======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 18, NUMBER 1 January 2018 ISSUE #168 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * GOODBYE VAREKAI, FAREWELL LA NOUBA * * * It's hard to believe La Nouba is no more. It's through La Nouba I gained my first glimpse into the world of Cirque du Soleil, coming on a rather tiresome evening in May 1999. But from the very first moment the show began, I sat utterly enthralled. It was of little consequence that I was as far away from the stage as one could get. In that moment all that was relevant was the artistry and pageantry on display before me. For truly a door opened; two worlds collided. Dreams clashed with reality. The mundane mixed with the marvelous. I had truly entered the dominion of Cirque du Soleil, glowing with spellbinding intensity... a vibrant kaleidoscope of artistry and daring... a splash of iridescent genius. I knew the color of imagination and I never looked back! It's always been there... so to have La Nouba's doors close now after all that it has done for me is rather surreal, and sad. What I've said may sound corny (and its usually the way I describe my introduction to Cirque du Soleil), but it's absolutely true. I will miss La Nouba more than I can say, and more than you will ever know. And Varekai too. After 15 years touring around the world with 5,219 performances in 231 cities across 43 countries throughout 5 continents, VAREKAI also had its final bow last month. Although Varekai was not the first touring show I'd see (Dralion earned that accolade when it came through Miami in 2001; Quidam would be second in February 2002), it would be the first show I'd get to see premiere in Montreal. But I will take away with me great memories... from meeting Paul Bannerman and some of the cast and crew of Varekai during premiere week, to partying with the cast and crew of La Nouba at CirqueCon 2007, to even being part of La Nouba for Cirque's 25th Anniversary celebrations... yep, I got bike jumped that night! All good memories. They say all good things must come to an end... and not cry because it's over, smile because it happened... it's still hard to let good shows (and the people behind them) go. So, a heartfelt thank you to the casts and crews of both La Nouba and Varekai for putting on a top-notch show year after year after year. May you future endeavors prove fruitful! See VAREKAI's final bow: < https://goo.gl/Q6DjH6r > See LA NOUBA's final bow: < https://goo.gl/h6jvSh > LA NOUBA's Goodbye video: < https://youtu.be/CC18Vp9BkeY > LA NOUBA's Final Bow Video #1: < https://youtu.be/9bKFo-xwiIc > LA NOUBA's Final Bow Video #2: < https://goo.gl/spbYg2 > * * * NEW CIRQUE SHOW IN DEVELOPMENT FOR DISNEY SPRINGS * * * Now for something a bit happier. Something we've known about for a while, but now it's official! Earlier this year, the Disney Parks Blog announced that "La Nouba" by Cirque du Soleil would be taking its final bow at Disney Springs on New Year's Eve 2018. As the curtain closes on this fan favorite, it's fitting that we share some exciting news about the future of the long- lasting relationship between Cirque du Soleil Entertainment Group and Walt Disney Parks and Resorts. Nearly twenty years after teaming up to bring "La Nouba" to the stage, the two entertainment companies are working together on a new collaboration. This original show will be created by Cirque du Soleil and will pay homage to Disney's rich history of animation, with a vivid story told in a way that only Cirque du Soleil can deliver. Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group, elaborated, sharing "We are incredibly inspired by Disney's immense creative universe. We are convinced that bringing Disney's magic to life on stage will touch audiences and bring them back to their childhood." An opening date for the new show has not been announced; however, 2019 has been floated about. Keep an eye here as we'll continue to share details as they are finalized. Michel Laprise is rumored to be directing. Benoit Jutras (Composer of Quidam, "O", and La Nouba) has signed on to compose this new show. Stay tuned! * * * CRISS ANGEL TO CLOSE MINDFREAK LIVE IN OCTOBER * * * After 10 years and over 4000 performances, Cirque du Soleil and Criss Angel Productions announced on December 22, 2017 its collaboration will culminate with the final performance of MINDFREAK LIVE! at Luxor Las Vegas on October 28, 2018. The decade-long collaboration between Cirque and Angel has resulted in some of the most talked-about productions and most incredible magic ever seen on stage. Tickets for all remaining performances are on sale now. "It has been an extraordinary experience working with Cirque du Soleil and Luxor these past nine years. They have been amazing partners and will always be part of my family," said Criss Angel. "I am so proud of what we have created together and I am extremely excited about the new illusions we will be adding in our final year of MINDFREAK LIVE!" Jerry Nadal, senior vice president, Cirque du Soleil, said "it has been a pleasure to work with Criss Angel for the past nine years. Criss is a visionary artist and watching his illusions come to life on stage has been an incredible experience. We respect his decision to explore other opportunities after 10 successful years at Luxor and we are looking forward to a tremendous final year showcasing Criss' most spectacular illusions in MINDFREAK LIVE!" Celebrated as "the most watched magician in history," Criss Angel's MINDFREAK LIVE! has been called the "Magic Experience of a Lifetime." Based on Angel's hit TV show MINDFREAK, which smashed records with more than 100 million viewers each season, MINDFREAK LIVE! showcases 90 minutes of the most unbelievable, original and thrilling illusions ever performed on stage. Jim Murren, Chairman and CEO, MGM Resorts, said, "I am inspired by Criss Angel's commitment to the Las Vegas community and to raising funds and awareness for childhood cancer. I share both of those passions. In honor of our decade-long partnership and shared values, MGM Resorts will host a fundraising effort with Criss next year." Nik Rytterstrom, President of Luxor Las Vegas, said, "MINDFREAK LIVE! has been a huge hit for our guests and we look forward to sharing his show with new audiences in the months ahead. "Criss has been a tremendous part of our Luxor family and we wish him great success." The final performance of MINDFREAK LIVE! at Luxor Las Vegas is scheduled for October 28, 2018. Tickets for all remaining performances can be purchased by calling 702-262-4400 or by visiting www.cirquedusoleil.com. * * * 45 DEGREES ANNOUNCES 2 MORE YEARS IN ANDORRA * * * 45 DEGREES is pleased to announce that Cirque du Soleil will continue performing in beautiful Andorra la Vella in 2018 and 2019. From June 29th to July 30th, 2018, following the success of the SCALADA series, a new chapter begins with DIVA by Cirque du Soleil, which will pay tribute to some of the greatest divas of all time. Relive music's most celebrated hits through the lens of Cirque du Soleil. This year's spirited acrobatics will be performed to the rhythm of the songs of the divas who shaped our history. Learn more at the show's website: < https://www.cirquedusoleil.com/diva > and see the poster for this new production here: < http://www.cirquefascination.com/?p=11197 >. * * * CIRQUE AT ROYALMOUNT CENTRE? * * * According to a recent CBC News article, Cirque du Soleil says it is interested in having a "creative project on the site of Royalmount," its spokesperson Marie-Hélène Lagacé confirmed. But what is Royalmount? Royalmount centre is a massive new shopping and entertainment complex proposal slated for the Town of Mount-Royal's industrial sector, not far from the Da la Savane Metro station in Montreal. CarbonLeo, the company that built Quartier Dix30, a shopping centre and entertainment complex on Montreal's South Shore, is undertaking the $1.7-billion project nestled at the junction of Highways 15 and 40, earning it the nickname Quinze40. The 232,257- square-metre complex will feature a performing arts space with seating for 3,000 people, a water park, an indoor cinema complex and an outdoor cinema on the green roof. The mall will also house restaurants, terraces, two hotels, an outdoor skating rink and office space. The project is controversial as opponents suggest the new centre would multiply traffic and pollution in the area, and that it would centralize business, hurting the local economy and mom-and-pop shops, and discouraging people from working and living in the city core. Proponents look at the opportunity to redevelop a section of the city overlooked today. In either case, the fact that Cirque du Soleil is "interested" in having a creative project of some kind on the site is newsworthy to us. We will, of course, keep our ears open for new developments on this project. * * * LIP SYNC BATTLE CELEBRATES THE KING OF POP * * * Lip Sync Battle returns by moonwalking onto Paramount Network (formally Spike) with the largest live event of its franchise history. LIP SYNC BATTLE LIVE: A MICHAEL JACKSON CELEBRATION will be a landmark television event celebrating the pre-eminent entertainment icon, Michael Jackson, on Thursday, January 18 9/8c. The one-hour special, produced by Casey Patterson Entertainment and Matador Content, in consultation with The Estate of Michael Jackson, will feature larger- than-life performances LIVE from the Dolby Theatre in Los Angeles. A special performance by Michael Jackson ONE by Cirque du Soleil, the critically acclaimed show in permanent residence at the Michael Jackson Theater is also scheduled. The live special is executive produced by Casey Patterson, Jay Peterson, James Sunderland, LL COOL J, John Krasinski, Stephen Merchant, and 8 Million Plus Productions, and directed by Glenn Weiss. All songs performed during the special are featured in Michael Jackson ONE. "The King of Pop is the most groundbreaking, theatrical superstar of all time and we are thrilled to be performing and celebrating the electrifying music of Michael Jackson on our big night," said Executive Producer Casey Patterson. "We are taking Lip Sync Battle to new heights, LIVE at The Dolby Theater for the launch of The Paramount Network." 