies. This collaboration will allow us to explore new forms of entertainment and make available multimedia and interactive installations adapted to future Magic City residents and visitors. Lune Rouge is proud to be a partner in this important revitalization project,” explains Guy Laliberté, founder of Lune Rouge. “We are thrilled to have Lune Rouge join us as a strategic partner. Its team is focused on the entertainment technology sector, and it is their intention to make Miami the high-tech and innovation center for next-generation creative entertainment content,” said Neil Fairman, Partner, Magic City Innovation District. “Our team has been working with institutions and community leaders to ensure that each proposal embraces the rich culture that has been thriving in Little Haiti for decades. As we move forward, we will continue to identify partnerships and opportunities to facilitate their growth and cultural prosperity in Little Haiti.” To bring this vision to life, the team behind the project also announced the start of the Magic City Innovation District Foundation to support the economic, social, and cultural prosperity of Little Haiti and the diverse population of people who live and work there. Preserving and celebrating the thriving Caribbean culture of Little Haiti and the surrounding neighborhoods has been a foremost priority throughout the development of Magic City. In the process, they have actively participated in the local community, working alongside organizations that have been serving the Little Haiti population for decades. Throughout this process, Magic City will be working with the Little Haiti community to ensure that the proposal is inclusive and embraces the rich culture that has been thriving in Little Haiti for decades. About Magic City Innovation District (MCID) — Magic City Innovation District is an innovation district focused on technology, sustainability, health and wellness and art and entertainment. Magic City Innovation District is revitalizing the Little Haiti and Little River neighborhoods to create a world-class destination. It will provide Miami a walkable, campus-like neighborhood where individuals from all demographic backgrounds can enjoy a quality life and re-write history on how communities live, work, play and learn together. Magic City will serve as a new model for future innovation districts and real estate development worldwide. About the Magic City Innovation District Foundation — The Magic City Innovation District Foundation is a charitable fund at the Miami Foundation, a 501(c)3. It is committed to the economic, social, and cultural prosperity of Little Haiti and the diverse population of people who live and work there. In partnership with community leaders, activists, organizations and government entities, the Foundation provides funding and support to programs that benefit the local community and facilitate sustainable growth. { SOURCE: CNW | https://goo.gl/s6fe4s } *************************************************************** Q&A –- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- Meet TORUK’s Peter Kismartoni {Nov.02.2017} ------------------------------------------------------- Peter Kismartoni didn’t want to go to the gymnastics lesson the first time his parents took him along. He was just five years old, but with two sporty parents, a sister already enrolled and a younger brother not far behind, he soon found a passion for the sport that would set him up for the extraordinary life he lives now. This week, 10 years after his YouTube videos of mock-fight scenes and daredevil antics were shown to recruiters, Peter Kismartoni, from the Melbourne suburb of Croydon, returns home for the first time as a star in Cirque Du Soleil’s TORUK – The First Flight. Cirque du Soleil creatives approached the veteran Hollywood director and film producer, James Cameron (Avatar, Titanic, The Terminator trilogy) for inspiration for a new show. It was in Las Vegas where Peter got his first taste of circus life after a former gymnastics coach alerted scouts, who happened to be in Melbourne at the time, to his talents. He was offered a job in the City of Lights almost straight away and within weeks was on stage performing two shows a night for the masses in the MGM Grand Resort and Casino, on the famous Las Vegas Strip. After seven years and over 3,000 appearances in the martial arts- inspired show KÀ, Peter jumped at the opportunity to be a part of a new global touring show that was still in its infancy. TORUK began its ‘creation’ stage in Montreal in 2015, where artistic directors and performers worked together for months to develop the new characters and choreography— from the concepts inside the minds of the show’s bosses— to a full-blown arena spectacular. Peter loves his life on the road but admits it can be tough, especially on his mum who would love to have him come home. “My mum just misses me but of course she’s happy with what I’m doing,” he said. “My dad’s the opposite though. He says, ‘No, don’t come home, it’s an awesome way to see the world, don’t save your money, just live.'” The adoring crowds and non-stop adventure around the world can be exhilarating but for Peter, being able to perform for his parents in front of a home crowd in Melbourne will be the greatest thrill of all. “This is where everything began for me. This is where I learnt my skills and it’s just like coming full circle being back here and performing,” he said. “Not only for my family who took me to gymnastics for so many years, but for all the people I’ve trained with and sweated with. TORUK takes place in the mythical world of Pandora, thousands of years before the events depicted in the 2009 blockbuster Avatar. Cameron has previously said that Cirque du Soleil’s dreamlike sequences and artistry inspired his vision for the film which went on to become the world’s highest grossing movie of all time. What began in the 1980s as a group of street performers in a small village near Quebec City, in Canada’s French speaking region, has sprouted and grown into a global artistic super-power, reaching over 150 million people in 300 cities around the world. Cameron has had a big influence on the creative direction of the show and everything from new choreography to the details of the elaborate costumes and makeup are run past him for approval. The Hollywood-heavyweight is often known to be backstage after shows giving glowing praise to the performers who bring his mythical world to life each night. { SOURCE: ABC Australia News } ------------------------------------------------------- Meet LOVE’s Jennifer Muccioli {Nov.13.2017} ------------------------------------------------------- It might be hard to imagine being just out of college and in your dream job, but Fallston High grad Jennifer Muccioli already has the only job she’s ever wanted. When Muccioli was 10 years old, she saw La Nouba, a Cirque de Soleil show, in Orlando, Fla. “That’s what made me want to be a performer and work for Cirque,” said Muccioli, who’s been dancing since she was 2 ½ years old. “They were so athletic, so passionate, so entertaining. It was just a crazy moment and I thought, ‘That’s what I want to do.’” Thirteen years later, at 23 years old, as a dancer in Cirque Du Soleil’s Beatles LOVE in Las Vegas, the 2012 Fallston High graduate is doing what she set out to do. And she’s loving every single minute of it. “What I like most is entertaining people, making people feel something, mostly happy,” Muccioli said during a visit home to Forest Hill at the end of the summer. “I enjoy happiness and making other people happy.” When she’s performing, Muccioli always has a smile on her face and says she does things people can connect to, she said. She enjoys performing for people who aren’t familiar with dance, because “they have more real, natural emotions.” “That’s why I love the show I’m in – everyone can understand every single part,” Muccioli said. Full of joy and happiness, the show is what the world needs, Muccioli said. “That’s what I love about LOVE, the whole show celebrates joy and happiness,” she said. “It’s so perfect right now and I love contributing to it.” GROWING UP Muccioli’s mom, Karen, was a dance teacher at then Towson State University. But since the school didn’t have any programs for students Jennifer’s age, she began dancing at Harford Dance Center. A few years later she started at Harford Gymnastics and was on the competitive team. Eventually, though, because of the demands of each, Muccioli had to make a choice. “If she chose gymnastics, there would be no dance. If she chose dance, she could still do gymnastics,” Karen Muccioli, owner of Rage Box Dancer Center in Forest Hill, where her daughter trained most of her childhood, said. “I took full force with dance,” Jennifer Muccioli said. “I was so young when I made the choice, 7 or 8. I think I chose it just because it was more familiar to me.” She was still able to take tumbling classes, so gymnastics wasn’t completely eliminated. “I’m very happy I made the choice,” she said nearly 20 years later. After graduated from Fallston High in 2012, Muccioli attended Point Park University in Pittsburgh, a conservator of performing arts that is one of the top five arts colleges in the country with dance, theater and acting. Muccioli majored in dance performance, jazz specifically, but really studied a little bit of everything. “That’s how that school is, they want you to cover it all,” Muccioli said. Growing up, Muccioli trained all the time, taking classes from as many people as she could, learning as many types of dances as she could, to make herself as diverse as possible. Fortunately, she said, she grew up at Rage Box in Forest Hill, the dance studio owned by her mother that offered every style of dance she could imagine, Muccioli said. After graduating from college, Muccioli worked on a cruise ship, where she learned how to ballroom dance. “It was one thing I didn’t know,” she said. She had also done some acting, landing stints on television shows – “enough for a SAG card, because Cirque is always a character. You’re never playing a normal person.” “I really try to spread out to be good at everything I possibly can,” Muccioli said, “and perfect at everything I can.” “Your strength is your versatility,” Karen Muccioli told her daughter. GETTING INTO CIRQUE It’s not easy – at all, Muccioli said, and it’s quite nerve-wracking. For many performers, it takes multiple auditions. Muccioli made it on her second try. The first time, Muccioli was still in college. She spent two days auditioning and was cut after three to four rounds on the second day. “I was totally OK, I was happy I made it as far as I did,” she said. In January 2016, “I was so ready, feeling so good about it,” Muccioli said. What started as 300 people ended with 15 girls and 15 guys earning parts in Beatles LOVE – Muccioli was one of them. The audition started with a jazzy, contemporary number, she said, that the performers had to pick up immediately. They auditioned in groups of five and had to show emotion, do the moves correctly with proper technique. After those cuts came a hip hop number, then more cuts, an acting exercise, then more cuts. By the end of the first day, 70 people were left. “I was exhausted. I was focused so much in the nine to 10 hours of audition, about not getting cut,” Muccioli said. As the audition pool was narrowed down, the performers began doing numbers from Beatles LOVE, including the finale, “Sergeant Pepper.” “It felt so comfortable for me,” Muccioli said, “but I was trying to block those feelings.” After one more acting exercise, producers told Muccioli she’d made it – into the database. Performers can be in the Cirque database for years without ever being called to perform. But it’s a huge deal, Muccioli said. “I bawled my eyes out,” she said. “I still get chills when I think about getting into the database.” Being in the database meant Muccioli could be hired for any Cirque show, anywhere. While she waited to see when, or if, she would be called to perform, Muccioli moved to Las Vegas. She arrived in May to see what was there, and in a few days, she was dancing in a fashion show. Not long after she moved there, Muccioli received an email asking if she was interested in a position with Beatles LOVE. “Obviously I said yes,” she said. “It’s a dance heavy show and they needed good dancers, so I felt good about my abilities,” Muccioli said. She started rehearsals on June 29 and was in her first show less than three weeks later, on July 17. Maybe it was the nerves of the first day at her dream job, but in her first show, Muccioli was late off her entrance – “I missed it by a hair.” “I was supposed to run on stage screaming, as a groupie running. I had so much energy, I was so excited,” she said. After the final number of the show, confetti rained down in front of the peace sign and Muccioli was ready to cry. “It was the greatest experience. I still feel that way after every show,” she said. “The talent in the show is so inspiring. I’ve never felt as inspired as I do when I go to work.” Muccioli signed a six-month contract which is up in November, when she and the producers will decide what’s next – another temporary contact or full-time. “I hope they keep me around,” she said. “YOU DON’T STOP” Muccioli’s schedule is grueling. She works five days a week, an average of 10 shows a week, Thursday through Monday. She works from 3 p.m. to about 12:30 a.m. doing two shows a night. She also has physical training, rehearsals, costume fittings and makeup to be done. “It’s very physically demanding. You don’t stop,” she said. Her weekend is Tuesday and Wednesday. Some of her down time is spent with the cast, with whom she quickly formed a close relationship, Muccioli said. “It took one day to feel like part of the case. They were so welcoming,” she said. “They want to know everything about you.” If she’s not with the cast, Muccioli can be found in her apartment, playing with her cat or watching television. She planned to do some hiking in Red Rock Canyon with her girlfriend, Carlee Lund, who moved to Las Vegas with Muccioli. The two have been friends since their days together at Homestead- Wakefield Elementary. “ONE PROUD MOM” Karen Muccioli and her husband, Gerry, a senior vice president of Colombo Bank, were in Las Vegas for their daughter’s early shows. Karen Muccioli calls her daughter, and others like her, “Swiss Army knife dancers,” because they can do a little bit of everything. Jennifer, she said, is the epitome of what she and her staff train young dancers at the Rage Box to be. “She knew her dream, and it was kind of my dream as well,” Karen said. There were times it wasn’t always easy to be the director’s daughter when Muccioli was growing up, but Karen Muccioli said it made her daughter tough. “She’s probably the strongest and toughest kid I know,” Karen Muccioli said. “I’m one proud mom.” { SOURCE: Baltimore Sun | https://goo.gl/2A3TxV } ------------------------------------------------------- Circus Life Fits Zumanity’s Jonas Woolverton Just Right {Nov.16.2017} ------------------------------------------------------- Las Vegan Jonas Woolverton began his career in a small Montreal circus before landing a gig in Cirque du Soleil’s Zumanity in 2008. Las Vegas Weekly talked to the New York native about learning to wrestle from an ex-WWE star and a recent injury, which was no match for Woolverton’s tenacious drive. Q. Why did you want to become a circus performer? I saw one of the Cirque shows, Dralion, and the clowns just blew me away. So I got into the Clown Conservatory in San Francisco. I was fortunate enough to see Daniel Cyr, the founder of the Cyr wheel, perform, and I said, “That’s the apparatus I want to do.” I’ve been doing circus professionally for 15 years, and Cyr wheel professionally since 2003. Q. What about the Cyr wheel fascinated you? I think it’s sort of a mystical apparatus. It’s not really obvious how it works. There’s something about whirling dervishes that is very entrancing. It’s something that’s very fundamental. When we’re kids we liked to spin around until we get dizzy. Q. How did you develop your Zumanity character, Casanova? When I first got here I was doing an S&M-based act—I had two dominatrices whipping me and blindfolding me. Over the years it just evolved. I became the gigolo, and I renamed him Casanova and gave him my own spin. Casanova is a ladies’ man from Sicily, and he’s got ADD with women. In the act, he sees this shadow woman, [and] all of a sudden he’s entranced by this imaginary woman. The whole act for me is a metaphor for being in love and falling out of love and that feeling of elation when you’re in love. I also invented this scrim projection on the Cyr wheel—that’s something I developed with another artist friend of mine, Joel Howard from [The Beatles] Love. Q. You were recently out of commission for nine months due to a knee injury. Yeah. I consider myself kind of lucky. I’ve had a 15-year performing career in circus, and it was my first surgery. It was a freak thing, and it happens; it’s a hazard of the trade. But luckily I have amazing physios who take care of me. [With] Cirque, you’re treated like an elite athlete, because you are. So the recovery is really quick. I’ve been back in the show since August, and I’m doing my act again. Q. How did you stay busy during your recovery? I was reading plays with my actor friends in town, and I was directing some music videos. Cirque has the Choreographers’ Showcase, [for] which I choreographed a piece. I ran into Mix Master Mike from the Beastie Boys, and he is an incredible creative spirit. He and I hit it off right away and created an acrobatic breakdance piece—it had some capoeira in it; it had Cyr wheels in it. It turned out incredibly well. I think the audience was super-pleased with it. Q. You have some experience with wrestling, too. Last fall, Cirque allowed me to be in a piece at the Cockroach Theatre called The Elaborate Entrance of Chad Deity. It’s a Pulitzer-nominated play about professional wrestlers. They needed to cast somebody who was physical, who could do the wrestling. I had a crash course with Sinn Bodhi, who’s formerly of WWE and now has a company here in Vegas called Freakshow Wrestling. I had to learn how to wrestle in like five sessions, doing really advanced moves. It was a massive challenge, and it felt really rewarding. Q. It sounds like you’re always working in some capacity. What do you do in your free time? I hang out with my son a lot. He goes to circus camp every Saturday and afterwards we spin on the wheel and jump on the trampoline. He really loves circus, and he’s going to be a way better performer and wheel artist than I could ever be. Or maybe he’ll be a lawyer. Who knows? Q. Is there any advice you’d give to someone interested in performing in the circus? You have to really love it, because it’s really hard. Just train every day. You take the hits and you take the injuries and you just push through them. It’s just the persistence of doing something you love over and over again until you become good at it, because there is a point where you do become good at it. When I started out I didn’t know how you get in to Cirque du Soleil. I thought you had to be somewhat born into a circus family. Q. What’s the best part about working for Zumanity? It’s got its own vibe. We use a lot of audience members, and it’s real audience participation. The show kind of hinges on what they’re going to do and how they’re going to act—that’s where a lot of the humor comes from. That’s the beauty of the show. It’s so ephemeral, and it’s hilarious. { SOURCE: Las Vegas Weekly | https://goo.gl/nf4A8S } ------------------------------------------------------- A Q&A w/Varekai’s Jamieson Lindenberg {Nov.20.2017} ------------------------------------------------------- Jamieson Lindenberg is just one of 50 artists from 19 different countries who will be performing in Cirque du Soleil’s VAREKAI at the Liacouras Center November 22-26. Jamieson’s first contact with Cirque du Soleil was at the age of 16, when he became an usher for Quidam while it was touring in the US. After pursuing a career in theater, Cirque du Soleil came knocking in 2008 and offered Jamieson the leading singing position on Quidam. “A full circle”, as he says. The show pays tribute to the ancient and rare circus tradition of Icarian games and Georgian dance, along with Russian swings, aerial straps & hoops, handbalancing on canes, dancing on crutches, and Cirque’s famous clowns! Debra Danese of the Phindie, a source dedicated to independent coverage of Philadelphia theater and arts, recently sat down with Jamieson to ask him his thoughts about his time with Cirque du Soleil. Q. What was the training and rehearsal process like for VAREKAI? Training for singers begins at the International Head Quarters for Cirque du Soleil in Montreal, Quebec. It can last anywhere from two weeks to two months depending on the role and timeline. For VAREKAI, I had three weeks of training. I worked daily with a vocal coach who helped me learn the lyrics of the made-up language I sing in, as well as the musical score. An acting/staging coach helped me with character development and the actual staging of my role. I also had daily class with a professional -usually Pilates, Yoga, or sometimes Tai-Chi. It is kind of like your recess at the end of the day. Q. What is the most challenging aspect of the show? For me, it is the amount of singing and time that I spend on stage. You may not notice because we float in and out- but the singers are pretty much on stage and singing the entire show. The average acrobat spends roughly 10-15 minutes on stage for their act and a few transitional cues. However the musicians and singers live out on that stage. In Act 2, I have three really vocally challenging songs back to back. Each show is like a vocal marathon. Q. What is your favorite part of being on tour? Seeing the world and getting a taste for other cultures and places. This really changes your entire perceptive on life when you get to learn from our neighboring countries. I draw on those experiences daily. I think it should be mandatory that everyone who turns 18 has to visit a foreign country. Also, I love having movies nights at the hotel with friends on tour. Ordering pizza, grabbing some drinks and binge-watching a series in our pajamas is like adult summer camp all year long. Q. VAREKAI is a large-scale production. What is it like behind the scenes of the show? You would be surprised how little drama there is backstage. Because we perform roughly 300 shows per year, we all really get into our zones when it’s show time. There is usually a group “hackeysack” game, warming up and stretching on the mats, lots of phones and swiping, candy crushing and always lots of practical joking backstage. Q. There are thousands of wardrobe pieces in the show. Tell us about some of the costumes used in VAREKAI. VAREKAI has approximately 2,000 costume pieces such as shoes, wigs, hats and other accessories. Each artist can have up to six pieces and every costume is specifically designed for them. Our vibrant and colorful costumes were designed by the famous costume designer, the late Eiko Ishioka (1938-2012) who has had a hand in movies like Bram Stoker’s Dracula and The Cell. Eiko explored unusual creature shapes to show the artists’ movements, enhancing their beauty and grace. Q. As a performer, you apply your own make-up for the show. How long does this take and how do you keep it consistent? Yes, it’s part of our daily ritual and is Zen time for many of us. I like to pop in some tunes and paint away. Each day is a little different depending on my mood. It takes me roughly 45 minutes to apply, and 1 minute to remove after the show. I have been performing with Cirque since 2008. I can’t even imagine how much makeup I have slathered on this face over the years! We often joke about sleeping in our makeup, and how much extra sleep we would have on a 6 show weekend. It does take a toll on the skin, but hey, that’s Show-Biz, Kid! { SOURCE: Phindie | https://goo.gl/8NZ66e } ------------------------------------------------------- Jewel: Music, Motherhood, Mindfulness, and Cirque {Dec.06.2017} ------------------------------------------------------- By: Danielle Sariyan Jewel is one of the most talented and respected artists in music and entertainment. She is also beautiful, successful, and famous. Yet in spite of all this, Jewel is humble, authentic, and committed to enriching the lives of others. With an unwavering respect for nature, a passion for community, unrivaled independence, and a firm grasp on her homesteading roots, the artist has channeled her reputation for hard work into a thriving, multi-faceted entrepreneurial career. In addition to writing and performing music from the 12 studio albums she has recorded since 1995, Jewel is also an extremely talented actress, a producer, a philanthropist, a conservationist, and an author of five books — including two children’s books — and a book of poetry. The morning I was scheduled to speak with Jewel, my son woke up uncharacteristically cranky. When her manager called to confirm, I voiced concern that my son would interrupt our conversation. Her manager assured me, “Jewel is a mom. She will understand.” And so, an hour later, with a baby on my hip and a pacifier at the ready I talked to Jewel about her WHOLE HUMAN entrepreneurial platform, The Sixth Annual One Night For One Drop event with Cirque du Soleil, the Handmade Holiday Tour, Project Clean Water, Jewel’s Never Broken Foundation, and her mission to promote self-agency in an increasingly technology driven world. Q. I’m excited to talk about all of your projects! Please bear with my babbling baby! How old is your little one? Q. Six months. He is cutting two teeth and found his voice this week. That’s what happens. They are like, “This hurts. I want to talk about it!” Q. I considered rescheduling but your manager promised you would roll with it! I am all for it. I’m friends with Sara Blakely and I saw a beautiful post she did where she pulled over on the side of the road to do a conference call. She couldn’t find anything to write with in her purse so she used lipstick liner and her kids were in the background and she was like, “This is why businesses should hire moms because we get it done.” We figure it out and we get it done. Q. Right?! This is my reality. That’s life. Don’t apologize. Heck no! Q. I am eager to talk about the charities and causes you are involved with. You were quoted as saying, “You have a social obligation.” What sparked your desire to transition success in music and entertainment into all encompassing entrepreneurial mission of health, wellness, and equality? It has always been the core message of who and what I am. I founded Project Clean Water in 1996 or 1997. When I was homeless, I couldn’t afford enough bottled water. I knew water was going to be a major issue, if in America, we’re not able to drink our tap water and can’t afford bottled water at the bottom of the socioeconomic scale. My essence, my nature, who I am tends to be very community minded and very entrepreneurial because I was raised by homesteaders. We had nothing and had to rely on ourselves in the middle of nowhere to be innovative and to find solutions. I had a very entrepreneurial approach to my music. I knew I had an obligation to help people in need and give people opportunities the same way I needed. I needed help as somebody who was homeless. I wasn’t homeless because I wasn’t willing to work. I was homeless because I wouldn’t have sex with a boss. He fired me for not sleeping with him and then the car I was living in was stolen. The poverty cycle is really difficult to get out of. Luckily, I had an opportunity to get out. I worked my hiney off to get that opportunity, but since the beginning, I knew I had an obligation to help others have opportunities. The core mission of my business is around creating connections, fostering community, and self-agency. The fields I am branching out into besides music are all around my nature, which is community, connection, and self-agency. Music has always been the soundtrack to my journey of finding those things. Now it’s about finding actual business strategies that accomplish those goals. Q. Your WHOLE HUMAN philosophy led to the creation of Jewel Inc. The relentless work you do for varied organizations, like Project Clean Water, Jewel’s Never Broken Foundation, Home for the Pawlidayz, and the homeless youth is completely inspiring. How do you determine where to channel Jewel Inc. resources? Anxiety and depression rates are at the highest they have ever been. As a mother I needed to figure out how to create revenue that wasn’t based on traveling and touring all the time. I said, “How do I intersect with culture in a meaningful way that’s authentic to me, that adds a value to culture, and that also solves problems for me in my own life? How do I make money without just touring?” I started spending a lot of my time in the entrepreneurial space based on mindfulness curriculums. The pedagogy that I developed while I was homeless literally just for survival and then, “How do you thrive and not self implode in this music business once you are given the chance to do it,” ended up getting proven by a neuroscientist, a scientist named Dr. Judson Brewer. I post those exercises for free on the website. I base my mindfulness curriculums for toddlers, middle school students, and businesses on things I started creating when I was homeless. Q. You will be marrying philanthropic efforts with your passion for music as you host The Sixth Annual One Night For One Drop event with Cirque Du Soleil this March. What do you have in store for fans attending this year’s unparalleled production? I am incredibly honored Cirque Du Soleil decided to partner with me to tell my life story imagined by them. If you have ever seen a Cirque show you know how visually stunning it is. The show will have strong Alaskan and nature themes. It will be my story, but really it’s the story of everyone. Everyone has experienced love, loss, betrayal, forgiveness, and understanding. We are the architects of our own lives. We can look at nature verses nurture and understand how to connect to our real nature no matter how bad our nurture was. I’m very excited. The event also aligns charities. My charity, Project Clean Water, and their water charity are partnering up to do this. I am donating my life story, my music, and my time. I apparently will be flying and doing things like that. It will be exciting one way or the other! You can say that! Q. That’s fantastic! One thing I am doing to support my desire to foster the community and philanthropy is creating a craft fair before shows on the Handmade Holiday Tour. People can come and have an experience, make gifts for one another, and create self-agency or a sense of self-agency and community. I am making sure at-risk families or disadvantaged families can come and not just be part of a toy drive and be given a toy but instead be given the self respect of saying, “I am capable of making a gift for my mom,” and “I am capable of making a gift for my child.” I am very very excited about that portion of the tour. Q. The moment I became a mother I felt a powerful urge to get back to basics, embrace homemade, handcrafted, and local grown. How do you incorporate aspects of the rural simplicity of your childhood into your son’s world despite the fact that it is not at all like the one in which you grew up? I was raised on a homestead by homesteaders. I didn’t realize that was a great setup or that I was being raised to be an entrepreneur. I was trained to be comfortable with the unknown, with adversity. My background allowed me to have neural wiring that was comfortable with the idea of, “Alright. Let me sit down. Let me figure this out. I will find a solution.” It’s strange to raise a child not on a homestead where nature doesn’t teach him. I actually have to solve for it. Not only am I a mother in a modern culture that relies on technology proven to stunt neurological development for our children of learning how to do creative problem solving, but I am also famous and rich which are another two strikes against me I feel like. I’m in a city, I’m famous, and I’m rich, so I have to compensate by figuring out opportunities to allow my son to struggle, to know that I can’t do everything for him. I have to create opportunities where he learns with his own two hands that he is capable in age appropriate ways. Open-ended toys, staying away from technology, and letting his creativity turn a stick into a boat or an airplane or a bridge has been scientifically proven to create neural pathways that nothing else does. As parents we really have to educate ourselves. That’s why I am creating a mindfulness cartoon about some of the hallmarks of my implements of curiosity and observation so that kids learn self-agency in a culture that isn’t helping them do that, where toys and learning tools do everything for our children. Q. I applaud you for taking on that platform. Every toy lights up, makes noise, and requires batteries. I am thrilled to see you stand up and say there is another way. It has been predicted that the geek economy is going to increase. By the time our children are grown the workforce will be sixty to seventy percent freelance. They have to have skillsets, which allow them to be comfortable with uncertainty, with pivoting in real time, with creative problem solving. We have to come up with real practical solutions as parents. Q. On Nov. 24 you are kicking off your first annual Handmade Holiday Tour, where you will be performing both classic and original songs alongside your family. When was the last time you performed on a large scale with your family? My family has toured with me off and on separately. My brother would open for me on tours or my dad would come out and sing with me, but this is the first time we have done it all together as a family on the road. I’m very excited. It’s going to be a first as far as that is concerned. Q. That’s really fun. My girlfriend would kill me if I didn’t tell you we read your poetry book, A Night Without Armor, cover to cover countless times. I also want to thank you for everything you do, but specifically for being a woman, an artist, and a mother we can all admire. That is so sweet. I really appreciate that. My art is just about fighting for my own humanity and I am honored anybody cares to fight along with me and encourage me. { SOURCE: The Aquarian Weekly | https://goo.gl/Q7Dos7 } *************************************************************** SPECTACLE -- CRYSTAL in the Presse *************************************************************** ------------------------------------------------------- Ice dancer from St. Charles co-stars in CRYSTAL {Nov.03.2017} ------------------------------------------------------- Madeline Stammen’s ice skating has taken her from St. Charles to cruise ships and now to a main role in Cirque du Soleil Crystal. The show is the Montreal-based theatrical producer’s first to mix its fabled acrobatics and circus stylings with action on ice. When Stammen auditioned, she was taking six months away from skating and thinking about acting on her acceptance to the school of engineering at New York University. That was after a stint in summer 2016 in an ice show at the Pleasure Beach Arena in Blackpool, England, called Obsession. “Their summer production is a pretty big show a lot of skaters wind up doing,” Stammen said. “And it was nice to be in one place for a bit.” Stammen, 23, says that because she launched her professional skating career at sea. For several years, she performed on cruise ships. “I skated up to the senior women’s level (in ice dancing and freestyle skating) until I was 18 and only in the United States,” said Stammen, a St. Charles East High School graduate. “I always enjoyed the performance aspect of skating (more than competition) anyway, so it was a natural progression. A month after turning pro, I popped up on a ship. It was a blast.” Ice shows at sea involve working on a rink an eighth of the size of arenas, Stammen said, “and the ground moves as you’re skating.” She wound up having four cruise ship contracts that took her to ports in the Caribbean, the Mediterranean, Scandinavia, Asia and Australia. Her parents, John and Christina Stammen, who still live in St. Charles, caught all her nautical shows, and her three brothers and one sister made the ones they could. “My parents are my number one fans, and the shows were an excuse for a vacation,” Stammen said. After the land-based job is England, though, Stammen wasn’t sure what she wanted to do. “But God or the world pushed me to apply (for the Cirque du Soleil show),” she said. She sent in a video to show her skating skills, then Cirque provided her a piece of music to which she was to improvise a routine and videotape her performance of it. Stammen said she was hired within the week. “This is a new thing for Cirque du Soleil. They’ve never employed skaters before, so it’s been two worlds colliding and collaborating,” Stammen said. Rehearsals began in June in Montreal. “We are all athletes, so we understand each other in that sense. But we have different processes. Acrobats and the circus performers with Cirque come from a place where they are open to trying to create something different. Skaters tend to use moves that are part of a set arsenal,” Stammen said. The Cirque performers “are kicking my butt,” she said. “I was like a T-Rex, with strong legs but no upper body strength. Now I can do pull- ups.” Stammen plays The Reflection, the alter ego of the titular character Crystal. The story involves the misfit Crystal seeing her reflection on a lake, then meeting that reflection under the water. The Reflection is the dark side of Crystal, Stammen said, and takes Crystal through an underworld to look back on her life. The show’s tour began in Lafayette, Louisiana, on Oct. 5, and is using smaller markets to develop in advance of the official premiere in Montreal Dec. 20. Publicist Julie Desmarais said the plan is for Crystal to be a roadshow for five years or so. Cirque du Soleil Crystal comes to Sears Centre in Hoffman Estates Nov. 16 – 19. Stammen said the tour is the first time she has skated professionally in the United States. “It will be kind of cool for my coaches and my friends to come see me and what I do. It should be special,” Stammen said. She learned to figure skate