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 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 * "O" is Beautiful, Even on the Small Screen - A look at the ARTE broadcast of "O" By: Keith Johnson - Seattle, Washington (USA) * "We're Off and Running - A Series of Classic Critiques" Part 9 of 16: Alegria, Part 2 (1995) By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** -------------------------------------------------------- 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 } ------------------------------------------------------- Wisycom Performs Outstanding Audio Feats for VOLTA {Dec.15.2017} ------------------------------------------------------- When independent Sound Designer Jean-Michel Caron was tasked with the challenge of providing impeccable sound for the new Cirque du Soleil: VOLTA Big Top touring production, he knew that Wisycom would be the perfect fit. Caron relied heavily on the company's wireless microphone transmitters and receivers, and in-ear receivers for his wireless and RF needs. VOLTA, the latest creation from Cirque du Soleil, tells a spellbinding story about the freedom to choose and the thrill of blazing your own trail. Inspired in part by the culture of action sports, the show weaves acrobatics in a visually striking world driven by a stirring melodic score ultimately celebrating freedom as a movement. Caron is no stranger to working on the intricate sound set up required by a Cirque du Soleil production, as he also provided the sound design for KURIOS: Cabinet des Curiosities. "All RF components are invaluable to the process," noted Caron. "Each piece of equipment is interconnected to the rest of the sound system via the digital I/O available on those units, and can be shared to the front of house and our monitor system using a Dante(tm) network." Caron credits his relationship with Transmission Squelch, a Canadian- based specialist in wireless audio for productions and events, as a factor in his equipment selection. "Transmission Squelch had nothing but great things to say about Wisycom and made the introduction. Once we tested and listened to the different systems and components, the choice became clear." For wireless microphones, Caron is relying on Wisycom's MRK960 Modular Wireless Microphone Receiver System with its MTH400 Wideband Handheld Transmitters and MTP40S Wideband Bodypack Transmitters. For in-ear monitoring, the production crew relied on Wisycom's MPR50-IEM Wideband True Diversity IEM Receivers. Caron recalled how the Big Top show's acrobatic nature and extensive set were a major factor in his sound design. "The fact that Wisycom's system allows us to adjust power and other specific settings has helped us get maximum coverage for the vast area of the performance. Wireless coverage on our setup is never an easy task and working on a complex stage design makes our antenna location limited. We also have to consider vertical and horizontal displacement as the artists move around the stage as well as fly above it on a piece of scenery. Our reception and transmission has never faltered, remaining strong throughout the area." According to Caron, he says he was especially impressed with how well the Wisycom equipment withstood each performance. "The male and female lead performers both use handheld microphones and in-ear systems in the show. Each used headset microphones that connect to a bodypack transmitter, which allowed for better movement while flying on various scenic pieces or playing an instrument while they sang." Both wireless transmitters assisted Caron with his decision based off of each products' unique features. The MTP40S showcases RF technology along with an enhanced robustness against noise and inter-modulation. The small, light pocket transmitter is especially designed for easy and quick use, thanks to its OLED display, dedicated buttons and a joggle selector. The MTH400 handheld microphone transmitter also uses OLED display, a joggle selector that includes two buttons for straight setup of gain and channel selection. MTH400 has been designed for robustness against noise and self-interference thanks to a special intermodulation cancellation circuit. "The MPR50 in-ear wireless system has provided a strong signal from the performers, who are wearing large costumes and moving around for the majority of the show," adds Caron. "Wisycom's true diversity feature gave us quality and stability on the audio feed received to the in-ear pack." The MPR50 is a compact true diversity receiver designed for professional in-ear monitoring applications. The receiver features a unique wide-band tuning range up to 232 MHz. The Big Top touring show will be performing in Miami and Tampa Bay, Florida this winter. About Wisycom Wisycom is a designer and builder of the most sophisticated RF solutions for broadcast, film and live production, renowned for their durability, flexibility, reliability, practicality and cost-effective price points. Wisycom's design process is driven by attention to detail, customer feedback and ultimate quality, from the selection of components to the manufacturing process, which takes place at the company's Italian plants. The company prides itself on serving as a technical advisor and partner to every customer. From custom design to evaluation and dimensioning of systems, the Wisycom team stands by its customers through every step of the process. For more information, please visit www.wisycom.com. { SOURCE: Live Design | https://goo.gl/5oTnbB } ------------------------------------------------------- Cirque du Soleil's VOLTA will flip you out {Dec.20.2017} ------------------------------------------------------- No matter what Cirque du Soleil show I see, it's always the same: I am blown away by the acrobatics, dazzled by the visuals and only peripherally aware of the story being told. That is the case with "Volta," now in an eight-week run at Hard Rock Stadium in Miami Gardens. This show mixes extreme sports such as BMX riding, bungee jumping and parkour into the usual milieu of work with trapeze, juggling, contortion, tumbling and Swiss rings. It's admirable that the creative team at Cirque du Soleil try to weave a tale into their human-circus shows, giving the entire franchise (22 shows currently up and running) a design theme and a signature theatrical topspin. They could just show up all shiny and glistening, with their bendy-stretchy bodies flying through the air and backflipping around the stage, and it would probably still be one hell of a performance. Still, you might need to know going in that the production is centered on a character named Waz, a game-show host on the wildly popular "Quid Pro Quo" TV program. Off air and in private, Waz is haunted by his childhood, when he was taunted for having blue feathers instead of hair. The population of this fantasy world is divided into three classes. The Greys are the Everymen, walking in formation and engrossed in their smartphones. The Greys live for Waz's show, hoping for instant celebrity if they can win the talent contest. Those who triumph on the show are elevated to Elite class, and get to wear metallic, neo-Baroque costumes. On the fringes are the Free Spirits, a group of open-minded, life-loving travelers who give Waz the confidence to be his true self and to rock those turquoise tresses. That's on a lofty level. Here's what really happened. 8:09 p.m. The television pre-show starts, where it is decided who will appear on tonight's episode. A few Greys appeal to different sections of the audience to root for them as they compete doing a few flips and handstands. One poor contestant's less-than-stellar act gets a withering comment from the emcee, "It didn't blow my mind, but it certainly blew." The 6- and 5-year-olds sitting in front of me and my husband, Gary, seem to think this is the funniest line - ever! They are still giggling long after everyone else has moved on. 8:15-8:17 p.m. Waz is having a flashback, which is shown to us through video, of him cutting his blue feathers off his head as a child. The kids in front of us aren't laughing anymore. Trauma trumps everything. 8:18 p.m "Quid Pro Quo" starts its broadcast with some choreography straight out of "Solid Gold." I say as much to Gary, who replies, "No one here is old enough to remember 'Solid Gold.' " He's right. I no longer feel so bad about the translation of trauma a minute ago. 8:20 p.m. The first challenge on the TV show is rope skipping. And man, oh man, do they skip rope. The tricks get increasingly impressive from double dutch sequences (two ropes turning in opposite directions) to handstand hops. 8:23 p.m. The winner of the rope skipping gets to become an Elite, which means a glossy makeover. Then, there's more jump roping, but this time with some breakdance moves thrown in. 8:26 p.m. Now, we seem to be in Waz's dressing room. We can hear children's laughter, so we know there's more trauma coming. Sure enough, the video screens sputter to life, and we see Waz being teased over his blue hue hair. 8:27-8:30 p.m. The Greys execute some precision walking choreography and a woman comes out roller skating. A bald dude starts singing and sounds a lot like Sting (maybe from the "Brand New Day" period). A guy comes wheeling out on a unicycle. I've lost the story. I'm just trying to keep up at this point. 8:30-8:35 p.m. The unicycle man is balancing a woman on his head as he whirls around the circular stage. She is doing all kinds of splits and contortion moves in the air. Gary says, "You can really see the athleticism because everyone is so close to the stage." He glances at my notepad, which is his way of saying, "Write that down. I'm giving you gold here about the intimacy of the performance space that seats 2,500 in the round." 8:35 p.m. A guy who looks like Waz grabs hold of a lamp that descends from the catwalks above the stage and begins soaring through the air, high above our heads. At times, he's only holding on with his feet. I think to myself, "This must be Waz's spirit, finally free. Hey! I'm starting to get this." But later, I read in a run-of-show that this is a "younger Waz using the light to metaphorically illuminate the journey ahead." I guess I'm not getting it. 8:39 p.m. The twirling is over, and now a woman starts singing like Enya. The Grey are back and are engrossed in their cell phones, which are rimmed with a bright light. I realize, with a sudden pang of embarrassment that I really want one of those cell phones. 