from Jill Carson, then Candy Brown Burek, training at Fox Valley Ice Rink in Geneva and All Seasons Ice Rink in Naperville. “I remember trying at 3 years old and thinking I could do what the teacher did, then falling. I was one of those kids who sat on the bench and cried all the time,” Stammen said. “From what my mom tells me, I asked to go back again when I was 6, and the rest is history.” The show takes a break after the Hoffman Estates performances, so Stammen said she is looking forward to getting to spend a bit of time at home. “The first chance I get, I’m going to the All Chocolate Kitchen in Geneva,” Stammen said. { SOURCE: Chicago Tribune } ------------------------------------------------------- Cirque du Soleil’s CRYSTAL Will Wow Audiences {Nov.04.2017} ------------------------------------------------------- Jerome Sordillon is an aerialist with “Crystal,” Cirque du Soleil’s new show on ice that opens at The Family Arena this weekend. He performs the acrobatic portion of the show, swinging dozens of feet above the ice, suspended only by a pair of wrist straps. At one point, during a beautifully choreographed ballroom dance, Sordillon lifts the main character off her skates and they soar through the air together. “I’m holding on to her,” he said. “She’s not holding on to anything. So it takes a lot of trust.” Trust, and plenty of practice. Do they use a net? “No,” Sordillon said, “I am the net.” Originally from Lyon, France, Sordillon has been performing in circuses for over a decade, since he was 19 years old. He’s been on tour with Crystal since June. And he’s just one of 83 cast and crew representing 19 different nationalities that make the show possible, said Crystal publicist Julie Desmarais. Desmarais explained that show-goers are in for a treat. “Crystal is the story of a girl who has her head in the clouds, she’s a dreamer, and she’s not super comfortable in the environment she’s in. One day she ventures out onto a frozen pond, and the ice breaks. She falls into a surreal underworld than opens her up to new possibilities.” Desmarais said Crystal is Cirque du Soleil’s first production on ice in its 33-year history. “It’s something that we’ve wanted to do for a very long time. We really wanted to explore the speed, fluidity and reflection that ice provides.” She thinks the show would appeal to the whole family. “I think we’ll see a lot of audience members finding an element that reaches out to them. It’s a brand new experience. And it will feature pop songs as part of the storyline that people will recognize.” She said audiences could look forward to remixes and covers of songs by Beyonce, Sia, U2 and more. { SOURCE: St. Charles Patch } ------------------------------------------------------- How St. Charles skater got on the ice with Cirque {Nov.07.2017} ------------------------------------------------------- After seeing her first Cirque du Soleil show in Las Vegas five years ago, professional figure skater Madeline Stammen had a chance to hang out with some of the cast members. She told them how impressed she was by the performances and choreography in the water show “O.” “I remember saying that night, ‘If Cirque du Soleil ever employs ice skaters, I’d love to work for that company.’ We laughed about it,” she said. Fast forward five years, and now Stammen, from St. Charles, is starring in Cirque du Soleil’s first ice show, “Crystal.” It’s in the midst of a world tour and comes to the Sears Centre in Hoffman Estates Thursday, Nov. 16, through Sunday, Nov. 19. “It’s so funny how life works sometimes. It’s like, be careful what you say, because it might happen,” she said. Stammen, who turns 24 Thursday, was planning to take a break from ice skating when she got the job. She’d been accepted to New York University’s engineering school and, having been home-schooled most of her life, looked forward to being a full-time college student. When the friends she met at Cirque du Soleil in Las Vegas sent her an application to try out for “Crystal,” she dismissed it. “People kept recommending me and pushing me to do it. It’s like God was telling me something and pushing me to apply,” she said. “Finally I just sent in an application and threw together a last-minute video.” Stammen got the job and, weeks later, she was in Montreal for the three-month-long rehearsals. “I’ve applied to school three times and gotten into these awesome universities. And every time, something in entertainment or ice shows has come up and pulled me back,” she said. Skating has consumed her life she since was a kid. She grew up idolizing Olympic figure skaters Michelle Kwan and Sasha Cohen. Stammen would train for three to six hours a day, five to six days a week. When she reached high school, her parents enrolled her at St. Charles East High School part time, so she could experience things like homecoming, dances and graduation. Stammen had the same coach as Olympic gold medalist Evan Lysacek for a while, Candy Brown Burek, and among her many accomplishments, Stammen earned gold medals in the United States Figure Skating Association’s ice dancing and freestyle skating competitions. “I was really always in skating for the performance aspect of it. I always loved being in shows,” Stammen said. “The best part, for me, was performing in front of a crowd. That’s what got me exhilarated.” She stopped competing and spent four years working on Royal Caribbean Cruise Lines, doing shows on the ships’ ice rinks. She also was a regular for four years in the “Hot Ice” show in England. “I got to see the whole world doing what I love,” she said. When “off contract,” she helps out with coaching and choreography at the places she used to train, Fox Valley Ice Arena in Geneva and All Seasons Ice Rink in Naperville. The “Crystal” show is unlike anything Stammen’s done before because it includes so many special effects. Cirque’s circus acrobats have helped her learn some tricks. In return, she helped teach them how to ice skate. “They made me do push-ups and all sorts of difficult things,” she said, laughing. “The fact that Cirque has employed ice skaters is such a big thing in our industry. The circus world and the ice skating world are collaborating.” Like most Cirque shows, “Crystal” uses abstract storytelling. The story centers on a girl named Crystal who falls through the ice and finds herself in an alternate world. She meets her reflection underneath the ice, and that reflection takes her on an adventure. Stammen plays Crystal’s reflection. “I’m kind of like the White Rabbit in ‘Alice in Wonderland,'” she said. “I’m taking her through this crazy, surreal version of her own life.” “Crazy” and “surreal” are good words to describe Stammen’s life, too, but in a good way. “If you’d have asked me a few years ago, I would have never said I’d be working for the circus,” she said. “But it’s cool the way everything has worked out. I am just taking it as it goes and going with the flow.” { SOURCE: Daily Herald | https://goo.gl/7YVbBK } ------------------------------------------------------- Some Official Acts from CRYSTAL {Nov.08.2017} ------------------------------------------------------- Cirque du Soleil’s website has the following four acts/scenes from CRYSTAL featured, they are... REFLECTION -- Crystal sees her Reflection skating upside down on the ceiling. She then joins her Reflection on the ice for a poetic skating duo. PLAYGROUND -- A hockey game on the pond turns into a high-octane romp on ramps where extreme skaters do crazy flips, twists and jumps at breakneck speed, until the ice turns into a giant pinball machine. BALLROOM -- The couple performs a spellbinding aerial straps/skating pas de deux that blurs the boundary between ice and sky. TEMPÊTE -- Acrobatics and skating collide in this high-energy number where the vocabulary of banquine, hand-to-hand and tumbling is intricately interwoven with jumps, flips, spins and gliding on blades. { SOURCE: Cirque du Soleil } ------------------------------------------------------- Cirque Finds the Coolest Setting for CRYSTAL? {Nov.15.2017} ------------------------------------------------------- Three times in her life, Madeline Stammen has sat down at her computer and pressed “send” on a flurry of college applications, convinced that perhaps it was time to put her ice skating dreams on hold and instead pursue a scholarly degree. And three times, the phone rang, and she was off to another adventure. Her latest adventure just might be her most rewarding, as the St. Charles native is starring as the character “Crystal’s Reflection” in the brand new “Crystal by Cirque du Soleil” production that arrives in Chicago for a string of shows this weekend at Sears Centre Arena. “I was planning to go to NYU to go to engineering school, but then Cirque was looking for skaters,” Stammen explained in a recent phone chat. “We always laugh because my mom would say ‘we are going to spend all this time and money on college and she will end up being the back of a horse in some ice show.’ ” Of course, this is no ordinary ice show. Marking the first time the world-renown Cirque du Soleil has tackled the slippery surfaces of an ice “stage,” the show utilizes the talents of both skaters and acrobats to produce a production that defies imagination. “Not only does the ice offer the metaphor of coolness but it also allows us to project a number of images onto the ice, allowing for the completely evolution of the entire stage,” explained the show’s artistic director, Fabrice Lemire. “This company is always looking for ways to push boundaries, so exploring the ice element was just another piece of their story.” The production follows the story of Crystal, a young woman who attempts to fulfill her destiny despite life’s challenges, and discovering that sometimes, you must walk on thin ice to find your true potential. While Cirque Du Soleil has been around for more than 30 years and lays claim to more than 40 productions, adding the element of ice brought with it a slew of challenges. “There were just so many logistics involved,” said Lemire. “How could we re-create for the ice the elements that Cirque de Soleil is known for? The ice ended up bringing not only a speed element, but also an emotional element.” There was only one problem: The acrobats weren’t skaters, and the skaters weren’t acrobats. “Many of the acrobats had absolutely no skating experience, so we had to train them a whole new set of skills to already advanced acrobats,” explained Lemire, who coincidentally studied dance as a child because he dreamed of becoming a professional ice skater. “We also have accomplished skaters that had no acrobat skills, so yes, it can be a challenge.” Another challenge for the production was the relatively short time the performers had to prepare for it. “A Cirque show usually takes nine months to prepare, and this one was just a little over two months,” said Stammen. “Everything was done in hyper speed. In fact, we are still morphing the show a tad each night. … I had to do a ton of aerial training. As a skater, I have never had to work my upper body as much as I am doing now.” And while the show is touring cities throughout the United States and Canada throughout mid-2018, Lemire says there is always a chance that the show might find a permanent home somewhere. “That hasn’t been talked about quite yet, but it’s something that I would assume that they would explore in which we could have a residency somewhere on the ice,” he says. “You just never know what one’s future holds.” { SOURCE: Chicago Sun-Times | https://goo.gl/h8r6DL } ------------------------------------------------------- The Montreal Gazette on CRYSTAL {Nov.17.2017} ------------------------------------------------------- Just how different is Crystal from other Cirque du Soleil shows? Well, even some of the technicians have to wear skates on the latest Cirque creation, which is set to play the Bell Centre in Montreal from Dec. 20 to 31. It is the Cirque’s first ice show, and that has added a whole new dimension to the job description of everyone working on this production, from the technicians to the performers to the costume designers. Some Quebec journalists were given a tour Thursday behind the scenes of Crystal at the Sears Centre in the Chicago suburb of Hoffman Estates, just hours before its première at this 11,000-seat rink 40 kilometres outside of the Windy City. The show has been playing secondary markets in the U.S. before its première in Quebec in December. The tour began in Lafayette, La. in early October and has touched down in San Antonio, Tex.; Little Rock, Ark.; St. Charles, Mo.; and Minneapolis, Minn. There is no stage for Crystal. The stage is quite literally the ice surface, with the show taking up 170 feet of the 200-foot NHL-size ice surface. The Cirque also makes much use of video footage with the ice surface as a giant screen. There are 160 moving lights in the show, and they hang 75,000 pounds of equipment from the rafters. “The ice surface is basically a canvas for us to use the entire time,” said Mike Naumann, Crystal’s production manager. “It’s like at the Bell Centre — at the beginning of the hockey games, you see that. So it’s the same concept here. We have a lot of new technology.” So the lights will track the artists, following them, and this is incorporated into the video. “So they’re able to skate during the show and it traces (images) on to the ice,” Naumann said. “At the very end of the show, they write ‘The End’ on the ice. So there’s several times in the show that you’ll see a trail behind the artist in the video.” And they have already run into some big-time ice issues. “Lafayette was challenging because it was an older venue,” Naumann said. In Minneapolis, the ice floor at the Target Centre was not working, so at the last minute they had to hire an outside company to install a temporary ice floor. The high concept behind Crystal is that it melds the classic Cirque acrobatic circus arts with skating finesse, and the 40 performers are almost evenly split between professional skaters and acrobats. But many of the circus performers, including acrobats and jugglers, had to learn to skate for the show. So you have Cirque standards like trapeze, aerial straps and hand to hand mixed and matched with speedskating, hockey and skaters zooming over on-ice ramps. “The ice makes it enormously different (from other Cirque shows),” said Shana Carroll, who directs the show in tandem with Sébastien Soldevila. “There was a learning curve involved in terms of using it to its potential, just with the speed and the sudden breaking. The ice itself is like a huge character. Also working on the ice. Anything I knew about directing or choreographing in a studio, it’s just a whole new ball game. I had to put on my crampons and inch my way out there (on to the ice). It took me a while to realize that the ice rink is basically just a big playground. Everyone just gets up and starts skating around. “But I think it was so stimulating for the cast. With half acrobats and half skaters, that exchange was so stimulating and it really gave us this positive atmosphere and it was contagious.” { SOURCE: Brendan Kelly, Montreal Gazette | https://goo.gl/Kw8HCZ } *************************************************************** BEYOND THE BIGTOP -- NFL EXPERIENCE in the Presse *************************************************************** ------------------------------------------------------- NFL putting permanent Experience in Times Square {Nov.28.2017} ------------------------------------------------------- The NFL is taking its game to Times Square. Literally. Currently in previews, the NFL Experience will open to the public in the mecca of Manhattan on Friday, one day after a grand opening that Commissioner Roger Goodell and assorted football celebrities and Hall of Famers will attend. While this Experience is patterned after the exhibits the league has done for years at the Super Bowl and draft, it has a new and different feel thanks to a partnership with Cirque du Soleil. “Cirque du Soleil has been involved with our team on things and with the Super Bowl,” says Dawn Hudson, the league’s chief marketing officer. “We wanted to not just do an experience like anything else, but to have creativity and imagination and to really think about the things we would do. We thought about the power of what we know about the NFL and to try to reimagine that with a company that looks at the world in a totally different way could create magic for the fan.” A $30 million project that has taken 2 1/2 years in development, the Experience has something for kids, teens, and adults, mixing high tech and traditional displays into an immersive attraction. DISNEYLAND MEETS HALL OF FAME Want to read about and see clips from your favorite franchise, or view memorabilia? There’s a room for that, whether through tablets or visual displays. Want to virtually dress up in full uniform and equipment like a player from your team? Do drills as if you were a draft prospect at the NFL combine? Take a history lesson of football — sort of an NFL101 — or create a touchdown celebration dance? Go ahead, there’s a place for all of that, too. Visitors can act the part of coach and quarterback with the help of Jon Gruden as he calls and diagrams a play (Dice Right 61 Bullseye X Individual), then allows fans to run the play on a video screen. Displays of all the Super Bowl rings and tickets and the Lombardi Trophy are on hand. A replication of an equipment room and the underneath areas of a stadium is part of the four-floor tour, which takes anywhere from one hour to 90 minutes, depending on lines, though there will be timed entries. But there’s plenty to do even while waiting for something else to do. “We look at this as Disneyland meets the Hall of Fame in Times Square,” says Danny Boockvar, president of NFL Experience Times Square. NFL FROM PLAYERS' POINT OF VIEW The centerpiece certainly will be a 4D film that has Cirque du Soleil’s touch — artistically and in reality. It’s Cirque du Soleil’s first experiential venture. Before watching the film in the Experience’s Stadium, there’s even a warning for people who are prone to motion sickness to beware, although the seats in the theater are adjustable to limit the amount of jerking around a viewer takes. Doubt they have those out on the field for the players. The movie by NFL Films pretty much covers every aspect of how a player prepares, feels and what he, well, experiences when running for touchdowns, being sacked, or winning a championship. It’s as fast- paced as a Tyreek Hill sprint, as powerful as a Von Miller tackle, as memorable as a Drew Brees touch pass. It even comes with a weather surprise. “Part of the trick is make sure to appeal to kids who are 8 and adults who are 80, to the hardcore fan and the novice, and the people from overseas,” Hudson says, noting that 20 percent of foot traffic in Times Square is from Europe. Visitors can finish off the visit in a dining area featuring favored items from the 32 NFL teams. The New York item being highlighted recently was a reuben sandwich. DEPARTURE FROM LOCAL ATTRACTIONS The NFL Experience is one of several sites opening near Times Square this year that are a striking departure from the unique local attractions: Broadway theater; world-class museums; world-famous landmarks such as the Empire State Building, along with authentic neighborhoods, shops and eateries. New York isn’t known for its Southern food or country music, but the Grand Ole Opry is opening a venue soon promising “the best of Nashville food and entertainment in Times Square.” National Geographic Encounter opened in October with an “immersive” experience using high- tech visuals and soundscapes. “I would say the primary thought was not a movement to enhance Times Square,” Hudson says. “People want things that are high-sensory experiences they can do with friends and they can talk and share, and that don’t take a huge amount of time. “We considered other places and cities. We knew we needed to have an area with a lot of visitors and fans, an area that would require heavy foot traffic. New York is the home of the NFL, it has two teams, and so many or our other teams are not so far away. This is five blocks from our headquarters. Our people can be here every day and make sure everything is authentic.” { SOURCE: Associated Press } ------------------------------------------------------- Cirque Partnered with Thinkwell Group for NFLX {Dec.01.2017} ------------------------------------------------------- In partnership with the NFL and Cirque du Soleil Entertainment Group, world-renowned experience design company Thinkwell Group has announced its involvement in the NFL Experience—a high-tech attraction launching today in Times Square that lets visitors immerse themselves in America’s favorite sport. Thinkwell provided a wide range of creative, design, and production services to bring the NFL Experience to life, including technical, lighting & audio design, in-field art direction, and installation and construction oversight. “Cirque du Soleil approached us with a unique challenge,” said François Bergeron, Chief Operating Officer at Thinkwell. “How could we turn this space into an interactive NFL exhibit—better yet, into an engaging fan experience? We realized we could use the same technology and design principles that help us design and produce museums and theme parks to turn the NFL itself into an attraction—and eight engaging experiences backed by augmented reality and other cutting- edge, interactive technologies were born.” Thinkwell drew on its expertise creating attractions and experiential exhibits around iconic franchises like Harry Potter and The Hunger Games to create this larger-than-life experience worthy of the NFL brand. Its innovative design uses high technology and interactive elements to take visitors on a complete journey through the football experience—from fan to player to on the field at the Super Bowl. “It’s not enough to watch NFL games on TV anymore—new technology like augmented reality is making it possible for consumers to actually become a part of their favorite events,” explained Chris Durmick, Principal, Attractions & Museums at Thinkwell and Creative Director for the NFL Experience. “Our cutting-edge technology doesn’t just give consumers a front-row seat at their favorite team’s game—it puts them right into the heart of the game itself.” ABOUT THINKWELL GROUP Headquartered in Los Angeles with offices in Beijing and Abu Dhabi, Thinkwell Group is a global experience design and production agency specializing in the creation and master planning of theme parks, destination resorts, major branded and intellectual property attractions, events & spectaculars, museums & exhibits, expos, and live shows around the world. Founded in 2001, Thinkwell is a creative, collaborative team with extensive experience in strategy, planning, design and production of location-based entertainment projects worldwide. The award-winning company has become a leader in experiential design by bringing a unique holistic approach to every creative engagement, delivering extraordinary results to notable clients over the years, including Fortune 500 companies, movie studios, museums, theme parks and destination resorts. For more information about Thinkwell, please visit: www.thinkwellgroup.com. { SOURCE: Business Insider } ------------------------------------------------------- NFL Experience Opens in Times Square {Dec.02.2017} ------------------------------------------------------- December 1st, the NFL and Cirque du Soleil Entertainment Group unveiled NFL Experience Times Square in the heart of New York City. The attraction, located on the corner of West 47th Street and 7th Avenue at 20 Times Square, spans 40,000 square feet and four floors, bringing fans the most interactive and extensive football experience in the world. NEW YORK, NY – Today, the NFL and Cirque du Soleil Entertainment Group unveiled NFL Experience Times Square in the heart of New York City. The attraction, located on the corner of West 47th Street and 7th Avenue at 20 Times Square, spans 40,000 square feet and four floors, bringing fans the most interactive and extensive football experience in the world. NFL Commissioner ROGER GOODELL and Pro Football Hall of Famer MICHAEL STRAHAN welcomed the NFL FLAG 13-14 BOYS AND GIRLS NEW YORK REGIONAL WINNERS to kick off NFL Experience’s opening last night in Times Square. The two teams will compete for the title in their respective divisions during the NFL FLAG Championship. “We partnered with Cirque du Soleil to create a captivating and authentic football experience that enables fans to step into the locker room and onto the field of an NFL stadium,” said GOODELL. “Whether you are a seasoned veteran or new to the game, NFL Experience Times Square takes you on an unforgettable journey where you enter as a fan, become a player, and leave as a Super Bowl champion.” Blending state-of-the-art technology with hands-on activities, NFL Experience transports visitors directly into the game for an interactive exploration of football, from the practice field to the Super Bowl. Fans can test their skills to see how they measure up to professional football players, learn game strategy from Coach JON GRUDEN, and experience the adrenaline-pumping action of the NFL in an immersive 4D movie theater. “NFL Experience Times Square is a next-generation entertainment attraction that will quickly join the list of unique, must-see New York City destinations,” said NFL Experience President DANNY BOOCKVAR. “We are tremendously proud to open our doors and bring New Yorkers and those visiting from across the country – and the world – closer to the action than ever before.” “Going through NFL Experience brouht me back to the game and triggered the emotions that I cherished as a player,” said STRAHAN. “As someone who spent 15 years in the League, I think the NFL Experience offers the most authentic look at the game outside of playing on Sundays.” NFL Experience Times Square is Cirque du Soleil Entertainment Group’s first experiential sports venture, blending the company’s extensive knowledge as a world-renowned live production company and the excitement of the NFL into one venue. “As we expand our entertainment offering beyond performing arts into immersive experiences, we are thrilled to partner with the world’s leading sports brand. This project has not only allowed us to push our creative boundaries to showcase the NFL from a whole new perspective, but also open the fascinating world of professional sports to Cirque du Soleil Entertainment Group,” said DANIEL LAMARRE, President and CEO of Cirque du Soleil Entertainment Group. NFL Experience brings football to life for visitors in unique ways, including: o) The Stadium (4D Theater): The artistry of NFL Films combines with the thrill-ride of a rollercoaster in a 180-seat state-of-the-art theater featuring a 10-minute, thrilling show. Four-dimension special effects bring fans onto the field with the weather elements and aromas from NFL games, and motion seats recreate the movement from plays. o) The 32’s: Explore team traditions, fun facts, top plays, and even get a look inside home stadiums around the country – all available on displays throughout the exhibit. Fans will get to test their knowledge or vote for favorite players, and take a tour through all 32 teams with authentic club treasures on display. o) The Equipment Room: Guests will enter the training grounds and measure their skills with a combination of digital and physical tracking activities. Blocking dummies will measure tackle strength and guests will see how their vertical jump compares to NFL players and friends. Finally, fans will get inspired by postgame speeches from NFL coaches and view gear worn by the stars themselves. o) Suit Up: Guests will pick their team, select a jersey number, and suit up as a real player with the help of digital face-tracking technology, turning them into a computer-generated image of their favorite star. o) Game Plan: Meet former NFL Coach Jon Gruden and get ready for the big game by learning a real NFL play: DICE RIGHT 61 BULLSEYE X INDIVIDUAL. This projection system gives guests the experience of virtually taking part in a quarterback meeting with Coach Gruden. o) Huddle Up: An immersive point of view experience that puts fans inside the team huddle to call DICE RIGHT 61 BULLSEYE X INDIVIDUAL as taught by Coach Jon Gruden. Custom media monitors and interactive game play allow guests to be the quarterback, pick the receiver and run the play, earning the praise of the coach. o) Quarterback Challenge: Guests will become the quarterback of their team and watch as their favorite receiver runs the play. In three attempts, they will pass the football to the receiver on screen and compare performance stats – such as speed and completion percentage – against their team’s quarterback. o) Super Bowl Celebration: Every year, one team feels the euphoria of standing on the field in a shower of confetti after winning the Super Bowl. An augmented reality experience will put guests amongst the winning team for the biggest NFL celebration. Fans will also experience the thrill of a virtual post-Super Bowl Gatorade dunk and take home a memorable photo capturing the fun. o) Champions Stage: All the hard work, sweat and tears culminate with the Vince Lombardi Trophy, and guests will commemorate their triumph with a photo beside the iconic symbol. Additionally, guests can get an up-close look at every Super Bowl Championship ring, from the Green Bay Packers’ Super Bowl I ring to the New England Patriots’ Super Bowl LI ring containing 283 diamonds. o) Postgame Tunnel: The closing postgame tunnel gives guests a one-of- a-kind perspective into the game from both the player and fan perspective with exclusive, never-before-seen footage. o) Food and Beverage: The only place fans can eat through all 31 NFL stadiums. The space features a food court and bar overlooking Times Square, serving dishes specific to each stadium. Bringing in locally sourced ingredients from every NFL hometown and input from all 31 stadium head chefs, the rotating menu will change based on the big game of the week. o) Special NFL Player Appearances: Hall of Famers, current players, and NFL Legends from around the league will make appearances and participate in fan experiences throughout the year. Tickets to NFL Experience Times Square begin at $39 and can be purchased on-site or online at NFLExperience.com. { SOURCE: NFL Experience } ------------------------------------------------------- NFL Experience Immerses You in Football Through Tech {Dec.04.2017} ------------------------------------------------------- Have you ever been curious about how it feels to be hit by an NFL linebacker? Or how hard it is to complete a pass to a receiver? Have you ever wanted to know exactly what goes on between the quarterback and his coach before every play? And what the cryptic names assigned to plays actually signify? Well, you’re in luck. The NFL in partnership with Cirque du Soleil opened on Friday the NFL Experience Times Square, an interactive look inside football that, in the words of NFL Experience President Danny Boockvar, takes you from fan to player to champion using a combination of high-tech installations and “low-tech” displays. “It was a strategy, and that said — first of all, there’s a narrative: fan to player to champion, and I like that and I think that really serves us well,” Boockvar said. Virtual reality is deliberately left mostly out of the experience. The NFL Experience seems to be the natural extension of previous, event-based efforts to create a lasting culture around the NFL product. It also represents an opportunity for the NFL to keep fans involved throughout the year, especially from the Super Bowl to Kickoff weekend eight months later. For Dawn Hudson, the NFL’s chief marketing officer, the NFL Experience also gives the league a way to create other exhibitions around the world that further fans’ engagement with the NFL. “What it gave us a flavor for is we can build more things that give people different ways to interact with our brand — experiences, if you will…,” Hudson said in a phone interview. “The NFL’s really good about creating a calendar of events; we were really focused on, for this project and for others, how do we create things in between, other ways people can interact?” THE EXPERIENCE You begin on the fourth floor with an opportunity to take a picture on a green screen with Gatorade being poured on you as if you won the Super Bowl. From there, a video teaches the basics of football; if you’re already well-versed in the game but want to find out more about its teams and history, a number of touch screens can deliver that info. Authentic memorabilia is placed throughout the exhibition floor. For those who already know the game well, the fourth floor might take a back seat to the more interactive elements further along. But the NFL’s first truly permanent fan-centric space is likely geared more toward the American and international tourists who account for half of Times Square’s foot traffic. “You’ve got 66 million people coming in across the street, many of whom — you know, we have 100 million NFL fans, 5 percent of whom have ever been to a game,” Boockvar mentioned. “Plus all the internationals who have seen Lady Gaga at the Super Bowl or maybe they’ve had one game in London, they’re going to come in here and be like, ‘Wow, I get it, I understand what it’s like to step into the game, step into the eyes of the player.'” From the fourth floor, you enter a 180-seat 4D theater that immerses you completely in the life of an NFL player. NFL Films provided real game footage that was synced with sensory seating by D-Box to mimic the feel of a tackle; wind and falling snow; and powerful audio to nearly mimic the feel of being on the field. Boockvar, and other officials SportTechie spoke with, compared the experience to Disney World. NFL Films, 4U2C, and D-Box worked in almost perfect cohesion to ensure that the theater was ready, Boockvar explained, despite the difficulties of installing a theater and control room, and installing fiber optic cable, in an active construction zone in the heart of one of NYC’s busiest tourist spots. “It’s been a collaboration between 4U2C, which is part of Cirque du Soleil, and NFL Films, so NFL came up with the idea of the actual video itself all out of their archives, so it’s got a very realistic style,” Tim Durant, 4U2C’s (unsure of position), told SportTechie. “And then we’re a design company, through technology and video, so we helped build that into an immersive experience based on what NFL Films had.” THE INTERACTION On the third floor, you enter into an “equipment room” with a number of physical challenges calling your name. Want to assess your strength against NFL standards? Attack a blocking dummy and see if your force output is All-Pro-caliber. Been envisioning yourself as an NFL player forever? Stand in front of a screen that uses Xbox Kinect technology to detect your body and overlay your favorite team’s uniform—now you are one. Next, learn an actual play call from a hologram of Super Bowl-winning coach Jon Gruden, who explains the motions behind “Dice Right 61 Bullseye X Individual.” Then go under the hood and into the huddle to call the play and get the ball to a receiver. An embedded microphone picks up your play call and prompts you to hike the ball. Complete all three passes? You’re the starter. “The huddle-up with Gruden, where we created that custom video game, we made a purposeful choice not to do computer-generated images,” Boockvar said. “We filmed real people — tight ends and wide receivers — running Dice Right 61 Bullseye, X Individual, so then we created a video game, and you pick the tight end and wide receiver. That’s awesome. That doesn’t exist (anywhere else).” Finally, grab a football, choose your team, and again try to complete throws to your receiver under the pressure of time, much like NFL quarterbacks do when they drop back to pass. Complete even one pass, and touchdown it is. QB Challenge, as this final interactive is called, also measures your accuracy and speed using vertical and horizontal sensors that track your throw. “The technology and the interactives and all that, it’s all about supporting the storyline. So you’re a fan, you become a player, you train, you suit up, you go to the coach, the coach is going to teach you a play or two, and then you implement those plays…,” Francois Bergeron, the COO/CFO of Thinkwell, which helped design the NFL Experience, said during the tour. “Every piece of equipment is supporting that storyline.” THE CHAMPIONSHIP FEELING Descend the stairs to the next level and now you’re a Super Bowl Champion. Stand in front of a screen to see yourself in augmented reality enjoying the confetti-covered celebration. Next, examine the tickets from every Super Bowl ever played, or gaze at a real Lombardi Trophy. If you’re a Pittsburgh Steelers fan, admire all six championship rings among the 52 currently in existence. The Super Bowl display resonated deeply with a particular New York Giants wide receiver: “Brandon Marshall was here (Tuesday), and he said, ‘I’m so inspired to get back in the game,'” Boockvar said excitedly. “If this can inspire a player, it will inspire the fans to step into the shoes of the player.” “The benefit of the space like the NFL Experience Times Square versus the Super Bowl Experience is that it’s fixed, so you can put more technology into it that you couldn’t afford – it wouldn’t work to take it on the road,” Hudson said. “You also have more space limitations, so what you might do when you allow people to run the dash or try to kick a field goal, you don’t have the space for in New York. So you’ve gotta create other ways and you have to use technology to give people the sense of scale of football while being in a relatively small space.” The exhibition ends on the second floor into the souvenir shop and café, where a number of vendors offer featured items from the menus at all 32 NFL stadiums; during the season, weekly matchups determine which teams’ food — the ingredients are locally sourced from their home cities — is available. Grab a bite and look out over Times Square. Or better yet, have a seat at the bar on a Sunday, watch a game, and realize that maybe your time at the NFL Experience brought you that much closer to the action on the field. { SOURCE: SportTechie | https://goo.gl/ziiUtZ } ======================================================================= 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 21, 2018 Rosario, AR -- Feb 14, 2018 to Feb 21, 2018 Buenos Aires, AR -- Mar 15, 2018 to Apr 1, 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 Hong Kong, CN -- TBA 2018 China City #4 -- TBA 2018 China City #5 -- TBA 2018 Kurios: Vancouver, BC -- Oct 19, 2017 to Dec 31, 2017 Tokyo, JP -- Feb 7, 2018 to Jun 3, 2018 Osaka, JP -- Jul 26, 2018 to Oct 29, 2018 Nagoya, JP -- Nov 22, 2018 to Jan 27, 2019 Fukuoka, JP -- Feb 15, 2018 to Mar 31, 2018 Sendai, JP -- April 2019 Luzia: Los Angeles, CA -- Dec 8, 2017 to Feb 11, 2018 Costa Mesa, CA -- Feb 21, 2018 to Mar 25, 2018 Washington, DC -- Apr 13, 2018 to May 13, 2018 Boston, MA -- TBA 2018 Monterrey, MX -- TBA 2018 Guadalajara, MX -- TBA 2018 Mexico City, MX -- TBA 2018 Totem: Madrid, ES -- Nov 10, 2017 to Jan 14, 2018 Seville, ES -- Jan 25, 2018 to Mar 4, 2018 Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018 Malaga, ES -- Jun 1, 2018 to Jul 1, 2018 Alicante, ES -- Jul 20, 2018 to Aug 19, 2018 Zurich, CH -- Sep 5, 2018 to Oct 14, 2018 VOLTA: Miami, FL -- Dec 15, 2017 to Feb 4, 2018 Tampa, FL -- Feb 14, 2018 to Mar 4, 2018 East Rutherford, NJ -- Mar 29, 2018 to Apr 22, 2018 Uniondale, NY -- May 17, 2018 to Jun 10, 2018 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: Biloxi, MS -- Nov 29, 2017 to Dec 3, 2017 Hidalgo, TX -- Dec 6, 2017 to Dec 10, 2017 Fort Worth, TX -- Dec 13, 2017 to Dec 17, 2017 Frisco, TX - Dec 20 to Dec 23, 2017 (FINAL SHOW) TORUK - The First Flight: Bangkok, TH -- TBA 2017 Dubai, UAE -- Jan 4, 2018 to Jan 17, 2018 Cologne, DE -- Oct 25, 2018 to Oct 28, 2018 Hamburg, DE -- Oct 31, 2018 to Nov 4, 2018 Berlin, DE -- Nov 7, 2018 to Nov 11, 2018 Frankfurt, DE -- Nov 28, 2018 to Dec 2, 2018 Zagreb, Croatia -- Dec 7, 2018 to Dec 9, 2018 China -- TBA 2018 OVO: Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017 Munich, DE -- Dec 13, 2017 to Dec 17, 2017 London, UK -- Jan 7, 2018 to Mar 4, 2018 Hanover, DE -- Mar 14, 2018 to Mar 18, 2018 Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018 Krakow, PL -- Apr 13, 2018 to Apr 15, 2018 Gdansk, PL -- Apr 19, 2018 to Apr 22, 2018 Saint Petersburg, RU -- Apr 28, 2018 to May 5, 2018 Moscow, RU -- May 8, 2018 to May 20, 2018 Kazan, RU -- May 23, 2018 to May 27, 2018 Tolyatti, RU -- May 30, 2018 to Jun 3, 2018 Sochi, RU -- Jul 10, 2018 to Jul 29, 2018 Lille, FR -- Nov 8, 2018 to Nov 11, 2018 Bordeaux, FR -- Nov 14, 2018 to Nov 18, 2018 Toulouse, FR -- Nov 21, 2018 to Nov 25, 2018 Montpellier, FR -- Nov 28, 2018 to Dec 2, 2018 Strasbourg, FR -- Dec 5, 2018 to Dec 9, 2018 Nantes, FR -- Dec 12, 2018 to Dec 16, 2018 SÉPTIMO DÍA – NO DESCANSARÉ: Mexico City, MX -- Nov 28, 2017 to Dec 23, 2017 Panama City, PA -- Jan 23, 2018 to Jan 28, 2018 San Jose, CR -- Feb 14, 2018 to Feb 25, 2018 Guatemala City, GT -- Mar 10, 2018 to Mar 18, 2018 Coral Gables, FL (Miami) -- April 2018 Inglewood, CA (Los Angeles) -- May 2018 Asuncion, PY -- June 2018 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 Rio Rancho, NM -- Feb 7, 2018 to Feb 11, 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 Portland, OR -- Apr 4, 2018 to Apr 8, 2018 Abbotsford, BC -- Apr 11, 2018 to Apr 15, 2018 Penticton, BC -- Apr 18, 2018 to Apr 22, 2018 Prince George, BC -- Apr 25, 2018 to Apr 29, 2018 Red Deer, AB -- May 2, 2018 to May 6, 2018 Saskatoon, SK -- May 16, 2018 to May 20, 2018 Medicine Hat, AB -- May 23, 2018 to May 27, 2018 CORTEO: New Orleans, LA -- Mar 2, 2018 to Mar 4, 2018 Houston, TX -- Mar 8, 2018 to Mar 11, 2018 Milwaukee, WI -- Mar 29, 2018 to Apr 1, 2018 Rockford, IL -- Apr 5, 2018 to Apr 8, 2018 Columbus, OH -- Apr 12, 2018 to Apr 15, 2018 Knoxville, TN -- Apr 19, 2018 to Apr 22, 2018 Lexington, KY -- Apr 27, 2018 to Apr 29, 2018 Cincinnati, OH -- May 3, 2018 to May 6, 2018 Chattanooga, TN -- May 10, 2018 to May 13, 2018 Lincoln, NE -- May 17, 2018 to May 20, 2018 Oshawn, ON -- Jun 21, 2018 to Jun 24, 2018 Ottawa, ON -- Jun 27, 2018 to Jul 1, 2018 Kingston, ON -- Jul 4, 2018 to Jul 8, 2018 Saint Catharines, ON -- Jul 11, 2018 to Jul 15, 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 Special Performance Dates: o Fri, Dec 29, 2017 o Sun, Dec 31, 2017 | 4:30pm & 7:00pm 2017 Single Performance Dates: 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 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 9 - TORUK-THE FIRST FLIGHT {Nov.03} Cirque du Soleil in a stunning new light inspired by James Cameron's Avatar, Cirque du Soleil transports you to the world of Pandora in a visually stunning live setting. Experience a storytelling odyssey through a new world of imagination, discovery and possibility. LINK /// < https://youtu.be/89SKQEnvTOU > o) EPISODE 10 - KURIOS {Nov.10} Head behind the scenes and step into the curio cabinet of an ambitious inventor who defies the laws of time, space and dimension in order to reinvent everything around him. Suddenly, the visible becomes invisible, perspectives are transformed, and the world is literally turned upside down. LINK /// < https://youtu.be/Vb-cgr0zZY4 > o) EPISODE 11 - VOLTA {Nov.17} VOLTA tells a spellbinding story about the freedom to choose and the thrill of blazing your own trail. Inspired in part by the adventurous spirit that fuels the culture of action sports, the show weaves acrobatics in a visually striking world driven by a stirring melodic score. VOLTA is a story of transformation. It is about being true to oneself, fulfilling one’s true potential, and the power of the group to make that possible. It celebrates freedom as a movement. LINK /// < https://youtu.be/MHF11DNuWfY > o) EPISODE 12 - CORTEO {Dec.01} Get carried away with life. The clown Mauro has passed, but his spirit is still with us. Instead of mourning, the funeral cortege celebrates the here and hereafter with laughter and exuberance. Rich, extravagant memories frolic with the senses. The sound of laughter peals around the stage, visions of joyous tumblers and players fascinate the eyes. Regret and melancholy retreat in the face of a cavalcade of lively recollections of a life gloriously lived. A festive parade that entertains; the perfect accolade for an artist whose life was dedicated to revelry and making merry. LINK /// < https://youtu.be/BQZBDkzDnEw > *) GLIDING HIGHER: THE MAKING OF CRYSTAL Gliding Higher is Cirque du Soleil's weekly backstage behind the scenes look at their NEWEST show CRYSTAL! Discover a world of ice, figure skating, and of course Cirque du Soleil. o) EPISODE 1 - The Big Idea {Nov.15} LINK /// < https://youtu.be/UgtnAJ6iL4g > o) EPISODE 2 - The Creation {Nov.22} LINK /// < https://youtu.be/CTzvThN2a9E > o) EPISODE 3 - The Artists {Nov.29} LINK /// < https://youtu.be/_oeSS7YFRiI > *) SEPTIMO DIA - BEHIND THE SCENES Take a behind the scenes look at one of the top Cirque du Soleil shows: Soda Stereo SEP7IMO DIA - No Descansaré. SEP7IMO DIA – NO DESCANSARÉ blends the wonder of Cirque du Soleil with the explosive pop-rock energy of Soda Stereo – Argentina’s musical icons – to immerse spectators in the band’s symbolism and poetry. In a breathtaking display of Cirque du Soleil’s signature artistry and physicality, SEP7IMO DIA conjures a world outside of time – a place where emotions ebb and flow like the tide, pulsing to the rhythm of the band’s emblematic songs. o) EPISODE 1 - How do you even train top Athletes? {Oct.15} Behind the scenes with Coach Igor Arefiev LINK /// < https://youtu.be/qLHpFHzUsEo > o) EPISODE 2 - The Automation and Machinery {Oct.22} How does a show with so many high flying stunts run? With a world-class Automation Department of course! Watch to learn more about how this master team keeps our Cirque performers rockin'! LINK /// < https://youtu.be/uGyg-s2p4LQ > o) EPISODE 3 - Master Gymnastics Tumbler {Oct.29} Learn more about Kasper in this behind the scenes feature of Gymnastic Tumbling master Kasper. LINK /// < https://youtu.be/yTHk3Go3vqo > o) EPISODE 4 - Can You Play Guitar Underwater? {Nov.05} Learn about apnea specialist and Cirque du Soleil artist Derek Broussard's experience on Sep7imo Dia! LINK /// < https://youtu.be/5wVX5bFSf2Q > o) EPISODE 5 - How does her hair NOT break?! {Nov.12} Learn about hair handing Cirque du Soleil artist Zendra Tabasco's experience on Sep7imo Dia! LINK /// < https://youtu.be/pWcvNfQ7Y8A > o) EPISODE 6 - The Biggest Wheel in the Circus! {Nov.26} On this episode of our series, learn about Cirque du Soleil Big Wheel Artist Aleksandr Lytvyshchenko. The Ukrainian Russian that performs in Argentina for a Montreal circus company! How's that for world wide? LINK /// < https://youtu.be/UIsyxdqCczQ > o) EPISODE 7 - The Beauty of a Male Performer {Dec.03} On this behind-the-scenes episode of the Sep7imo Dia series, we take a closer look at one of the artists, Saulo Sarmiento, the Spanish 29-year-old, aerial acrobat and male aerial pole dancer. LINK /// < https://youtu.be/bpaiLM4R-uc > *) OTHER CIRQUE WEBSERIES o) CIRQUE STORIES: EPISODE 5 - WHO IS BRIAN DEWHURST {Oct.26} Who is Brian Dewhurst? Only a legend in the Cirque Community. He is currently the oldest Cirque du Soleil Performer as the clown in Mystère. Bryan has performed in many other shows, as well has continued his family legacy with many relatives performing in Cirque as well! Listen to his wise and historical story in this week's episode of Cirque Stories. LINK /// < https://youtu.be/5JA36IhjSh0 > o) CARVING CRYSTAL: EPISODE 4 {Nov.02} See how CRYSTAL fuses groundbreaking circus arts with exceptional ice skating in the latest and final episode of Carving Crystal. Stay tuned for more exciting behind the scenes action coming soon! LINK /// < https://goo.gl/5wNmtM > o) MAKEUP SHOWDOWN: EPISODE 5 {Nov.27} In this new episode of Makeup Showdown, MAC Cosmetics & Cirque du Soleil's Makeup artists' skills are being tested in a face-off challenge. Who will have what it takes to defy imagination and create the most innovative designs in make-up artistry? LINK /// < https://youtu.be/gpqcCTi7nKo > *) MUSIC VIDEO w/LYRICS o) SEPTIMO DIA - "De Musica Ligera" {Nov.07} Ella durmió al calor de las masas Y yo desperté queriendo soñarla Algún tiempo atrás pensé en escribirle Y nunca sortié las trampas del amor De aquel amor de música ligera Nada nos libra, nada mas queda No le enviaré cenizas de rosas Ni pienso evitar un roce secreto De aquel amor de música ligera Nada nos libra, nada más queda De aquel amor de música ligera Nada nos libra, nada más queda Nada más queda Nada más queda Nada más queda LINK /// < https://youtu.be/DbDS6OnPXCE > o) VAREKAI - "Patzivota" {Nov.14} Sinè moï Patzivota Skritiya ù tébè tjar Sinè moï Sinè moï spurting power, spurting power Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon Lépendahar Smiza haldouk Bezmi harten Nezpré tanno Vekna bodi Nètlenenn smi dourkinen, dourkinen Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon lépen Y vélékon Lépendahar Smiza haldourken (x 2) Smiza haldouk Bezmi harten (x 2) Nezpré tanno Vekna bodi Nètlenenn smi dourkinen Nezpré tanno Vekna bodi Nètlenenn smi dourkinen Nezpré, nezpré, nezpré Tanno, tanno Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon Lépendahar Smiza haldourken Dourken, dourken Y vélékon lépendahar (x 2) Dahar smiza haldourken Smizel dahar Smizel, smizel dahar Dourken smiza Haldouk Bizmé harten Nezpré tanno Vekna bodi Nètlenenn Smisé léhanda Hundahé Smismala hundé (x 2) Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon lépen dahar Y vélékon Lépendahar Y vélékon lé Y vélékon lépen dahar, dahar Smiza haldourken (x 2) Bezmi harten Nezpré tanno Vekna bodi Nètlenenn Smi, smi, smidourkinen Dourkinen Sinè moï Sinè moï Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon Lépendahar Smiza haldouk Bezmi harten Nezpré tanno Vekna bodi Nètlenenn smi dourkinen, dourkinen Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon Lépendahar Smiza haldouk Bezmi harten Nezpré tanno Vekna bodi Nètlenenn smi dourkinen Nezpré tanno Vekna bodi Nètlenenn smi dourkinen Sinè moï Patzivota Skritiya ù tébè tjar Y vélékon Lépendahar Smiza haldouk Bezmi harten Nezpré tanno Vekna bodi Nètlenenn smi dourkinen LINK /// < https://youtu.be/090YgAHmzU4 > o) O - "Tzelma" {Nov.28} Ma ya ke dé-é bella ka ka la ere son deso nadosé Ma ya ke dé-é bella ka ka la ere son deso nadosé Ma ya ke dé-é bella ka ka la ere eso nadosé (x4) LINK /// < https://youtu.be/olQHVtuBBFc > o) LA NOUBA - "Once Upon a Time" {Dec.05} Once upon a time began a tale, said the story teller... Stories hold our laughter and tears, in a corner of our mind... Sung: Der zeit der zeit ist nicht gekommen Der zeit der zeit oh Die rad der zeit die bruder haben Ist nicht gemacht für im Es ist nicht gemacht für im Es ist nicht gemacht für die kinder Es ist sehr gefärlig Ah, Ahhhhh Gefärlig Warum weifs ich nicht Ah Aber weiss ich nicht Spieelen, spielen mït der rad Aber nicht mit mir ======================================================================= FASCINATION! FEATURES ======================================================================= o) "CIRQUE DU SOLEIL REBRANDS: The New Le Groupe du Soleil?" By: Ricky Russo - Atlanta, Georgia (USA) o) THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 2 of 3: "Sweet, Savory, and Surreal" Edited by: Ricky Russo - Atlanta, Georgia (USA) o) "We're Off and Running - A Series of Classic Critiques" Part 7 of 16: Saltimbanco, Part 2 (1993) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "CIRQUE DU SOLEIL REBRANDS: The New Le Groupe du Soleil? Edited by: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- On November 21, 2017, in a video posted across its social media footprint, Cirque du Soleil shocked the fan community with a re- branding announcement that would, in their own words, take the company into the future of entertainment. Originally composed of 20 street performers in 1984, Cirque du Soleil completely reinvented circus arts and went on to become a world leader in live entertainment. Today, on top of producing world-renowned shows, Cirque du Soleil extends its creative approach to a large variety of entertainment forms, such as multimedia productions, immersive experiences, theme parks, and special events. With this ever-evolving self-reinvention, Cirque du Soleil needed a new identity - and a new name - one that would embrace and respect their heritage while at the same time evolve with the company's new mission. Thus two new distinct logos were released as part of this announcement: a modified sunburst for the CIRQUE DU SOLEIL ENTERTAINMENT GROUP (the new umbrella company), and a roundel featuring the Cirque Sun-face motif in its center, labeled CIRQUE DU SOLEIL (the circus arts brand). A bombshell. Cirque du Soleil’s original logo was created in 1984, by Josée Bélanger (a stiltwaker who, along with Gilles Ste-Croix, Serge Roy, Carmen Ruest, and Guy Laliberte, founded the non-profit Club des talons hauts to promote stilt-walking events in Quebec, the forerunner to Cirque du Soleil), and is based on a tarot card representing the sun. The sun as a symbol is important because it embodies youth, energy, and dynamism - like Cirque du Soleil itself. Up until now the logo had evolved only slightly since its debut - from a multi-color tarot-inspired painting to the sun-burst we've known these 25-plus years (colored either blue or gold) - with only one other change of note: the extension of the Q's tail under the U in CIRQUE DU SOLEIL in mid-2006. These icons will join the other subsidiaries of the new Cirque du Soleil, some of which you probably already know, like 45 DEGREES (so named after Montreal's latitude) and BLUE MAN GROUP (which Cirque purchased 4 months ago). But there are a few subsidiaries (and partnerships) listed that haven't received as much attention in the past, and therefore, may be less familiar to fans - 4U2C, EGB, and OUTBOX. Who or what are these all about? WHAT IS 4U2C? ------------- Founded in 2013 by Cirque alums Yves Aucoin and Stéphane Mongeau, 4U2C specializes in creating and producing video, scenographic design, and any form of multimedia experience for the entertainment industry. Combining scenography, lighting, video, and 3D effects/mapping, the company's modus operandi is to bring visual environments to life. The company's in-house studio offers everything needed to create engaging imagery, including concept research and storyboarding, HD filming and editing, 2D and 3D animation, motion design, special effects, green- screen shooting, compositing and post-production. Since its debut, 4U2C has developed more than 100 projects for sporting events and festivals such as... 185 Bravos (February 2014) -- Along with the 40th of the Jean-Duceppe theatre company, the 50th of the Place des Arts, and the 80th of the Montreal Symphonic Orchestra, 4U2C was commissioned to direct an epic outdoor sound and light show that celebrated the 15th anniversary of the winter festival Montréal en Lumière. In short, it was a giant 185 candles blowout for some of the pillars of Montreal’s cultural community, one that lit up the sky and literally engulfed the awestruck crowd. 4U2C masterfully orchestrated a multidisciplinary team of collaborators in the combined production of original music, large-scale architectural projections and fireworks displays. Veracruz Games (Opening Ceremony 2014) -- 4U2C shined on international shores when they company produced the visual media content for the Opening Ceremony of the Central American and Caribbean Games. 4U2C took the 30,000 spectators on a breathtaking journey from the mystical galaxy to the majestic Tajin pyramid through traditional Mexican dances and celebratory sport rituals. Under the artistic direction of ANIMA Inc., 4U2C brought the three-tiered stage to life with a vibrant combination of mapped 3D animation, illusion effects and live shot footage. Researched, storyboarded, designed and produce over 120 minutes of video content for the ceremony while providing efficient on-site collaboration with the multidisciplinary team to ensure that our projection mapping integrated beautifully with the lighting, stage design and live performances. Celine Dion (2013) -- When internationally acclaimed artist Céline Dion made special appearances in Quebec and Europe, 4U2C was there to create the lighting and stage design. Using a combination of animation, graphic design, recorded footage and real time shots of the singer, 4U2C filled giant screens across the immense Plains of Abraham in Quebec City for 40,000 patrons, and then tailored the production design for two new venues in Belgium and Paris. Igloofest (2014 & 2015) -- Igloofest attracts thousands of electronic music enthusiasts to the Old Port of Montreal in the dead of winter with its igloo village, its urban vibe, its program of the best in local and international DJs and its powerful architectural projections. 