8:41 p.m. The stage begins to break apart as three hydraulic lifts raise up parts of the stage floor. The Free Spirits bound onstage and begin doing some free-running/parkour moves, crisscrossing one another in midair flips and jumps. Then, there's a guy bouncing around on a high wire 30 feet above us with no safety net. Every time one of the Free Spirits lands a gymnastic trick, they thrust their chests out, splay their hands out from their hips "Gladiator" style, as if to say, "Are you not entertained?" Gary says, to no one in particular, "No body fat." 8:47 p.m. There's a clowning bit here in which a man, his character's name is Shood Kood Wood, mimes doing his laundry with some tricky washing machines. Whichever one he attempts to use is out of order, right up until he puts the clothes in another machine. This goes on for seven minutes, and the kids in the audience lose their minds laughing. I'm still hurting from the "no body fat" observation, so the charms of the skit elude me. 8:54 p.m. Enya is back, and this time she has a violin, so you know whatever is about to happen is going to be melancholy as all hell. We're back in Waz's dressing room, which I'm beginning to think is his apartment, because he starts watching 8 mm movies (who has a home- video projector in their dressing room, aside from Matt Lauer?). A tiny bicycle goes around the rim of the stage, riderless. It's surreal, but it brings me back into the story. According to the images in the video, Waz is reminiscing about his childhood and playing in the yard with his mother. In what becomes a beautifully realized, dreamlike segment, a BMX flatland rider performs a pas de deux with a ballet dancer. When she pirouettes, he spins on the bike's back tire. When she tour jetes, he hops. The cyclist has mad skills, and the audience hoots and hollers approval. 8:56 p.m. The Free Spirits are back. I don't know how they do it. They must be exhausted from so much "free spiriting," which is always a hyper gymnastic thing when it comes to Cirque. This time, they twist, swivel and sway on Swiss rings. Out of nowhere, two of them drop from the catwalk high above cords and begin bouncing around between the men on the Swiss rings. "You can really see the abs," Gary says. Somehow, I know he isn't talking about me. 9:07 p.m. The "Quid Pro Quo" TV show starts again, but Waz is not there. "Sting" is singing up a storm. 9:10 p.m. Intermission. 9:40 p.m. The show resumes. Waz wonders around. Two articulated ladders appear (the scene transitions in "Volta" are seamless), and two of the performers climb up and begin executing acrobatic figures, showing incredible strength. I begin to wonder how these athletes discovered they could do these feats when the Free Spirits begin stacking octagonal hoops and jumping through them - sometimes headfirst, sometimes feet first - and tumbling around the stage. I have no idea what is going on storywise, but this part of the show feels a lot looser and more improvised than the other bits. When an athlete misses the target and knocks over one of the hoops, he shrugs, and they set it up again and start over. It is ab-tastic. 9:59 p.m. OK, this is the part where I felt like I was in a Fellini film. Shood Kood Wood returns to do a comedy bit where he's in a jungle and comes upon a tropical plant. So, of course, he eats the plant and begins to - and mind you, he is acting this all out in mime - trip balls, rubbing his body in ecstasy. The kids in the audience seem totally hip to the humor. One of the hydraulic platforms rises from the stage, and Shood Kood Wood begins riding it like a surfboard and doing a sort of Maori haka war dance while wearing a loincloth. He flexes his buttocks and flashes the crowd (he's wearing sequined and bugle-beaded underwear). 10:06 p.m. A woman sits cross-legged on a cushion. Her hair is attached to a cord stretching to the top of the tent. Gary leans over and whispers, "Talk about a topknot." She is then levitated by the chord and begins swinging above us suspended by what appears to be her hair. The crowd goes bonkers. 10:12 p.m. There's a tribal drum solo - don't know what that's about - but then there are four more drummers, and the unicycle couple is back. This time, they mean business. Waz appears (where was Waz?) as the unicycle duo conduct a hand-to-hand balancing act teetering around the stage. 10:17 p.m. A twirler shows up and begins doing her act with three batons that light up. I have no clue what any of this means, anymore. I'm just rolling with it, kind of like Shood Kood Wood did back in the jungle (Molly humor!). Waz throws the twirler a fourth baton. I wonder if this is symbolic in some way. 10:20 p.m. No kidding. There is an interpretive ballet dance. 10:22 p.m. Waz finds acceptance, blue feathers and all. 10:24 p.m. It's the big BMX finale. Ramps are quickly assembled onstage (the transitions are truly impressive), and five riders begin executing bike tricks such as: the Superman (riders extend feet outward to resemble Superman in flight); Flair (a backflip with a 180- degree spin); Double Tail Whip (the rider throws the bike to one side, holding onto the handlebars and spins the bike's frame 360 degrees twice before catching the frame and standing on the pedals; Flip Whip (like a Double Tail Whip, but with a backward flip thrown in); and 720 (the rider does two 360-degree spins in a single jump). 10:30 p.m. The crowd loses it. The cast and their abs take well- deserved bows. { SOURCE: Rod Stafford Hagwood | https://goo.gl/mhx6eX } ------------------------------------------------------- LA NOUBA: Thank you for the thrills! {Jan.02.2018} ------------------------------------------------------- Three cheers to the cast and crew of "La Nouba," which after 19 years of thrills bowed out with a spectacular performance on New Year's Eve. Theatergoers were treated to a balloon drop at the show's finale ("La Nouba, 1998-2017" the balloons read, with "Goodbye" printed in multiple languages representing the performers' international backgrounds.) A souvenir "Au revoir" pin, depicting the show's distinctive white- tent theater, was also handed out to ticketholders. But the real treat, as always, was the show itself. The performers were on fire Sunday night as they nailed trick after trick, stunt after stunt and feat after feat - despite what must have been an emotional day for them. There was one heart-pounding miss - by a trapeze artist, who plummeted to the safety net below. But that provided a needed reminder that we're not watching child's play here. The artistry is heightened by the danger. And when the high-flying troupe repeated the move - with solid success - the Disney Springs theater practically shook with the crowd's roar of approval. A new Cirque-Disney collaboration is in the works, but I won't soon forget all that "La Nouba" brought to Orlando - partnerships with Orlando Ballet and Creative City Project were two of its most visible contributions. Thankfully, Benoit Jutras' soaring and pulsing music remains to remind us of this colorful, whimsical, exhilarating burst of creativity that added diversity to our entertainment landscape while reminding us to always dream big. { SOURCE: Orlando Sentinel | https://goo.gl/6NkfYY } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- HuffPo: Backstage at Kurios w/Nathan Dennis {Dec.04.2017} ------------------------------------------------------- For me, Cirque du Soleil is a celebration of life and its possibilities, a place where the impossible is possible. It opens my mind and fills my heart with wonder and imagination and leaves me feeling tremendously inspired. Whenever I see a show I ponder, "What would it be like to run away with the Cirque?" It was time to find out. I was excited to go behind the scenes at the big top in Vancouver with Nathan Dennis, 31, one of the 46 performers with Kurios - Cabinet of Curiosities, Cirque du Soleil's 35th production with 122 tour members from 23 different countries. Nathan, from Australia, is one of the acro-net artists and the performer trainer. He was leading a core training session with the contortionists and I was invited to join in. Although a little intimidated, I decided to go for it, after all when would I ever get the chance to train with Cirque artists again? I felt enormous next to the diminutive and graceful contortionists. Although they appear to be delicate, they are in fact, strong as steel. Nathan, with about zero percent body fat, led us through a series of core exercises. I was mostly able to keep up, surprising everyone, including myself. I guess being a Pilate's instructor helps. There was one exercise that eluded me: the hanging leg raise. Hands gripped overhead, hanging from a pull up bar you lift your legs, keeping them straight, and touch your toes to your hands. The contortionists, from Russia and Mongolia, did it effortlessly as if lifting a feather; I could only pull my knees to my chest. Backstage is not glamorous, just simple and practical. The area directly behind the stage is full of props and costumes. The main performance tent connects to a smaller backstage tent where the artists hang out. It has an area with a bouncy gymnastics floor, a trampoline, a trapeze, a large change room, a small weight room with a Pilates reformer, a living room area with a TV, a large sewing area, a banquet of mirrors with lights and an area for a massage therapy - artists have access to a half-hour massage each week. People are working out, rolling on foam rollers, doing their make-up (everyone does their own) and practicing routines. Wrapped in heating pads, the contortionists stretch under a heat lamp for an hour before each show. In a separate smaller tent there is a dining room where lunch and dinner are provided six days a week. Nathan is one of nine acro-net artists touring with Kurios. Acro-net is a fusion of trampoline and trapeze: an enormous net is stretched over the stage like a giant trampoline. Dressed in outlandish fish costumes, six team members stand along the edges of the net jumping in unison to propel one teammate at the centre of the net skywards, slingshot style, sometimes almost to the top of the tent. Each artist creating, sometimes death defying, acrobatic flips as they skyrocket upwards. As a child, Nathan was always involved in sports and got into trampoline at 10, "I always found it interesting watching people flip, I just wanted to learn it as a hobby, nothing serious." He likes that gymnastics is the "ultimate test to the human body." He started to get "kind of good at it" and began to compete. Then, at 13, he saw Cirque de Soleil and his mind was blown. He decided that it was what he wanted to do with his life. He realized that if he wanted to join Cirque he'd have to compete at a high level, so he started to focus on competing. "I never liked competing; it was never the fun thing for me, I was only doing it for Cirque." His mom has a cleaning business and his dad was a heavy machine operator. If he hadn't discovered Cirque he says he probably would have followed in his father's footsteps. At 21 he sent a video to the casting department, as is required, and was invited to audition. The audition was a full day affair. The first stage was flexibility and body control, while many were eliminated, he made it through. The second stage was acrobatic ability, handstands and trampoline, again he pulled through. For the final stage they brought in an acting coach and a choreographer. They tested their ability to act, sing (he had never sung in front of anyone before) and pick-up choreography quickly. He passed! "If you pass you get put on the database of approved candidates", explained Nathan, and then it's a waiting game for a contract fitting your profile. "It helps to be good at many things so you can fit into many roles". Some wait for years, but he got lucky and just four months later was recruited for Saltimbanco, which coincidentally was the first Cirque show he had seen. He stayed with Saltimbanco for six years and then moved to Kurios four years ago, when it was created. They were creating an all new acro-net segment which had never been done before, so they brought in artists to play and see what was possible. Nathan's not so much into crazy tricks but prefers to make them laugh, "We can do some crazy fish jumps in the air and the audience goes wild. I like those reactions more than the shock value of a crazy trick, I like more the laughter side of it." He never feels his life is on the line, "We rehearse constantly, it's just programmed into your body, you just go onstage in the right mindset and you're concentrated then you're fine. Everything's been triple checked." Artists are given a one-year contract, halfway through they're asked if they want to sign-on for another year. He's toured through Europe, Asia, North America and Australia. Cities that stand out for him are Chicago and Santa Monica. They usually spend 8 weeks per city, although it can vary depending on the market, "It's nice visiting all the cities, you get to live there for 8 weeks, so you get to experience the city for a good amount of time." They get one week off between cities and get sent home for two-weeks each year. Cirque will provide accommodation or they can take the money and rent their own, sometimes performers choose to share. His average day consists of getting up around 9am, going to Cross-fit or to the gym where he does cardio, resistance training and Olympic lifting to keep the body functioning well. "We've done the show 1,300 times so the body is adapted to that, you don't get more fit by doing the same thing everyday, so you have to mix it up and do new things". He works out around 2.5 hours a day, 4 to 5 days a week and they rehearse as a group on the acro-net twice a week. He hasn't had any injuries, his secret weapon: keeping the core strong. If he has muscle soreness, he's put on light duties or may take a little time off. He goes to the big top around 6pm, has dinner, warms-up and gets ready for their 7-minute routine. He also performs through-out the show in supporting roles. They do 8 to 10 shows a week and have Mondays off. Although he says physically he could continue, after 10 years, emotionally he's ready to move on. "Mentally I'm ready to move on, ready to have a life outside of work. The schedule is quite tough; it's Tuesday to Sunday working, you don't have a normal weekend like the rest of the people, it's just general life stuff." He's signed an 18-month contract for the Japan tour. Rehearsals start in January and the show opens in February. Then he's heading back to Brisbane, Australia to open his own gym. He says he'll feel relieved to settle in one place. "It's definitely something I'm glad that I did. I've become very worldly, I've met many people around the world and gotten to know different cultures. It's a good way to grow up, instead of being stuck in just one city, in one little life. I like meeting new people from different countries and working with them, learning new languages or a few bad words from them, it's fun." He laughs. "It's a nice way to grow up, a good way to spend your twenties." The main thing he will miss is connecting with the audience, "I remember when I first saw Cirque I was so impressed, it made me feel so happy to watch something like that, so just to be able to be onstage and give that to somebody else, that is the most rewarding aspect of it." Running away with the circus sounds as interesting and exciting as I expected, maybe in my next life. { SOURCE: Alejandra Aguirre, Huffington Post | https://goo.gl/sBjSyL } ------------------------------------------------------- Meet Paul Shihadeh, Bassist at "O" {Dec.05.2017} ------------------------------------------------------- Paul Shihadeh had been elevated to bass player's royalty in Edmonton before he split town in 2001. Oh, go ahead and make any joke you want. What do you call someone who hangs out with rock stars? A bass player. How do you know when a bassist is at your door? He rings the bell and still doesn't know when to come in. These work for drummers, too. Shihadeh's heard them all, and accepts his role as a fundament of rhythm section as a "privilege." He says, "What's the highlight of my career? I don't have that kind of name. I'm a bass player, but my feeling is that I'm proud to have been able to make a living playing music. That's the highlight of my career: My career. It's hard to do that." On a break from his job as the assistant music director and bassist of Cirque du Soleil's "O" show in Las Vegas, he plays a "Holiday Reunion" show at the Yardbird Suite on Thursday. All the old Droogs will be there. Shihadeh is what we call a "Heavy Cat." He went to the famed Berklee College of Music in Boston, and returned (with extra strings on his bass) to soon became Head of Bass at MacEwan University's music program. He toured the world with Roger Whittaker. He played in a local jazz fusion band. He could play whatever and with whomever he wanted. Shihadeh might still be here if he hadn't got the "itch." He and his wife Krista Monson, a choreographer, had an 18-month-old son when they decided to sell everything, quit their jobs and move to Los Angeles. They knew it would be hard, but reasoned that they probably wouldn't want to do it when they got old. It had to be now. "We just wanted to try it," Shihadeh says. "We loved in here in Edmonton, but there was that itch in the back of our minds: What would it be like to at least to experiment with a different market. How would we do? Would we like it? Would we be successful? Will we feel we achieved something? And we could always come back." No shame there, right? It helped he wasn't the only Edmonton musician who moved to L.A. to seek their fortune - or at least to make a living in music. Shihadeh's friend Bill Kole, a recording artist and producer active in Edmonton in the '70s and '80s, had been there since 1987. Bill helped his friend find a house in Simi Valley, a quiet little suburb close to downtown. Shihadeh also did studio work for Tim Feehan, who was famous in Edmonton for the band Footloose and rode to success in L.A. on the jet stream of professional hockey (a whole other story). From Shihadeh's first paying gig in L.A. giving lessons at a music store that paid a whole $12 (US after taxes), one music job led to another, and he wound up joining the "Canadian club." "You just start meeting all these Canadians, and everybody's all open arms down there, everybody I worked with was super cool," he says. "The Canadians wanted to bring me into their fold. You're here. We know what it's like. Let's stick together and make it happen." He learned a lot. He learned the place is teeming with Heavy Cats, and people skills count as much as knowing the right people - though if you have better people skills, the more people you're likely to know who like to work with you. "There are a lot of good players down there, and that was kind of an eye opener," Shihadeh says. "It was definitely a small fish in a big pond type of vibe. But when you're playing with great players, they make you sound great. They just bring this extra energy out from you, and they made me sound better than I actually am, and that was fantastic. Just the experience playing with heavy guys, and girls, is great for your creativity. You really figure out what you can do, how far you can stretch. It's an amazing experience. That's what L.A. gave me - but Edmonton prepared me." So they built a great life in Los Angeles, as they had in Edmonton. Then Krista got a gig with Cirque du Soleil as the artist director for O - and the family promptly moved to Las Vegas. Paul worked for another Cirque-ish-like show until he saw the job posting for "music director and bass player" for O. Obviously he was the perfect guy for the job (he'd auditioned for Cirque twice before), and they hired him. He stepped down to assistant MD after five years so he could play more, and finish his Master's degree, and he's been in Vegas ever since. Every night. Two shows a day, in fact, doing the same show, playing the same parts, for years on end. Wouldn't that drive you insane? Shihadeh says Cirque is always refining their shows (seven in Vegas alone), and do as much to keep it fresh and interesting for the performers as the audience. Besides, he says, "It's 1,800 people a night. Almost all the shows sell out. It's exciting, even if you've been doing it for X amount of years, you get out there and think, wow, all these people came out to see this. As an independent artist and musician you struggle to get 40 people out to your gig. It's a privilege." Shihadeh says he misses the rich arts scene and culture of Edmonton. Vegas doesn't have many festivals - because it's a gong show on the Strip 365 days a year. Fun for tourists, while most of the residents live in the sprawling city proper, far away from the casinos. Not a lot to do, though things are changing. "It seemed like Vegas was missing some stuff," Shihadeh says. "Now it's really growing. We have a hockey team now, a new baseball stadium, and we're probably going to get a pro football team. Not that I'm into sports, but those kind of things really bring a city together. That's a good thing. I'm happy about it." So will he be cheering for the Golden Knights? "No," he says. "I can't do it. I have to stick with the Oilers." { SOURCE: GigCity | https://goo.gl/z8smCh } ------------------------------------------------------- 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 } ------------------------------------------------------- Jennifer Marcus - VOLTA's World Champion Baton Twirler {Dec.13.2017} ------------------------------------------------------- World champion baton twirler Jennifer Marcus has returned to Miami this winter, but not because she's spending the holidays at her childhood home in Kendall. Instead, Marcus is back to dazzle audiences as a performer with the Cirque du Soleil show Volta. Marcus began baton-twirling at Miami's Heritage Elementary School, when her mom signed her up for the sport as an extracurricular activity. She continued throughout her time at Southwood Middle, Miami Palmetto High, and Florida State University, where she was a featured baton twirler. A successful Orlando audition with Cirque du Soleil in 2006 placed Marcus in the show's talent bank, and a decade later, when she was on her honeymoon in Hawaii, Cirque asked her to join the team. "It's a dream job as it is, and now that I'll get to perform in front of my family and friends when I grew up seeing [Cirque's] shows, it's a cliché, but it's a dream come true," Marcus says. "It's exhilarating and exciting, but it also makes me nervous because I want to impress everyone I love down here." Volta's tagline is "Find your free," and for Marcus, that's exactly what baton twirling has allowed her to do. "I found my free onstage by sharing and performing my sport," she says. Marcus performs a solo act in the show, but she is accustomed to taking center stage. The Miami native has twirled in competitions in 15 countries, and she has earned 33 world championship medals, 16 of which are gold. Though she loved twirling, Marcus always pictured herself as a writer. She majored in public relations and minored in journalism at FSU, where she also completed her master's in sports management. "The idea was probably to go into that field, but while still competing at the top level for Team USA, it wasn't possible to have my training schedule and travel the world," Marcus says. She had previously written travel stories and restaurant reviews, but she began working at Lululemon because the company was "really supportive" of her commitment to her sport. Now, as a Cirque performer, Marcus has a schedule that's no less hectic. When the show is touring, she's constantly on the road. After a short stint in South Florida, she'll leave again to travel around North America before heading overseas. Marcus now lives in Fort Lauderdale, but she's still a Miami girl at heart. In her spare time, she hopes to check out Wynwood Walls and visit some of her favorite restaurants and sites in Miami Beach and Brickell. "I've been on the road for the past year living in other cities, and it's been incredible, but there's no place like home, and this is home for me," Marcus says. "This is where my family is and all my favorite restaurants and coffee shops. I feel like I have a new appreciation of home by being away." { SOURCE: Miami New Times | https://goo.gl/6HrnyE } ------------------------------------------------------- Former FSU Marching Chief performs in VOLTA {Dec.26.2017} ------------------------------------------------------- Baton twirler Jennifer Marcus has always admired Cirque du Soleil's surreal and colorful shows. She was dazzled by La Nouba when she watched it at Orlando's Disney Springs. But beyond the vibrant stage decor and mesmerizing acts, Marcus was intrigued by the elite athletes who put on the show. Little did she know that one day, she'd become one of them. The Florida State University alumna is an athlete herself - a professional baton twirler. She twirled with the FSU Marching Chiefs for four years as an undergrad. She's also a world champion, having acquired 33 world championship medals, 16 gold. Eleven years ago, Marcus was performing at an international baton competition in Orlando when she was scouted by Cirque du Soleil who invited her to audition. Surprised and elated, she agreed. They then added her to the talent bank, since no spaces for baton twirlers were open at the time. Years went by, and Marcus forgot about that day. So much happened in the meantime: She continued competing, earned a master's in sports management, twirled at the Orlando Magic games with the step team, and worked for sportswear company LuLuLemon. And this past spring, she got married to her best friend. But her March honeymoon in Hawaii became even more memorable. The talent scouts called to offer her a job in Cirque du Soleil's show, "VOLTA." After her return to South Florida, the baton twirler packed her bags with warmer clothing. She was bound for Montreal two days later to start her new circus job. "I was always so fascinated watching those shows," Marcus said. "I can't believe I'm part of it." The newlywed did have her qualms about leaving her husband at home to join the circus - but, "everyone reminded me it was a once-in-a- lifetime opportunity," including him. The show is about a famous game-show host, Waz, "who has lost touch with his inner self in the pursuit of fame." Marcus, 33, plays one of the characters called "free spirits," which help Waz "open doors to his inner soul" he's long-since shut. The show follows his search for meaning and true identity. Warm amber color palettes blaze the stage along with a powerful score. Donned in a vibrant yellow costume laced with blue and red geometric patterns, Marcus twirls up to four light-up batons, showing Waz the magical world of her kind. Drummers float overhead, suspended, as the stage turns during her solo act. Marcus channels her own free spirit in the show. She joins unicycle riders and rope skippers, bungee jumpers and ballerinas, to weave a tale about being authentic to oneself. "I love performing and it's just so beautiful," Marcus said about the show. The cast is now in Miami, Marcus' hometown, for the next several weeks, performing the show. VOLTA is as vivid and dreamlike as any Cirque du Soleil show, with a theme of blazing one's own trail. The show is inspired by the fervent fury of action sports, bringing the speed of BMX riders indoors on stage ramps - one of Marcus' favorite scenes. The riders do back-flips and land close to the audience. She knows how capable they are, but, "It still makes me so nervous," she said with a laugh. For Marcus, those high-energy artists have become more than just fellow performers. "It really is a family," she said. Together, they train their bodies to withstand 10 performances per week and celebrate downtime by relaxing at a quaint coffee shop in whatever city they're performing. But her blood family is where she first kindled her passion for twirling. She comes from a clan of baton twirlers: Her mom is a master-level judge at world championships and regional competitions. She enrolled her sister in classes, and Marcus would pick up her baton and try her hand at it as a curious 3-year-old. Years later as adults, the duo would teach baton twirling clinics and classes together. On her own, Marcus loves practicing outdoors to catchy, upbeat tunes in the Top 100 list. Right now, her favorite is "Swish Swish" by Katy Perry and Portugal. The Man's "Feel it Still" - but anything by Bruno Mars or Taylor Swift she's fond of too. The twirler loves performing any trick with illusions and wields fire baton and fans. Coming from the world of competition, Marcus says she's had to come to terms with occasionally making mistakes. She's a performer who is hyper-aware of every movement, a quality that landed her all those medals. But when performing in VOLTA, she was too hard on herself - 10 performances a week likely will yield some mistakes. "Artists are going to make mistakes. It's OK, and you've got another show," they would tell her. She looks back on her journey, incredulous, as she remembers that fateful audition 11 years ago and where she is now. "It's definitely a dream come true," Marcus said. { SOURCE: Tallahassee Democrat | https://goo.gl/jV4AoS } ------------------------------------------------------- Storrington Gymnast Alanna Baker is Living the Dream {Dec.29.2017} ------------------------------------------------------- Storrington's Alanna Baker comes full circle when she realises her dream in the Royal Albert Hall. It was in the Albert Hall at the age of eight that she first watched a Cirque du Soleil show and decided Cirque du Soleil was exactly what she wanted to do. "My parents were like 'OK, well keep dreaming, you never know. Just keep dreaming.'" Now she is back in the Royal Albert Hall again, dream fulfilled, taking to the stage with Cirque Du Soleil's show Ovo (January 7-March 4). "I can't believe it! I am living the dream," says Alanna who is the show's only UK performer. Alanna joined the show in January 2013 and has worked her way up through the roles. She is now playing the Black Spider in the show, a celebration of nature and co-existence, with a cast of 50 performing artists from 17 different countries specialising in various acrobatics. "I have lived in Storrington my whole life and I have been a gymnast all my life, from the age of five. I started competing. It wasn't in the family. Me and my brother used to do handstands and cartwheels, and I suppose my parents thought 'OK, let's put this into something'. We were naturally a bit talented. And I just love it. It is so helpful in everyday life, to be a bit flexible, and I think it is just so beautiful to watch. To me, it is one of the most exciting things you can do and see. "I was competing until 2012. In 2011, I became the European champion, and in 2012, I was third in the world. I knew my competing career was coming to an end. We had won the Europeans. There was not a lot more than I wanted to achieve. I had done what I wanted." A talent scout for Cirque du Soleil approached her, and she went to Cirque du Soleil's international headquarters in Montreal where she did three months formation training - with no guarantee of a contract at the end of it. But she secured the contract, the only one of the three trainees to do so. "It is such an eye-opener. In competitions you are training every day for one particular competition or maybe for two or three competitions a year, always training in the build-up to the major events. But to be a performer you have got to be on your A game all the time. You could say that it is tougher in some ways, but I never feel like I am working. I am getting pleasure from doing what I love. I am living the dream at the age of 25." With Ovo, Alanna enjoyed working in Australia, Japan and Taipei on a big-top tour, which then reopened as an arena tour. "With the big-top tour you have a tent that you go into a city with and you set up, and you stay there for maybe three months. With the arena tour you go into the arenas." It is 50-50 which she enjoys more: "With the big-top you are outside. With the arenas, you don't actually feel like you see a lot of daylight." Either way she loves it, particularly with the New Year Royal Albert Hall stint: "It is going to be great." { SOURCE: West Sussex County Times | https://goo.gl/Et7afV } *************************************************************** SPECTACLE -- CRYSTAL in the Presse *************************************************************** ------------------------------------------------------- Cirque du Soleil Hits the Ice {Dec.06.2017} ------------------------------------------------------- Dazzling crowds since 1984, Cirque Du Soleil creates unique theatrical productions. With their newest