4U2C was there to prove that even in deep-freeze temperatures they can turn up the heat with their dramatic and vibrant lighting and projection scenography. In 2014, 4U2C designed and built one of the performance spaces. The organizers loved it so much that in 2015 they asked the company to create the entire lighting design for Igloofest, including two stage areas, public spaces, architectural projection systems and show ambiance lighting. Summer Festivals -- 4U2C collaborated on the stage conception and produced the lighting design as well as custom video content for Osheaga, Heavy MTL and Ile Soniq, all large-scale, outdoor events catering to tens of thousands of spectators. In collaboration with Evenko, 4U2C developed a unique turnkey production approach comprising multiple stages hosting simultaneous performances, unexpected gathering spaces, art installations, and other facilities. From heavy metal in the park to techno under the sun, from art direction to lighting, and site design to VJing, 4U2C does it all. Sporting Events -- When the legendary Montréal Canadiens hockey franchise asked 4U2C to produce their 2014 playoff pregame show, they were thrilled. The show turned into such a viral sensation that the Canadiens asked the company to up the ante in 2015. The success attracted other sports teams in hockey and basketball, including Toronto’s Maple Leafs and Raptors. 4U2C's unparalleled projection and mapping solution for ice rinks and large arena surfaces gave the original multimedia content unmatched resolution and puts us one step ahead of the competition. In fact, 4U2C collaborated with Cirque du Soleil on TORUK-The First Flight and has worked with 45 DEGREES on many of their special events and projections over the years. The subsidiary's website is currently under re-construction, but keep a weather eye on http://www.4u2c.com for future developments! (And yes, you do pronounce it: for you to see!) WHO IS EBG? ----------- Established in 2001, Entertainment Benefits Group (EBG) today is one of the largest privately held travel and entertainment providers in the United States. Headquartered in Miami, with offices in Orlando, New York and Las Vegas, the company operates a network of consumer and Business-to-Business (B2B) businesses that reach over 60 million users and sell more than 6 million admission tickets annually. Its Corporate Programs Division, made up of TicketsatWork, Plum Benefits and Working Advantage, is the largest, most comprehensive corporate travel and entertainment benefits program in the country – serving 40,000 corporate clients and 50 million employees. EBG has a proven track record of establishing successful and innovative website portals and partnerships. Owning 100 percent of its technology, EBG has developed a customized point-of-sale ticketing and administration system that supports a continuously growing infrastructure. EBG also operates consumer sites, including Showtickets.com, BestofOrlando.com and BestofVegas.com, over 45 retail locations in Las Vegas, Member Deals and the largest Premier Ticket and Operations Center in Orlando – located minutes away from the Walt Disney World Resort and Universal Orlando Resort. “I was thrilled for Cirque to partner with EBG after meeting Brett and learning about the company’s early proven success in the Orlando market,” said Cirque du Soleil president and CEO Daniel Lamarre. “EBG accounts for a significant amount of ticket sales across Cirque’s domestic productions, and they enhance our efforts in selling tickets, with their corporate program becoming an extension of our own team.” In 2010, Cirque du Soleil partnered with EBG to launch the exclusive "Cirque Insider Access" backstage experiences at THE BEATLES LOVE and "O" (which were later expanded to also include KA). Packages included an exclusive and intimate backstage tour of the show, received a special Insider Access VIP lanyard, plus a special limited edition bag with Cirque du Soleil merchandise items. Most importantly, guests enjoyed the show from special reserved seating from the best seats in the theaters and enjoyed front of line concession passes. (Read more about these experiences here: http://www.cirquefascination.com/?p=6635). And in 2011, the two companies partnered to launch the "Cirque du Soleil Gift Card", applicable towards Cirque du Soleil show tickets. We reviewed the product at the time (http://www.cirquefascination.com/ ?p=2999); you can still purchase the Cirque gift card here should you be interested: < https://www.cirquedusoleil.com/gift-cards >. WHAT IS OUTBOX? --------------- Outbox AXS was founded in 2011 by concert promotion giant AEG, Cirque du Soleil, and industry veteran Jean-Francoys Brousseau as a rival to Ticketmaster. Outbox offers a strong ticket selling tool in some 20 countries and in 10 different languages using signature interactive seat maps, 3D customized venue plans and one page checkout. Outbox leverages its know-how to find customized, innovative and relevant ways to help its clients better sellout seats. Clients are typically major live event global venues or international promoters looking for integrated, specialized solutions. Outbox helps manage ticket window sales, call center service, group sales, season tickets and special events. Partners using the Outbox Platform for their ticketing needs are: Cirque du Soleil, Evenko, Montreal Canadiens, Juste pour rire (Just for Laughs), Amphithéâtre Cogeco, Vidanta, Centre Bell, Treasure Island Las Vegas, Osheaga Music and Arts Festival, HEAVY Montreal, AXS, MARVEL Avengers S.T.A.T.I.O.N, SISMYK, QuébéComm, and more. Get more information about OUTBOX at their website: < http://www.outbox.com/ >. LE GROUPE DU SOLEIL? -------------------- It might surprise some of you to know that this new grouping isn't really all that new. Back in the late 1980's, Cirque du Soleil organized its various divisions and subsidiaries under a similar moniker - LE GROUPE DU SOLEIL. Names and labels like "Créations Méandres", "Tous Azimuts", "Télémagik", and "Enterprises Nâga" were prominent on various Cirque du Soleil programmes, videos, CDs, and other merchandise world-wide when Cirque du Soleil had just found its footing. But having seen one of these names one might ask: how did they fit into the overall corporate picture of a young Cirque du Soleil? "Le Groupe du Soleil" was and in many cases still is an interesting piece of Cirque's corporate puzzle from the very beginning of this enigmatic troupe. For example, from its initial creation through to 1989, Le Cirque du Soleil was produced by "Club des Talons Hauts, Inc.," the same group Cirque was born from. In that instance Cirque du Soleil was produced by that entity. But later that same year (August 1989), the last year the creators had given themselves to firmly establish their art, Cirque du Soleil as a Company changed and morphed into "Le Groupe du Soleil", completely shedding their "High-Heals Club" roots. Under the guidance of Daniel Gauthier (a one-time Cirque Treasurer, President and founding member), this moniker encompassed many of the derived companies that sprang up in support of the artists and their product at the time. Many you'll recognize; many are still around today (albeit under different names and in different forms)... o) Le Cirque du Soleil Productions -- Spark. This is the starting point; "the locomotive; the raison d'être". This part of the Groupe specialized in mounting tours, staffing its workshops and studios, and managing its vehicle fleet and specialized equipment. o) Créations Méandres -- Creativity. This division managed the authors’ rights and copyrights, and took charge of recruitment and training of artists, and was responsible for publishing the music for the shows. This division was also known as Les Productions Méandres Inc. The musical publication part became CIRQUE DU SOLEIL MUSIQUE in 2004. o) Tous Azimuts Enterprises -- Investment. Tous Azimuts was an investment company handling the creation and development of other related companies for Cirque du Soleil. Tous Azimuts was also responsible for the marketing and publishing of CDs, programmes, T- shirts, and other products bearing the Cirque du Soleil logo and likeness. o) Télémagik -- Filmworks. This division was formed early on and released the original 90-minute version of "Le Magie Continue", as well as "Le Cirque Réinventé", "Nouvelle Expérience", "Saltimbanco", and the documentaries "Quel Cirque!", "Saltimbano's Diary", "Alegría: The Truth of Illusion" and "Full Circle: The Making of Quidam". Télémagik was renamed CIRQUE DU SOLEIL IMAGES in May 1997 to better brand the multimedia company with its parent, and the division has gone on to release a plethora of other shows and documentaries by Cirque du Soleil. o) Enterprises Nâga -- Services. This division provided a range of services from snack-bars to the creation, production, distribution, and management of Cirque du Soleil's promotional products. Enterprises Nâga released the CD and Vinyl editions of "Cirque du Soleil", the original 1987 tour music. o) Admission/Microflex -- Tickets. This company was started with the assistance of Cirque du Soleil to distribute tickets for its shows as well as other cultural and sporting events throughout Quebec. Together with Microflex, a software company that specialized in computerized ticketing, it became the largest ticket-sales network in the province and later grew to encompass events throughout Canada and the United States. TicketMaster acquired Admission / Microflex in 2000; today this part of Cirque du Soleil is served by OUTBOX, as noted above. * * * What's past is prologue. In either case, going beyond its various creations, the new CIRQUE DU SOLEIL ENTERTAINMENT GROUP aims to make a positive impact on people, communities, and the planet with its most important tools: creativity and art. With a new name and a new attitude, the company seems to feel it is now in the right position to capitalize on its talents to fuel its future endeavors. Change is definitely afoot and it'll be fascinating to see where Cirque du Soleil is as a company in the coming years. Meanwhile, keep up with the CIRQUE DU SOLEIL ENTERTAINMENT GROUP through their new website: < http://www.cdsentertainmentgroup.com >. ------------------------------------------------------------ THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO Part 3 of 3: "SWEET, SAVORY, AND SURREAL" Edited by: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- As you've turned the pages of this article series, you've been given a glimpse into the reasons why Iván Chávez, Executive Vice President of Grupo Vidanta, sees JOYÀ as "a gift for Mexico, for Riviera Maya, for Vidanta, and for all of us." He continues to say: "The theater is a work of art and a marvel of architecture. The grounds are a testament to the beauty of the Mayan jungle and to the power of preservation. The dinner is truly spectacular, as creative as the show itself. The show brings smiles, laughter, and gasps of delight every night. The story is steeped in the rich history of Mexico and its many cultures. JOYÀ is more far more than just a show - it's an enchanting night full of new sights, sounds, flavors, and memories. We are so proud to work with the hundreds of performers, artisans, designers, chefs, servers, and crew who come together to make JOYÀ possible. They are an incredible team." Indeed they are. And in this final installment - "INNOVATOR PROFILES" - we'll meet some of those incredible team members. ----------------------------- THE BOOK OF JOYÀ, PART THREE: "INNOVATOR PROFILES" ----------------------------- "The reason we are working with Vidanta is because they share the same values as Cirque du Soleil, which is first and foremost creativity." - Daniel Lamarre, CEO of Cirque du Soleil RICHARD DAGENAIS, Director of Creation "Our goal in creating JOYÀ was to tell a story completely inspired by the energy of Mexico. Without using clichés and stereotypes, every scene had to have its seed in the history, culture, or values of Mexico. My role as Director of Creation was to assemble and support a team of creators who understood this mandate and who could deliver an experience that would create long-lasting memories in the minds of the audience. With JOYÀ, we wanted to show audiences a side of this beautiful and rich country, its humanity, and the care it shows future generations. JOYÀ is more than a show, it is a rare voyage into the heart of a culture hungry to learn and to pass on life’s secrets.” MARTIN GENEST, Stage Director “When I have the opportunity to create a show with people from a culture other than mine, I always try to find what unites me with them. This is what has touched me and inspired me to create JOYÀ. Since the beginning of time, every spring, monarch butterflies leave the volcanic peaks of Mexico and fly for months to Canada where they lay their eggs. Small and fragile, they take turns from generation to generation, between our two countries, to complete the annual cycle that ensures the continuity of their species. I invite you to discover the stupendous history of Mr. Zelig and of JOYÀ. To experience a playful and exciting adventure, where the love for life is passed from one generation to another, like the instinct that guides the monarch butterflies on their great journey.” JAMES LAVOIE, Costume Designer “The process of designing and creating the costumes for JOYÀ was as dynamic and exciting as the show is to watch. I spent six months researching, sketching, and collaborating with the rest of the creative team. When then worked at the Cirque du Soleil costume shop in Montreal for six weeks, exploring different techniques, designing custom fabric prints, and, of course, sewing and cutting. Then in Mexico, we spent two months with 10 Cirque du Soleil costume makers, as well as several local tailors, to create all of the costumes for the premiere. Finally, after almost nine months of preparation, filled with many ups and downs, from the snow of Montreal to the beaches of Riviera Maya, we opened. I remember a mix of emotions, but mostly pride, wonder, and joy.” (Some of the masks worn by Zelig’s masters have over 10,000 beads and jewels, each one glued by hand. It took over five months to create them.) NATHALIE GAGNE, Makeup Designer “For JOYÀ, we used a lot of a white in the makeup concepts. I wanted to bring out the purity and light in the story. The two main characters, Zelig and JOYÀ, are albinos. This is their family link – they are beings of the light. The Masters, underneath their animal masks, wear white makeup with lines to represent their animal family. This was done in a simple and graphic manner like a child’s drawings, as if JOYÀ had drawn them in her notebook. For some actors, I applied special Swarovski crystals to their faces to capture the light and enhance their look. After more than six months of preparation, we saw all the elements come together on opening night – artists in makeup and costumes, the lighting, dancing, and performances. We all, with tears in our eyes, felt an incredible sense of satisfaction from all the hard work.” JEAN LAURIN, Lighting Designer “The inspiration for the lighting design of JOYÀ costumes from the surroundings of the Theater and old European museums (for Zelig’s Naturalium). From our first site visit to Mexico, we could feel something special that was deeply linked to the story for the show. The nature, the ocean, and the sky were all references that I used to create different visual looks. JOYÀ’s lighting design is complex because it must work on many levels – the action happens on stage, but also in the air, on the mezzanine level, and in the audience. I wanted to highlight the performances while keeping the atmosphere of each scene bold and unique. With that in mind, I was able to evoke new feelings, create a sense of time and place, and change the ambiance for each specific act.” GUILLAIME LORD, Set Designer “Inspiration for the JOYÀ set came from many places, but nature was the main source for our style. The backbone for designing the space was to create a seamless link between the Theater and the set. Martin Genest came up with the general story, and together we sketched different environments that would enhance the situations the characters would go through. Lots of ideas and design options later, in collaboration with the technical team, the sketches became drawings, and then they became set elements. After lots of sweaty days in Mexico building the set, I was happy that we were ready for the premiere. A lot of time and energy went into JOYÀ, and being a creative on a show of this magnitude was, for me, a life-changing experience.” PIERRE MASSE, Acrobatic Equipment and Rigging “Our biggest influence was the wonderful storyboard created by Stage Director Martin Genest. We were also very influenced by the beautiful nature, history, architecture, and people of Mexico. My main duty was to make the storyline come alive, acrobatically and technically. We designed the acrobatic elements to fit each scene and to meet the needs of our incredibly talented performers. From the first sketch and the drafting of construction plans, to the fabrication and validation, it sometimes took three months to design each act. Opening night was a mixture of both excitement and nervousness. For me, the end of a creation is always a moment of satisfaction and accomplishment. But, above all, it was a great opportunity to meet wonderful people and be able to call them friends.” PHILIPPE AUBERTIN, Acrobatic Performance Designer “When our job is done on a creation like JOYÀ, there is always a mix of feelings, like nostalgia and happiness. During the premiere, I remembered all the stages of development we went through for each act, like a movie played fast forward. I was sad that it was over, but I was extremely proud that my friends were going to carry on and spread more joy to our audiences. My goal is always to make a show that will inspire the audience for a long time after their journey to our special universe comes to a close.” JULIE MEASROACH, Prop Designer “Designing and building props for JOYÀ was a unique experience for me, because I had to make them be magic, somehow alive. For my research, I found inspiration from old alchemist books and the fascinating sketches of botanists, entomologists, or inventors from a few centuries ago. Their vision of nature often portrayed the world more like a large delirious dream than true reality. It was then our turn to find solutions, like how to give a giant book an illuminated heart, giving life to captured larvae in a jar, and how to fill this great library with curious objects that may or may not be alive. Aesthetically, JOYÀ has been a fantastic universe to explore, opening up an infinite world of possibilities to its creators, as nature often does with the truth.” ANDRE MORENCY, Script Writer “When I was a child, my father would travel to the four corners of the world for his work. His returns were always a celebration. Around the dinner table, he would tell us about his encounters and exploits, and it would fill our dreams with faraway travels and adventures. He would take out his notebook and pencils, and then he would illustrate his stories on these large sheets of paper – the wind would swell the sail of a ship; horses would gallop on the edge of a fjord; a smiling farmer welcomed you while raising his glass of gin. For JOYÀ, it is my father who inspired me: a storyteller who, while never imposing it, conveyed a passion to me what I am passing on to my children without even realizing it – the passion to tell a good story!” HAROLD RHEAUME, Choreographer “As a contemporary dance choreographer, I found JOYÀ to be across the board a unique a unforgettable artistic and human experience. I had the privilege to work with an experienced artistic team. I also worked closely with the Cirque du Soleil artists to refine their acts. JOYÀ was challenging for me because I had to understand the acts of the show, as well as the technical and executional challenges, in order to create cohesive movements. The night of the premiere, a great sense of accomplishment and pride came over me. The success of JOYÀ was a testimony to the collaborative effort between the artistic, technical, and production teams. The sad part in all of this was that I had to leave such a beautiful place and the JOYÀ team that is filled with such talented, professional, and generous people.” JOEL BERGERON, Show Director “The making of JOYÀ was a completely unique experience. We combined a cast and crew from all over the world and created an unforgettable experience. That is what normal Cirque du Soleil shows do, have performers from all over the world, but JOYÀ is different. The Theater, the dinner, the whole area is unique for a Cirque du Soleil show. And all of the bar, kitchen, and waitstaff are from Mexico. They are a part of the experience just like the performers and crew. For me, JOYÀ is a constant learning experience just like the theme of the show. I love working with people from different places and different backgrounds. JOYÀ is very special because we offer the audience, if only for a little while, the opportunity to dream, to escape to another world.” JACQUES BOUCHER, Sound Designer “JOYÀ is a fantasy-based story, which I love, so I tried to make the sound design compliment it. In my field, the challenges are many – how to create the sound system design, integrate it, mix the music, and produce all relevant sound effects. You have to then balance all these in harmony with the staging. One of my favorite moments of JOYÀ is when the skeleton pirates collapse at the end of their choreography. I used zombie and bone sounds to add more humor. Of course, I was very proud of our collective effort for the premiere. I knew that the audience would be pleased and would have a good time attending the show. One of the best parts of my stay in Riviera Maya was the kindness of the Mexican people. I will never forget that.” MARC LESSARD and GUY DUBUC, Composers “What a blessing it was to work on JOYÀ! During the creation process, our first goal was to compose music inspired by the Mexican culture that would sustain the script and the acrobatic numbers with an original cinematographic approach. As for the final result, the music of JOYÀ is a subtle mix of classic sounds intertwined with contemporary effects, with a touch of Mayan percussion, mariachi, and Mexican jazz. Sometimes festive and danceable, sometimes melodic and warm, we wanted to create a trip for audiences into a musical environment with many feelings.” IRINA NAUMENKO, Hand Balancer & Contortionist One of the most talked about moments of JOYÀ is when Irina Naumenko descends from the sky and puts on a thrilling display of hand- balancing and contortion. From a small town in Russia called Marks, Irina joined the Russian State Circus Company at age 18 and has been performing for over 21 years. The small size of the Theater demands that the performers work very closely with the audience – Irina’s scene takes place directly on top of a table where VIP guests sit and enjoy dinner. “There is no room for errors, so I have to keep an eye on glasses and plates so I don’t accidentally touch them,” she says. Before joining the cast of JOYÀ, Irina spent 10 years touring with the Cirque du Soleil show Varekai, where she was the lead female character. SOPHIE GUAY, Previous Vocalist One of the standouts of the JOYÀ performance is the incredibly talented Sophie Guay, an accomplished vocalist from Lac-St-Jean, in Quebec, Canada. She comes to JOYÀ from Corteo, a Cirque du Soleil show she joined in 2011. To prepare for JOYÀ, Sophie spent five weeks training with vocal coaches to build the endurance to perform 10 shows per week. She also had to overcome the challenge of singing while in a harness floating above the audience. She says the voice is a fragile instrument and takes good care of hers by drinking lots of tea and water, and always spends 30 minutes warming her voice up before each show. Of her experience with Cirque du Soleil, Sophie says, “Working with Cirque du Soleil, you get to travel the world, meet new people, experience other cultures, and learn new languages and traditions. It’s a dream to do all of this while doing what you love.” BRYDEN BAIRD, Trumpeter Before becoming the much-adored trumpeter of JOYÀ, Bryden Baird trained as a classical jazz musician in Toronto, Canada, and traveled around the world as a background musician for various artists. Bryden enjoys performing the JOYÀ score, because he believes it does an amazing job of complementing the action without upstaging the performance. And even though JOYÀ is the first time he’s had to play 5-10 shows per week – a very demanding schedule for a musician – he loves working with the international cast and crew to make JOYÀ possible. His inspiration comes from seeing other musicians truly playing from the soul, which is something he tries to do each night. Bryden adds, “I know that 99% of the audience is seeing JOYÀ for the first time. They deserve the same magic that I initially felt when I first saw the amazing acts.” ABRAHAM G. BUCHANAN, Drummer Honored to be part of the first resident Cirque du Soleil show in his home country, Abraham G. Buchanan, from Aguascalientes, Mexico, masterfully works the drums for JOYÀ. Abraham is a passionate musician who trained at the Berklee School of Music and works very hard to bring raw emotion to each performance. “I want people to really feel something when I play each night,” he says, “and I really try to support the cast and crew with my music.” JOE HUNDERTMARK, Bandleader & Guitarist To create the one-of-a-kind sounds of the magnificent JOYÀ score, bandleader and guitarist Joe Hundertmark plays three guitars during the show – a Martin Parlor acoustic guitar, a Boutin flamenco guitar, and a Fender Stratocaster electric guitar – and deftly moves between the different paces, moods, and genres to enhance the performance. Joe says of his role in JOYÀ, “It’s a thrill to conduct the music as the bandleader and to be part of an intimate show like JOYÀ, very different from the huge scale of Zarkana. I have more responsibilities here and it’s very rewarding.” * * * "JOYÀ is a truly special part of the Vidanta family. It's a milestone on our journey together - a step towards a totally re-imagined vacation experience for you and your family. When happiness is the goal, anything is possible. Only one last thing to say - enjoy the show!" - Iván Chávez, Executive Vice President of Grupo Vidanta JOYÀ is an homage to Mexico, a triumph of creativity, a celebration of nature, and a tribute to the power of friendship and family. And as you can tell by the images and words in this book, JOYÀ has made a profound impact on everyone who’s been a part of the special experience so far, and on the thousands of guests who’ve shared the magic. Vidanta and Cirque du Soleil brought together the finest people from every artistic and technical discipline to bring JOYÀ to life. And JOYÀ is a first in many ways – Latin America’s first resident Cirque du Soleil show, the first show of its kind at a resort, the first Cirque du Soleil show to include a dinner experience – and the first of many collaborations between Vidanta and Cirque du Soleil. We invite you to experience JOYÀ for the first time or the tenth time. JOYÀ reminds us all that we have important stories to tell, and somewhere – inside all of us – there is a curios child who wants to play and a spark of imagination waiting to ignite. “On that day, I inherited our ancestors’ legacy. Zelig gave me wings so I could fly on my own and continue his work so that his knowledge will be passed on to future generations.” - JOYÀ {fin} ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 8 of 16: Alegria, Part 1 (1994) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ A few months 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 1994's reviews of Alegria. # # # CIRQUE DU SOLEIL AIMS HIGH, FALLS SHORT By: Dion Nissenbaum | UPI July 13, 1994 In the 10 years since a group of Canadian street performers found their home under a blue and yellow big top, Cirque Du Soleil has transformed the stagnant circus world into an evolutionary art form. By combining live music, theater and Broadway-influenced costume design with the traditional circus elements of breathtaking artistry, athletic prowess and -- lest we forget -- pratfalling clowns, Cirque Du Soleil has helped reinvigorate the circus. Now returning to the United States with their latest incarnation, 'Alegria,' the Montreal- based troupe continues to set its sights on the heavens, but falters slightly by relying on many of the staid elements that once set it apart from the crowd. Making their U.S. debut in San Francisco Tuesday night under their trademark blue and yellow tent, the newest members of the international Cirque Du Soleil family captivated the audience with two hours of aerial acrobatics, modified trampoline work and a pair of young contortionists. Using the Spanish title expressing jubilation as its starting point, 'Alegria' relies on ethereal and bird-like imagery to touch on themes of revolutionary change and the constant tension between resistant elders and idealistic youth. In that vein, the clear stars of the show are a young Chinese tightrope act and a pair of Mongolian contortionists. Balancing a modified wishbone-shaped pole with a tightrope upon her shoulder, 12-year-old Li Sha Zheng delicately crossed the stage as 11- year-old Hui Kang performed an amazing series of flips, backflips and spins on the thin wire above the crowd. In the second act, Nomin Tseveendorj and Ulziibayar Chimed, two 9- year-old Mongolian arists, flawlessly performed as contortionists. Not to be outdone by the youngsters, the older acrobatic performers spun, flipped and soared through a 'fast track' modified trampoline performance and ended the show with a graceful synchronized trapeze act featuring seven artists in constant motion. Cirque Du Soleil has always prided itself on combing the globe for unique acts and adds Russian-born Mikhail Matorin to its list. Matorin manipulates a large transluscent cube in his aerial acrobatic ring performance, adding a new element to the routine. Such artists have been a mainstay of Cirque Du Soleil and have helped establish the group's reputation as a thinking-person's circus that appeals to both adults and children. But 'Alegria' falls back on more conventional performers that detract from its continuity and mystique. The cadre of clowns spent more time filling space than providing levity, and strong man Rick Zumwalt seemed quite out of place in the group, but still drew cheers by tearing a Yellow Pages in half and arm-wrestling two men at once. Still, Cirque Du Soleil rises to the challenge with 'Alegria' and continues the troupe's growing tradition for elevating the circus to new heights. As always, the musicians, led this time by the raspy chanteuse Francesca Gagnon, set the circus apart from the others with a unique blend of styles. 'Alegria's' run over the next year will take the performers to San Jose, Calif., Los Angeles, Costa Mesa, Calif., New York, Toronto, Chicago, Boston, Washington, DC, and Atlanta. * * * * * THE CIRQUE'S GLOBAL STRATEGY Irene Lacher | The LA Times October 2, 1994 Looking like a star is one thing. Acting like one is something else entirely. And so when Cirque du Soleil's very own Flying Fabio, more prosaically known as Vladimir Kekhayal, and his chair-balancing compatriot Vassily Demenchoukov arrived from Russia with all the attitude they could pack in their bags, their star quality was considered, well, a bit de trop. "It was like 'If I'm here, I'm the star, so you have to treat me as a star,' " says Gilles Ste-Croix, Cirque's artistic director. Au contraire, mon frere. "I would say, 'Listen. Cirque du Soleil is not like this. Everyone is the star. But if I need you to bring a carpet for another performer, if you need them to bring you something for your number, we all share.' "They said, 'But that's communism.' "I said, 'Yeah, that's Quebec communism. But that's how it works.' " So went the occasionally rocky debut of Cirque du Soleil's first Russian imports for its early '90s show "Nouvelle Experience." To get them to Cirque's base in Montreal, Ste-Croix had grappled with Russian bureaucracy and an American producer for six months in the thick of perestroika in 1989. But at least Mikhail Gorbachev's reforms had propped open the gates for Russian artists to perform abroad. And with the fall of the Soviet Union at the end of 1991, even more of Russia's best talent has made an exodus. This year, Cirque du Soleil has plucked its largest Russian contingent ever--16--for its latest shimmering production of circus theater, "Alegria," which opens Thursday at the Santa Monica Pier and on Jan. 24 at South Coast Plaza in Costa Mesa. The Russians' arrival heralds growth for the 10-year-old Canadian company, which has become increasingly multinational as Cirque du Soleil evolves far from its street-performing roots. It's also fitting that so many Russians should be part of Cirque's eighth production, which celebrates the era's global changes in power. Unlike traditional circuses, which string together unrelated acts, Cirque du Soleil cloaks its acrobatics and clowning in lavish costumes, lighting and dance, all designed around a theme. And for "Alegria"-- joy in Spanish--the phrase that shapes the evening is: "The fools have lost their king." "Everybody now has a global concern, but they're also living in a world of uncertainty and complaining a lot about this," Ste-Croix says. " Alegria is like a scream of joy, a scream of life against the moroseness. We would say, 'The king is dead. Alegria !' Because there is life after death in the sense that something new is coming." In this $3-million production, something old is evoked in Cirque- speak, a visual language that may not be immediately decipherable. The old regime, for example, is represented by feathers and performers in bird costumes, inspired by the "gilded year" at the turn of the century ruled by railroad and petroleum barons. As for the new world, simply look down. "Alegria" has more performers under 18 than any other Cirque production. "When you have a child of 12 who does incredible feats and comes straight at you on the stage and looks at you in the eyes with a smile and goes, 'Hey!' " Ste-Croix says, "you are really taken by that power because they are there to be the future, whereas the old birds represent the period that we are living through that is dying." If Cirque's 12-year-old Mongolian contortionists are prized for their youth--and preternatural flexibility, to a degree peculiar to Mongolians, Ste-Croix says--the Russians are sought after for their aerial abilities. That's because many former Russian gymnasts and acrobats with Olympic aspirations turned to the circus later in their career, says Pavel Brun, Cirque's artistic coordinator and choreographer of Andrei Lev's Flying Trapeze Team in "Alegria." Cirque du Soleil's first attempt to build a Russian act after the fall of the Soviet Union went much more smoothly than earlier enlistment efforts. In 1992, the mayors of Moscow and Montreal signed an agreement joining the innovative Cirque with the more traditional Moscow Circus in staging a flying trapeze act. The deal called for the Russians to recruit a group of 25 trapeze artists, from which Cirque selected 12. Then Brun and another coach worked with the troupe at the Moscow Circus' elaborate $50-million facility. The act was designed for Cirque's show "Mystere," now in its first of five years at the company's permanent theater in Las Vegas. (A third production, "Saltimbanco," will tour Europe next year.) The Moscow-Montreal agreement had been lauded as the beginning of cultural exchanges between the two cities, but the circus flow has largely been headed in one direction--to the West. "I don't think they got anything out of it," Ste-Croix says of the Moscow Circus. "We could have had a collaboration that could have gone for years, but I think the system turned into a very rotten thing that is worse than what communism was." Artistic standards have sagged, Brun says, and corruption has left its mark on the Russian circus. A few days before the Cirque trapeze troupe left Moscow in 1993, the commercial director of the Moscow Circus was shot dead in the door of his apartment with a hunting rifle. "Maybe he knew (why)," Brun says. "Maybe not. Maybe it was financial. Is it normal that at the end of the 20th Century, you're opening the door of your apartment and somebody shoots you three times in the stomach? That's an example of (organized crime) involvement. Is it connected with the circus? Is it connected with the Las Vegas project with Cirque du Soleil? I don't know. But it makes me really sad." Under Soviet rule, the govern ment prized the circus, but its attentions were like a cobra's embrace. Hailing the circus as the art of the people, the government institutionalized the big tops, sending it into a spiral of ruin and eventually prompting its artists to flee the country. The popular appeal was price. Two years ago, a ticket went for 15 rubles--9 cents. The big tops had come down in the '60s and '70s, and up came 69 permanent circus buildings in every city of more than 200,000 people. Shows were held 11 months a year, a droning continuity that clashed with the tradition of itinerant companies whose briefer appearances drummed up expectations and audiences. Audiences shrank, and a financial crisis for the circus mushroomed. "Since you have buildings, it was like 'All right, this is the circus,' " Brun says. "It's like a gas station. It's like a supermarket. It exists. No celebration anymore." In that period, too, the Communist Party ordered the arts to bow to politics. In addition to acrobatics, audiences would be treated to party posters and portraits; beneath a bust of Lenin, poets would declaim their love of the red flag. Under the Soviets, travel to countries with more liberal circus traditions--often impossible anyway--required Communist Party membership. Even then, artists needed approval from the KGB, the Ministry of Culture and the Soyuzgoscirk, the bureaucracy that governed the country's 7,000 circus artists and told them where they had to perform. And when artists were allowed to perform abroad, their pay went to Soyuzgoscirk. "It was very administrative, like everything at those times, and I would say that Soyuzgoscirk was a real product of totalitarianism," Brun says. Even the perestroika years of the late '80s held bureaucratic roadblocks. In the '80s, Brun, who had studied at the Moscow Circus School, was performing mime with Moscow's top free-lance jazz-rock musician, Aleksei Kozlov, whose performing group, Arsenal, melded jazz, movement and puppetry. The group, described in Hedrick Smith's "The Russians," was famous in Russia, wildly popular with youth but detested by Communist officials in part because it was beloved by Americans in Moscow--the U.S. Embassy invited the group to perform at its July Fourth and Thanksgiving celebrations. When Arsenal was invited to participate in the Live Aid concert at London's Wembley Stadium in 1985, the Ministry of Culture responded that travel would be complicated because the group was in Mongolia. "In those years, you say the word Mongolia and it seems almost impossible to reach you," Brun says. "They say, 'OK,' but forget about it. But we were in Moscow." Still, Brun, 36, says there was a payoff for performers coming of age in difficult times. "All this pressure, all this frustration, all this stupidity made us very, very resistant. To be a modern dancer, to be a jazz musician, to be an avant-garde circus performer was prohibited. It made my generation a lot stronger because we did it anyway. And I would say a lot of artistic achievements of the '70s and '80s were a lot higher than now in Russia, where everything is legal and you can do whatever you want to do." Brun quit Arsenal in 1988 and began working with the Moscow Circus' experimental workshop. He met Cirque founder Guy Laliberte in 1990 in Paris at the Festival Mondial du Cirque de Demain. Laliberte later went to Moscow to see the workshop. "And that was it. I was hooked by my heart," Brun says. "Because I realized that Cirque du Soleil was the exact place where I can express myself as much as I can, where I can have--what's the American word?