show, Crystal, the group brings an entirely new type of experience to Worcester's DCU Center, 50 Foster St., Thursday-Sunday, Dec. 7-10. This time, the high-flying entertainment hits the ice. Julie Desmarais has worked with Cirque Du Soleil for seven years and the company spokesperson is well-suited for the current ice-centric production that hits the East Coast as the cold seasons begins, saying, "I like the cold, I think it's probably my favorite season." "Cirque Du Soleil is very special, it's very unique," said Desmarais. "It's been seven years and I've visited more than 40 countries. It's a big privilege to meet new people on a constant basis and work with incredible, talented, members of the tour. I feel very privileged." Combining Cirque Du Soleil's expectation-shattering production with acrobatics and ice skating, the show follows its namesake, Crystal, on a voyage of self-discovery. Falling through an icy pond while skating, she discovers a surreal world. "Crystal is a person that feels misunderstood," said Desmarais. "One night, she ventures out onto an icy pond and breaks through the ice. From there, she takes us to this world and discovers new possibilities." "It's our first ice experience," she continued. "The idea was in the back of their heads for many years and it was something they were looking into. The opportunity arose a little over a year ago. It's Cirque Du Soleil's 42nd performance. There was a lot of intake and seeing how we can incorporate the ice. We formed a creation team that started working on the idea. We conducted several workshops to see what we could bring on the ice while keeping safety in mind and what Cirque is known for." Crystal's creation team is diverse and in addition to the executive directing team of Yasmine Khalil and Daniel Fortin, there are the set, lighting, prop and costume design teams you may expect. However, this time around they also include skating performance designer Benjamin Agosto and synchronized skating designer Marilyn Langlois. Creating an entirely new experience is a big undertaking, if not one Cirque Du Soleil is singularly capable of achieving. "There are a lot of experts. We worked with various experts in their fields," said Desmarais. "There are 21 different designers and seven different coaches. There is a lot of different, new technology. Ice brings a new surface. It has reflectivity. We brought a series of projections on the ice as part of the story line. Our audience changes environments without changing space." To that end, the creative team found new ways to pull the audience into the experience. Main character Crystal brings the audience to a new world and the set design has to reflect that. "The idea was to recreate the surreal world she takes us to," said Desmarais. "There are a lot of interesting shapes and volumes. It's quite colorful. The Crystal character is in light and the reflection is a little darker - same costume, but everything is reversed." There are 40 artists and 17 skaters involved in the production, according to Desmarais. Safety, she said, is the team's number one concern and to facilitate a safe production, a number of new pieces of technology had to be developed. "Safety is our number one priority," she said. "There is some skating and some acrobatics with specific shoes. We developed shoes that had a combination of crampons and spikes. It allows them to stay grounded. It allows acrobats to run on the ice and do tumbling and handstands very safely. There is a lot of training involved in what the artists do. It also brings new opportunities for costumes and lighting. Our costumes are waterproof." Beyond the new experience and technology, the most important part of the production is what the audience takes home with them when the curtains close over the DCU Center ice. When asked about the takeaway of the show, Desmarais said, "I think, 'magic.' We take you on a journey for two hours and where you go to different scenes. I think everyone can see themselves in the character at some point, but also the experience and Cirque Du Soleil touch. I think we wanted to surprise our audiences with something new and bring a new feel." { SOURCE: Worcester Magazine | https://goo.gl/cZfZ4q } ------------------------------------------------------- Worcester, MA Gives CRYSTAL Four Stars! {Dec.08.2017} ------------------------------------------------------- There is no doubt that in its 30 plus years, Cirque du Soleil has become a brand name synonymous with lavish costumes, spectacle and amazing acrobatics blended with dance and other media. But with the ice show "Crystal," now playing at the DCU Center, the organization has found way to maintain that reputation while establishing a more solid footing in storytelling as concept performance art … plus blending in some seriously impressive skating, to boot. In "Crystal," the title character is portrayed primarily by skater Nobahar Dadui, but the show also features variants of the same character played by others from the ensemble (referred to as "Reflections") in areas of expertise which include acrobatics, skating, and, especially, the swinging trapeze. There are six scenes, or rather segments, encompassing the first "Act" which basically involves young Crystal, unhappy with her home life, beginning to skate along a frozen pond when the ice cracks and she falls through into the freezing water. As she succumbs, her imagination brings her to various places, and those she encounters there make her see she all the things she can be. The show's nine additional segments in the second "act" are a very emotional journey as Crystal and her "Reflections" meet extremely talented skaters, flyers, ice hockey acrobats, trapeze artists, jugglers and more. There is an impressive aerial straps act featuring music from "Amaluna," performed by the Valkyries. During the second act, members of the ensemble, comprised of world- class skaters and acrobats, pose as imaginary "Big City" businessmen, moving transparent panel sets and then stack chairs for a stunt that is thrilling. In the segment entitled "Juggling," a Juggler (Jorge Petit, of Chile) performs amazing tricks with other members of the ensemble, including a multi-talented "Comic Character" (Nathan Cooper) who also has numerous entertaining solo moments on the ice as Crystal's odyssey continues. In the act one finale 'Playground," a hockey game takes place where skaters indulge in amazing acrobatic stunts using ramps that transform into a life size pinball machine. As with most Cirque du Soleil shows, the pinnacle moments in "Crystal" are with the trapeze and hand-to-trapeze artists, who stun as the songs "Chandelier" by Sia and "Halo" by Beyonce are covered to perfection by the show's rock band, comprised of band leader and keyboard player Steven Bach, violinist Lucine Zirekyts and musician Camilo Motta. During the segment "Poles," which could easily be a reference to either of the North or South Poles, the synchronicity of the acrobats includes pole-to-pole jumps which are both suspenseful and breathtaking. This is followed by the segment "Tap Dance" which is just pure fun as four of the ensemble break the fourth wall and simply engage in a competition for the audience. In the segment entitled "Ballroom," Crystal is literally held, elevated, tossed about and returned to earth in a beautifully choreographed aerial straps and skating pas de deux. It is during this and the subsequent "Reflections Clump" scene where Crystal's journey reaches its stunning visual climax as acrobatics and skating merge with brilliant results. The show never loses focus and maintains a high energy level throughout. Lighting and other technical wizardry used in the production is also used to great effect. The show is so methodically mapped out, the pacing is absolutely exquisite. Coming to the peak of the holiday season, the show is the perfect winter spectacle for families to enjoy. The show runs two hours and 15 minutes with a 20 minute intermission. { SOURCE: Worcester Telegram } ------------------------------------------------------- Montreal Gazette: "Crystal puts Cirque on Ice" {Dec.16.2017} ------------------------------------------------------- In discussions a few weeks back with the cast and crew of Crystal at the Sears Centre in the Chicago suburb of Hoffman Estates, every single person connected with the new Cirque du Soleil show very quickly got to the topic of ice. Crystal, which is set to be performed at the Bell Centre from Dec. 20 to 31, has many familiar elements from the Cirque catalogue, including juggling, swinging trapeze, pole numbers and eye-catching aerial numbers. But there's no escaping the main difference between Crystal and every other Cirque show: this one takes place on an NHL-sized rink. The Cirque took Crystal on the road to secondary markets in the U.S. in the fall to get ready for its Quebec première, with performances in Lafayette, La.; San Antonio, Texas; Little Rock, Ark.; St. Charles, Mo.; Minneapolis and Hoffman Estates. It premièred in la belle province Wednesday, at Centre Vidéotron in Quebec City. "I think the challenge for us was to tame the element of the ice," said Fabrice Lemire, Crystal's artistic director, sitting in the stands of the Sears Centre just hours before a performance of the show there. "Understanding what kind of discipline we can bring into this element. "We also had to find acrobats who are willing to learn about the ice - to not only learn to be comfortable in their own discipline, but also to learn how to skate. Because all the performers in the show will at one point be on skates. It doesn't mean they'll do the entire show on skates, but the acrobats are required to learn skating skills." How different is Crystal? Well, even the clown, who does some juggling, is on skates. Eighteen of the 40 performers are professional skaters, and the other 22 are acrobats. Lemire figures about 10 of the acrobats had some kind of skating skills before joining the show. The Cirque brought in some high-powered talent to help with on-ice technique, including four-time Canadian figure-skating champ Kurt Browning. Emma Stones, one of the acrobats in Crystal, hails from Whitby, Ont., so perhaps unsurprisingly she already had some skating skills. But the École nationale de cirque graduate said working on the ice for Crystal was a whole new ball game. She does her swinging trapeze number wearing skates. "It was a huge challenge at first because it changes a lot about weight and timing," said Stones. "You're used to your own body and feeling how your own body moves. Having the skates on, it adds this other weight that you're not used to. Also, the fact that there's a blade, it changes the way you balance on a trapeze, the way you feel