— fun, where my experience will be appreciated." Clown Slava Polunin was widely appreciated in Russia via the most official of channels--national television--even though his Yellow Clown persona was an alternative meld of influences ranging from Antonin Artaud to Samuel Beckett to Robert Wilson. Polunin, who performs for Cirque with his 8-year-old son Ivan, is credited with creating the first Russian clown theater in the '70s, a time when politics had turned circus clowns into chilly technocrats. Polunin's Academy of Fools revived the art of clowning by incorporating philosophy, social criticism and surrealistic painting. Polunin's tragicomic character Asisay (a bit of baby talk with no real translation) would speak in a kind of "double language," as Brun, who interprets for him, put it. "You can speak of one thing, but you can keep in your mind totally different things." The authorities didn't catch on to his double meanings, "because his childish image was like an excuse." By the beginning of the '80s, Asisay was a fixture of Russian television and Polunin became a star. "His fame in Russia was equal to the fame of rock stars," Brun says. For cube gymnast Mikhail Matorin, 29, joining Cirque du Soleil was a simple matter of picking up the phone. The former Moscow Circus performer had seen Cirque acts at the Paris circus competition in 1990, and he had applied two years ago to join the company. Ste-Croix called him in Moscow a couple of weeks before the Montreal debut of "Alegria" in April. By then, Matorin was in the enviable position of being courted by circuses in France and Canada, and he needed only to pick up and go. "I had to choose between Cirque La Luna, which is the moon, and Cirque du Soleil, which is the sun, and I chose the sun," he says. "They just amazed me by the movement, by the music. It was beautiful, and when I changed my act and created new things, I was always thinking about the Cirque du Soleil." Matorin performs with a five-foot-square cube, manipulating it while on foot and dangling from an aerial wire. Matorin's signature act, a highlight of "Alegria," was created by his father, an artistic director of the Moscow Circus. The idea of juxtaposing the human body with a cube was inspired by drawings by Leonardo da Vinci and such Salvador Dali paintings as "Gala Looking at the Hypercubicus Christ." It took a year and a half to develop. For Matorin, joining Cirque has meant realizing a dream: "It's more interesting to perform here. Even if we forget about the financial side, the convenience, it's more interesting to perform in front of happy people." For Brun, joining Cirque has meant understanding that a dream will never be realized. "There will be a wonderful Canadian big top," he says, "and you will see lots of Russian performers and a wonderful international troupe, but for me it's kind of painful that it's unrealistic to expect that this big top of Cirque du Soleil could be created in the Red Square in Moscow. I want to do that, but I know it will not happen in the near future. Because the needs of the people over there are unfortunately a lot different. They are thinking about what they are going to eat, how they are going to dress, are they going to be killed tomorrow because of some street gangs or will they stay alive. I'm not afraid of that, but it makes me very, very sad because we were expecting something different." * * * * * * THE USUAL, UNUSUAL CIRQUE By: Laurie Winer | LA Times October 8, 1994 Cirque du Soleil is back in town with its new show, "Alegria," under the big top at Santa Monica Pier. AT&T is producing, and, since the company makes its way rather prominently into the show's introduction, I thought I'd stick it in my introduction, as well. The opening-night crowd on Thursday was half expecting a raffle for free phones by the time the show finally started. The postmodern, Montreal-based circus first stormed L.A. in 1987 with its new blend of acrobatics, contortionists, hip percussive music, strange costumes and plumes, sophisticated lighting, absence of elephant manure. On its raked, double spherical stage (a nod to the circus rings of old, perhaps) and generally surreal setting, performers display the distinctive Cirque attitude--they look like aliens who refuse to tell you whether they're benign or hostile but who expect to be admired nonetheless. They create another, parallel universe that is peopled by, well, weird circus performers. This year's version contains less derring-do than previous Cirques, although there is a tumbling act where men in gold mesh seem to traverse the entire stage horizontally, and a trapeze act featuring men in aviator caps who perform at the tippy top of the big top (these acts became known among my co-watchers as the "golden bounders" and the "prancing eunuchs"). If "Alegria" has a theme, it looks to be ethereal children. (The creators, director Franco Dragone and artistic director Gilles Ste- Croix, said in the San Francisco Chronicle that the show was inspired by the recent upheavals in the former Soviet Union and South Africa and is about the inevitable replacement of the elders by the young. But you wouldn't know that if I hadn't told you.) There are some fascinating acts that might make you wonder about the child labor laws in Mongolia and China. One act features a tiny, smiling doll who maneuvers her way across a portable tightrope that is being held up by a slightly older, totally unsmiling child who intently balances a long pole on her shoulder. They look like China's version of Louise and Baby June from "Gypsy." The tiny contortionists from Mongolia, Ulziibayar Chimed and Nomin Tseveendorj, look like twins but aren't. In another era they would have been introduced as "the wonders of the Orient!" and they are quite remarkable, if eerily placid, as they wave their limbs around their heads like spider legs. As they explore the mysterious shapes that the human body can take, a sad clown on stilts wearing a Rembrandt hat and coat looks on, somehow thickening the mystery. "Alegria" features the addition of songster Francesca Gagnon, who looks like a cross between Madonna and Connie Stevens in sparkly Martian ears. She manages to be quite chic in a corset, cage skirt and white hair that looks as if birds put it together out of twigs and spaghetti. Even if you understand French, you can never make out a word she's singing, except "Alegria," which you hear over and over again. Her doppelganger/backup singer Isabelle Corradi is dressed similarly but all in black and is never allowed to get too close to the audience. Unfortunately, Cirque has never recovered from the loss of the incredible clown David Shiner, who went on to appear with Bill Irwin in "Fool Moon." But there are a couple of good routines by Russian clown Slava Polunin, who has a touching affair with a coat and hat on a coatrack. He also gets blown mightily across the stage, a la Buster Keaton in "Steamboat Bill Jr." Some of the other acts--a Fabio manque aerialist who performs with a huge silver cube, a flabby strong man, a flame thrower/eater--left this viewer cold. Christian Racoux, the master of ceremonies, is a hunchbacked, pot- bellied bird man who cares for his flock, what I like to call the corps du Soleil, with interesting ambivalence. Their weird masks and scraggly hair and their strange relation to the performers are mesmerizing in their own, impenetrable way. That's the way of the Cirque du Soleil. * * * * * REVIEW: CIRQUE DU SOLEIL ALEGRIA By: Jonathan Taylor | Variety OCTOBER 10, 1994 The expansively creative team behind Cirque du Soleil finds itself with a challenge somewhat akin to what God must've confronted on the eighth day: What to do for an encore? The previous Cirque productions did nothing less than reinvent our notion of the circus, and reintroduce audiences to the concept of wonderment. For the company's fifth show, "Alegria," the team returned to the formula that has worked four times already. If Cirque veterans bemoan the absence of mind-bending new acts, it's nonetheless likely all but the most cynical will come away dazzled and delighted. Packed houses are assured under Cirque's trademark blue-and-yellow big top. The expansively creative team behind Cirque du Soleil finds itself with a challenge somewhat akin to what God must’ve confronted on the eighth day: What to do for an encore? The previous Cirque productions did nothing less than reinvent our notion of the circus, and reintroduce audiences to the concept of wonderment. For the company’s fifth show, “Alegria,” the team returned to the formula that has worked four times already. If Cirque veterans bemoan the absence of mind-bending new acts, it’s nonetheless likely all but the most cynical will come away dazzled and delighted. Packed houses are assured under Cirque’s trademark blue-and-yellow big top. That formula consists of a few key elements: A handful of acts of death- or physics-defying human derring-do; an at-once humorous and vaguely threatening emcee; a stunning visual style that owes more to street theater than Las Vegas; and a troupe of clowns and performers who entertain between acts and always seems to include (for reasons not at all clear) a fat person with weird things sticking out of the side of his or her head. Each Cirque du Soleil production hearkens back to the very earliest, prehistoric roots of circuses — of people doing odd things for the amusement and amazement of others — while encompassing a thoroughly modern sensibility. Most Cirque productions also purport to advance a vague theme or plotline that links the various acts, albeit loosely. With “Alegria,” there’s a recurrent image of stepping through the looking glass into a new and wondrous world, and a stronger-than-ever motif of man defying nature. The program opens with a trapeze duo performing near-mirror images on separate bars, and ends more than two hours later with the far more thrilling Flying Lev. This Russian team of aerialists combines the art of trapeze with uneven parallel bars gymnastics that leads audiences to conclude that the laws of gravity just don’t apply here. Second on the program is the “house troupe” of acrobats (the other acts join for just this production). Working on springy mats that seem to emerge from below the stage, they fly, flip and float like pinwheels freed from their moorings. The how’d-they-do-that amazement of this routine couples with the beauty of their movements. The house troupe — whose head-high, shoulders-back prancing about the stage gives them the look of heraldic hood ornaments — returns in the second act for a Russian bars routine that is something like the balance beam of gymnastics, but with a flexible board held up by two people. If these acts contradict gravity, Hawaii’s Lisiate Tuione Tovo challenges the laws of fire. Alternately twirling, licking, lying on and otherwise commanding a flaming bar, Tovo’s performance touches an almost primal fascination with the beauty and hazard of fire. This is likely to be the act most people are still talking about days later. Or perhaps it will be Mongolian contortionists Ulziibayar Chimed and Nomin Tseveendorj. These small, impossibly flexible young girls elicit applause — and a healthy dose of the creeps — as they bend and flow as if the limitations of the human skeletal system are irrelevant to them. Between acts — when the hood ornaments aren’t prancing about — clowns Dmitry Bogatirev, Serguei Chachelev and Slava Polunin perform. Their miming sometimes comments on the previous feat, acting as inept surrogates for us in the audience. Other times they perform self- contained routines. A couple seems poignantly to address fears of closeness and friendship. And the clowns’ final routine explores the classic clowning motif of people befuddled by themost mundane of matters, in this case picking up a small piece of litter. Before they are through, they must confront a full-blown hurricane that sends confetti, seemingly miles of toilet paper and the clowns themselves hurtling into the audience. It’s a hilarious routine, although one that wouldn’t seem out of place in a more conventional circus, which is something early Cirque shows never did, and which is the main gripe about “Alegria.” The joy and wonder of Cirque du Soleil is that it offers a unique series of acts and way of seeing a circus, different even from other circuses. Christian Racoux — he of the misshapen body and slightly ominous, panther-like movements — is fine as comedian/emcee. But audiences miss the hilarity and danger and sheer silent genius of David Shiner, who played that role in Cirque’s “Nouvelle Experience” a few years ago, before going on to star with Bill Irwin in the magical “Fool Moon” here and on Broadway. Most disappointing is strong man Rick ZumWalt, who appears to be, well, not all that strong. When he pulled a man out of the audience to arm-wrestle, he very nearly lost. He looks the part, but breaks the magic spell cast by the other performers. It’s not hard to imagine that new, awe-inspiring acts are harder to come by for the Quebec-based company’s fifth incarnation. But there’s enough that’s unique and unimaginable about “Alegria” to move virtually everyone. If it succeeds at nothing else, this production serves to reaffirm that we mere mortals still have the ability to be amazed. * * * * * THE STRONGMAN: STEEL ARMS, WARM HEART By: Irene Lacher | LA Times November 5, 1994 Rick Zumwalt, Cirque du Soleil's first strongman, is what you might call a minimalist. His professional photo lists, "Height: tall, weight: heavy." If you insist on numbers, how about these?: He's 6 foot 4 inches tall, down to a "slim-trim" 310 pounds, and his chest is 5 feet around, his biceps, 2 feet. "I used to tease the little guys at the gym who were trying to get to 19, 20 and 21 (inches)," says Zumwalt, the muscleman of "Alegria," Cirque du Soleil's eighth production, which is running at the Santa Monica Pier until Dec. 18. "I said, 'You boys measure in inches. You gotta do it in feet if you're a real man.' " A little gym humor there. His secret? "I'm into the mega-eating program," confides Zumwalt, who began his young athletic life with the shotput when asthma ruled out more mobile sports. Take all that muscular muchness and process it through the Cirque- ulator and you come out with this amazing feat of pure unadulterated manpower: Zumwalt plucks a woman out of the audience for a tug-of-war- -and loses. Come again? "It's part of the changing world and changing values as well," says Cirque du Soleil artistic director Gilles Ste-Croix, whose latest show celebrates the recent changes in world power. "A big macho guy has to learn there is other stuff than being macho. He's so huge, he's a mountain. But he has a heart of faience, of very delicate porcelain. He's a very sensitive man." OK, so Zumwalt bends steel too. And he's working on potentially new derring-do in which he would pick up the entire troupe--6,800 pounds of acrobats, clowns and contortionists--and carry the world on his shoulders. That would be child's play for the Hisperia resident and former world arm-wrestling champion. A dragon tattoo crawls down his mighty left breast. A long-ish braid snakes out the back of his otherwise bald head. And of course, there is the porcelain heart. "I was arm-wrestling a guy one time," says Zumwalt, 42. "I looked at him, and said, 'This guy's a joke,' very slender and very animated. So I just decided to give him a hard time. I locked up and held him there, and he's trying all these different angles. This was in the middle of a mall where they had a state championship going on. "He was standing up and his belt broke, and his pants fell off and he didn't know it. I stopped in the middle of the match, walked behind him and pulled his pants up and walked back. He was blood red. We started again and I went through him real quick. Mercy killing." Of course, put the pants on a movie star and it's a different story. The star in question was Sylvester Stallone, who helped launch Zumwalt's brawny film career when they arm wrestled for 1985's "Over the Top." The scene was shot before a crowd at the Las Vegas Hilton. "Actually, Sly wanted to lose, but (director Menahem Golan) put it up to the audience. 'Who do you want to win? Do you want Rick to win?' And I got a very nice amount of applause. " 'Do you want Sly to win?' And it was overpowering. 'OK, Sly, you win by popular demand."' But Zumwalt won parts in 15 more (mostly action) movies. In fact, Zumwalt was a faux strongman in films before becoming a real one for Cirque. For "Batman Returns," he played a tattooed strongman. So when a show business friend of Zumwalt heard of Cirque du Soleil's plan to harken back to the company's street-performing roots by casting a strongman, he suggested Zumwalt for the job. "I said, 'You're out of your mind.' I said, 'I'm 42 years old.' I said, 'No way. I think the stage scares me.' " Ste-Croix says the transition to the stage from film, which offers the safety net of multiple takes, wasn't easy for Zumwalt. "At the beginning, we say, 'Oh, we made a mistake,' " he says. "But a performer onstage has to have show-biz reflexes and that is growing on him slowly." Travel with Cirque has also given Zumwalt, a recovering alcoholic for 10 years, fresh venues for his talks to teens about the perils of drugs and alcohol. "I say, 'Pal, I've been there. Put down the bottle. Put down the pipe and come with me.' " In the end, Zumwalt's experience muscling his way around Cirque's big top has given new meaning to the words stage fright. "I scare me in a dark alley." # # # That's all for in this issue, but there's plenty more to come! 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 12 (Issue #167) - December 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. { Dec.06.2017 } =======================================================================