on a trapeze. We're used to using our feet and feeling everything. So in the first weeks and months of training, it was really a whole new adaptation. "I found it fun, because we're used to doing the same tricks over and over again. The fact that we added a new element was a new challenge. It was like learning a new way to do what I've done for so long. … I've never had ice as an element in the performance world, and so just the fact that our stage is ice changes everything for us. We're so used to using the ground. Having the skates on for trapeze, it completely changes the way we do trapeze." Perhaps it could be dangerous to perform high-wire acrobatics with sharp blades on the bottom of your feet. "A lot of people ask me that, but knock on wood, so far our feet tend to stay away from our face," replied Stones. "So far, so good." When I first talked to Crystal co-directors Sébastien Soldevila and Shana Carroll in September, at a media preview of the show at the JC Perreault sports complex in St-Roch-de-l'Achigan in the Lanaudière region, they were a little taken aback when I told them grumblers were already dissing the show on social media. The Twitter complainers were comparing it to Disney on Ice and suggesting the Cirque was making a desperate attempt to grab a piece of the lucrative kids' ice-show business. At the Sears Centre, Carroll said their hope is that Crystal will be very different from those Disney-style shows. She said they're innovating and trying to revolutionize ice shows the way the Cirque revolutionized traditional circus when it started wowing audiences in the mid-'80s. "There are people doing innovative ice shows," said Carroll. "But more often there's an ice-show format - there's a formula. The point of this show is to not fall into any formula and create a whole new form. One of our goals was, people who love skating would love the show but people who don't like skating would love the show. We wanted to transcend any of the expectations." There is a story to Crystal, as much as any Cirque du Soleil production has a story. It focuses on a young woman named Crystal who feels alone and misunderstood. One day, while strolling on a frozen pond, she falls through the ice and ends up in an imaginary parallel world, where she meets a reflection of herself. Need I tell you that she ends up learning some important lessons about trusting her inner creativity? In short, it's a long way from Disney on Ice. "I believe the story has a depth and a relate-ability for both adults and children. Whereas Disney on Ice, I brought my child there and she loved it, but I felt more like accompanying my child but I wasn't myself having a great cultural experience," said Carroll. "I think this works on both levels. On the one hand, there's something the children might respond to, and on the other hand, it's a very artsy, beautiful show that adults respond to." * * * Finding the right footwear was a challenge for Crystal's team. Julie O'Brien, head of wardrobe for the Cirque du Soleil ice show Crystal, notes that her department takes care of everything from wigs to costumes to shoes. In the case of Crystal, the footwear includes skates. In the show, the performers wear figure skates, ice-dance skates and hockey skates. Each artist has three or four costumes, and there are lots of quick changes throughout the show. All costumes come with full-length zips that run from ankle to ankle, which allows the performers to change out of them without taking off their skates. Shoes were a challenge for the wardrobe department, because they had to be suited to walking on ice. The Cirque produces its own shoes, churning out some 1,200 pairs in its Montreal workshop every year, and they are adapted to each show. The dilemma was the shoes had to have something metallic on the soles to dig into the ice, but the performers often land on one another's hands, so they had to come up with something that wouldn't cause injuries. "I've done shoes before, but it's very difficult with ice," said O'Brien, who has worked in the London theatre scene for 20 years. "I really had to think outside the box. It's completely different. With Cirque, our No. 1 priority is safety. They need to be stable, but we also need the performers not to be stabbed. It was a big challenge to figure out how to do it. We don't want anyone to be hurt." The performers also have gloves with a piece of Velcro across the palm, and a plastic plate that has crampons attached so that they can put their hands right on the ice and breakdance. { SOURCE: Brendan Kelly, Montreal Gazette | https://goo.gl/bwq46K } ------------------------------------------------------- Topeka artist paints CRYSTAL mural to promote show {Dec.17.2017} ------------------------------------------------------- As Sara Myer crouched to add another layer of paint to her towering mural, the wind and leaves whipped viciously around her. She wore a pair of painter's pants covered in color from earlier projects, a heavy down jacket, a backward baseball hat and black aviator sunglasses to keep the wind and sun out of her eyes. At this point in early December, Myer had put about 60 hours toward her project - a towering 30-foot by 12-foot mural along the side of Kaw River Rustics in the NOTO Arts District (901 N Kansas Ave in North Topeka). The wall has been transformed into a sparkling skyline to promote Cirque du Soleil Crystal, an ice skating and acrobatics show coming Jan. 24-28 to the Kansas Expocentre. Myer is the resident designer at the Topeka Civic Theatre and is no stranger to painting large scenes. Painting the entire side of a building in December, however, held its own set of challenges. "I was afraid, because at the bottom of the wall some of the paint had chipped away, so I tried to powerwash it to try and get it more like a usable canvas," Myer said. "But it really wasn't nearly as bad as I thought it would be, so the paint has been taking to it really well. That's the one thing I was really fearing, because I thought I would have to fight the conditions and fight the material, but it wasn't like that at all." The inspiration for the mural was to provide a photo spot for visitors to take a selfie, while making it look like the person was breaking through the ice crystals. Myer and Allie Manning, marketing director of the Kansas Expocentre, worked out the details of the design after Manning saw similar murals in Nashville, Tenn. "We wanted to make it something for Topeka to be proud of and want to share with their friends," Manning said. "When we walked by this one in Nashville, it had these massive wings, and there were literally 50 people waiting in line to take a picture with this mural, and I thought it was just the coolest thing." To create the design for the mural, Myer found inspiration from watching past shows, and said the idea was always to portray someone breaking through the ice - it was just deciding on the best way to make it happen. She also wanted to customize it to Topeka, so she switched out the skyline used in Cirque's promotional materials for one she thought Topekans might recognize. "Their main concern was more say on the placement of the words," Myer explained of the approval process. "If it would be centered, that sort of thing. But they let me have a lot of artistic freedom." Myer said the mural is timeless for Topeka - it doesn't have a date to age the painting - but with time, hopefully, locals will reflect back on the time Cirque du Soleil brought its crystal show to town. While Cirque has performed a variety of these types of shows, Manning said this is the first show of this type to ever be done on ice, and the first time this particular show is making its way to Topeka. "They have professional rollerbladers that have never skated on ice before and had to completely relearn their craft," she said of some of the entertainers. Manning continued, explaining the trapeze artists hanging from the ceiling, skaters flipping through the air, acrobatic elements and a handful of other aspects of the show left her in awe. "You think you can imagine what the show is going to be like, but it's so beyond what you can even imagine - it's incredible," Manning said. { SOURCE: The Topeka Capital-Journal | https://goo.gl/ydQPTR } ------------------------------------------------------- Review of CRYSTAL's Gala Premiere in Montreal! {Dec.21.2017} ------------------------------------------------------- Crystal, which had its premiere at the Bell Centre Wednesday night and continues until Dec. 31, is a lot of fun, effortlessly blending the eye-popping acrobatics of the Cirque with the blade action of an ice show. But as so often happens with a blend of two genres, the end result leaves you a little unsatisfied. It's an ingenuous mix of the two forms, but it's neither the best of the Cirque nor the best of the ice-skating game. In some ways, it may be a sign of the new Cirque, a live-entertainment company that now has newish corporate owners who are undoubtedly going to be more demanding about nabbing strong returns every quarter. There's a jarring moment near the end of the first half, when Crystal, portrayed by Canadian performer Nobahar Dadui, comes out on the ice sporting a red Canadiens sweater. It is during the hockey sequence that is the climax of Act 1, an inspirational choreography that features skaters flying over skateboard-like ramps and generally creating much excitement. It's a blast. It's one of the stronger moments in Crystal, but still. Crystal is wearing a Habs jersey! Think about it for a sec. This is what the Cirque has become. It's cross-promotion, baby. Yeah, the sweater elicited a big cheer from the generally very enthused Bell Centre crowd, so clearly marketing-wise the Cirque team made the right choice. But it's a clear-cut sign of the new more commercial Cirque. This would've been unimaginable 10 years ago. Co-directors Shana Carroll and Sébastien Soldevila have been at pains to distance themselves from Disney on Ice, but clearly they'd like to scoop up some of that audience with this show. Don't get me wrong. Crystal is way more artistically challenging and poetic than a Disney ice show, but the Cirque most definitely wants to pull in the kids and the adults with this. There are also pop songs here, a first for a Cirque show that's not a tribute to a pop star like Michael Jackson or The Beatles. There are hits from Sia, Beyoncé and U2, sung by Quebec artists, and once again it's a long way from the electro-tinged world music with made-up languages that was the standard Cirque soundtrack back in the day. In addition, much of the music is pre-recorded, another change, though there are three live musicians playing keyboards, violin, wind instruments and guitar who actually appear on stage on-and-0ff over the course of the soirée. The show starts slowly, setting the stage for Crystal's story, and there's a notable lack of wow moments in the early going. The first half only really comes to life with the aforementioned hockey sequence. The second section works much better, from the sequence with Crystal stuck in a maze to an amazing swinging-pole routine. There's a hugely entertaining tap-dancing on skates sequence and then comes the most moving moment of the night, an aerial straps pas de deux performed to the tune of Beyoncé's Halo (sung with verve by Gabrielle Shonk) with French acrobat Jérôme Sordillon literally sweeping Crystal off her feet (or rather off her skates). It's a thing of beauty. It all winds down with the entire cast coming back to whoop up with a little help from U2's Beautiful Day and as you watch that, you can't help thinking you're watching a whole new Cirque. Cirque founder and former owner Guy Laliberté was buddies with Bono and the U2 boys, but their songs never appeared in the Cirque's shows. But the Cirque circa 2017 isn't above using big pop hits to pull in the crowds. { SOURCE: Brendan Kelley, Montreal Gazette | https://goo.gl/vxkMXL } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia, Totem & Volta} o) ARENA - In Stadium-like venues {TORUK, OVO, Séptimo Día, Crystal & Corteo} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA} 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: Rio de Janeiro, BR -- Dec 28, 2017 to Jan 21, 2018 Rosario, AR -- Feb 14, 2018 to Feb 28, 2018 Buenos Aires, AR -- Mar 15, 2018 to Apr 1, 2018 Cordoba, AR -- Apr 16, 2018 to Apr 29, 2018 Santiago, CL -- May 31, 2018 to Jun 14, 2018 Lima, PE -- Jul 22, 2018 to Aug 12, 2018 Koozå: Beijing, CN -- Dec 15, 2017 to Feb 11, 2018 Senzhen, CN -- TBA 2018 Hong Kong, CN -- TBA 2018 China City #5 -- TBA 2018 Kurios: 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 18, 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 11, 2018 Barcelona, ES -- Mar 23, 2018 to May 6, 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 ------------------------------------ TORUK - The First Flight: Dubai, UAE -- Jan 4, 2018 to Jan 16, 2018 Sanya, CN -- Feb 1, 2018 to Mar 15, 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 Pamplona, ES -- Feb 6, 2019 - Feb 10, 2019 Bangkok, TH -- TBA 2018 OVO: London, UK -- Jan 7, 2018 to Mar 4, 2018 Antwerp, BE -- Mar 8, 2018 to Mar 11, 2018 Hanover, DE -- Mar 14, 2018 to Mar 18, 2018 Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018 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 Ekaterinburg, RU -- Jun 6, 2018 to Jun 10, 2018 Sochi, RU -- Jul 12, 2018 to Jul 29, 2018 Liverpool, UK -- Aug 16, 2018 to Aug 19, 2018 Sheffield, UK -- Aug 22, 2018 to Aug 26, 2018 Newcastle, UK -- Aug 29, 2018 to Sep 2, 2018 Glasgow, UK -- Sep 5, 2018 to Sep 9, 2018 Nottingham, UK -- Sep 12, 2018 to Sep 16, 2018 Leeds, UK -- Sep 19, 2018 to Sep 23, 2018 Manchester, UK -- Sep 26, 2018 to Sep 30, 2018 Birmingham, UK -- Oct 3, 2018 to Oct 7, 2018 Dublin, IE -- Oct 10, 2018 to Oct 14, 2018 Belfast, IE -- Oct 17, 2018 to Oct 21, 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 A Coruna, ES -- Dec 21, 2018 to Dec 30, 2018 SÉPTIMO DÍA - NO DESCANSARÉ: 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) -- Apr 28, 2018 to Apr 22, 2018 Inglewood, CA (Los Angeles) -- May 3, 2018 to May 6, 2018 Asuncion, PY -- June 2018 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 Extra Performance Dates: o Fri, Jan 26, 2018 | $35 Dress Rehearsal @ 7:00 p.m. o Fri, Feb 02, 2018 o Mon, Dec 31, 2018 | 4:30 p.m. & 7:00 p.m. Single Show Dates (7:00pm Only): o Wednesday, Mar. 7. 2018 o Thursday, Mar. 8, 2018 o Sunday, May 20, 2018 o Thursday, May 24, 2018 o Monday, Nov. 26, 2018 o Thursday, Nov. 29, 2018 2018 Dark Dates: o Wednesday, Jan 3, 2018 o January 13 thru 24, 2018 o Sunday, Feb 4, 2018 o Wednesday, Mar 14, 2018 o Wednesday, Apr 11, 2018 o June 2 thru June 6, 2018 o Saturday, Sep 29, 2018 o October 27 thru 31, 2018 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm Special Performance Dates: o Tues, Feb 20 - 7:00pm & 9:30pm o Tues, Jul 17 - 7:00pm & 9:30pm o Tues, Oct 09 - 7:00pm & 9:30pm o Tues, Dec 11 - 9:30pm only o Mond, Dec 31 - 4:00pm & 6:30pm 2018 Dark Dates: o February 4 o March 2, 5 - 13 o June 2 & 3 o August 6 - 14 o September 16 o Novvember 26 - December 11 o December 27 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 Two Shows Nightly - 7:00pm and 9:30pm 2018 Dark Dates: o January 3, 4, 10, 11 o January 17 - February 4 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 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 > o) EPISODE 13 - "O" {Dec.08} Head Backstage and Experience an Aquatic Masterpiece. Weaving a tapestry of artistry, surrealism and theatrical romance, 'O' pays tribute to the beauty of theatre. Inspired by the concept of infinity and the elegance of water, world-class acrobats, synchronized swimmers and divers create a breathtaking experience. Only at Bellagio, Las Vegas. LINK /// < https://www.youtube.com/watch?v=q9o_oNV_5TM > o) EPISODE 14 - MYSTERE {Dec.21} Laugh along with life. Inside the imagination is a playful place to be. This world is a jaunty, music-stuffed adventure bright with color, athleticism and bubbly buddies. Silliness, insane acrobatics, and gut-busting gags abound. It's a joyous funhouse... and you're at the front door. Knock, knock... Who's there? MYSTERE. Discover the lighter side of life, exclusively at Treasure Island, Las Vegas. LINK /// < https://youtu.be/BYh0DkiBp38 > o) EPISODE 15 - CRYSTAL {Dec.22} Crystal is not just an ice show, it's the very first experience on ice from Cirque du Soleil. Watch world-class ice skaters and acrobats claim their new frozen playground with speed and fluidity as they challenge the laws of gravity with never-before-seen acrobatics. A new kind of performance as Cirque du Soleil meets the ice to defy all expectations. Follow Crystal, our lead character, on an exhilarating tale of self-discovery as she dives into a world of her own imagination. Feel the adrenaline as she soars through this surreal world at high speed to become what she was always destined to be: confident, liberated, empowered. LINK /// < https://youtu.be/lE7YNWN-0xg > *) 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 > o) EPISODE 4 - Setting the World {Dec.06} LINK /// < https://youtu.be/pLPJaj9Tc30 > o) EPISODE 5 - The Final Touches {Dec.13} LINK /// < https://youtu.be/kSO-WkLp87Y > o) EPISODE 6 - The Mystery Island {Dec.19} LINK /// < https://youtu.be/qpKYhN7THS8 > o) THE NEW CRYSTAL TRAILER {Dec.20} LINK /// < https://youtu.be/Ig2gKhoGbDk > o) LIVE AT THE WORLD PREMIERE {Dec.20} LINK /// < https://youtu.be/Adnu1ctsYiI > *) 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 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 > o) EPISODE 8 - Rocking Costume and Wardrobe {Dec.10} Micaela Tetamanti is the wardrobe dresser of Soda Stereo Sep7imo Dia and is always there for when the performers go through their multiple costume design and wardrobe changes. LINK /// < https://youtu.be/rTyR7T5Nuxs > o) EPISODE 9 - Septimo Dia is just one Big Party {Dec.17} Meet our Wardrobe and Props assistants that keep the vibrant party alive! LINK /// < https://youtu.be/PgwkGgAN0Yw > *) OVO ON TOUR o) EPISODE 1 - Get Up Close and Personal {Jan.05} OVO has 100 people from 21 different countries, working closely together to create a unique experience. Get a glimpse of what it's like to be on tour with OVO by Cirque du Soleil and come behind the scenes to meet the artists who contribute to creating this amazing show night after night! LINK /// < https://youtu.be/PDoStucwT6g > *) MUSIC VIDEO w/LYRICS 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 LINK /// < https://youtu.be/BzAtsw0Ych8 > o) VAREKAI - "Vocea" {Dec.19} Napred da hodis mcloh Certozité bezmalvina Nétadnotoh poznayé Svéta da obnavim luna S'douh pleumen vâ garditéna Da polétim da heudim smé Svéta da obnavim luna Hât vibri nad monité dzan zfi Nad monité Napred da hodi mélo (repeat 3 times) Certozidézda Napred da hodis mcloh Certozité bezmalvina Nétadnotoh poznayé Svéta da obnavim luna Napred da hodi mélo Certozidézda Napred da hodis mcloh Certozité bezmalvina Nétadnotoh poznayé Svéta da obnavim lunaq LINK /// < https://youtu.be/P2HrOPWBfb0 > --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- *) AMALUNA FEATURE FRIDAY o) Meet the Banquine artists https://www.facebook.com/Amaluna/videos/1741078319286793/ o) Meet the Performance Medicine Team https://www.facebook.com/Amaluna/videos/1741078319286793/ o) Meet the Rigging Crew https://www.facebook.com/Amaluna/videos/1749112878483337/ o) Meet the Sales & Customer Experience Team https://www.facebook.com/Amaluna/videos/1755268457867779/ *) OTHER CIRQUE VIDEOS o) BEHIND THE SCENES OF VOLTA {Dec.14} Go behind the scenes with the incredible backstage photo shoot that created the amazing VOLTA images that you are seeing today! LINK /// < https://youtu.be/tyKpstvjRFM > o) 21 DAYS OF CIRQUEWAY {Dec.25} Celebrate 21 days of CirqueWay festivities with us as we feature a different Cirque du Soleil show every day. How are you celebrating this Holiday, the CirqueWay? LINK /// < https://youtu.be/YRjagi3YZT8 > o) CRYSTAL: Watch Nobahar as she shares her backstage life LINK /// < https://goo.gl/xS9x4x > o) WWE & WWE NXT Superstars become Circus Performers? {Dec.27} From aerial silks to hoops and trampoline wall to juggling, in this episode of #Cirqueshop, we give famous WWE and WWE NXT Superstars and Wrestlers some Circus lessons in Juggling, acrobatics, and gymnastics at the La Nouba stage in Orlando, Florida. How will they fare with their new stunts? WWE and WWE NXT Superstars include: Sonya Deville, Kassius Ohno, Mandy Rose, No Way Jose, Fabian Aichner, Scott Garland, Ember Moon, Montez Ford, and Angel Dawkins. LINK /// < https://youtu.be/uqaMPdVsI20 > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "O" is Beautiful, Even on the Small Screen - A look at the ARTE broadcast of "O" By: Keith Johnson - Seattle, Washington (USA) o) "We're Off and Running - A Series of Classic Critiques" Part 9 of 16: Alegria, Part 2 (1995) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "O" is Beautiful, Even on the Small Screen - A look at the ARTE broadcast of "O" By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------------ Though Cirque du Soleil's big top shows have a pretty good track record of being preserved on video (and of late have been getting even faster, witness DVD's of Toruk, The First Flight and Luzia), the same can't be said of their resident shows. For the longest time fans assumed that Cirque's contract with the host properties meant there could be no recording or broadcast. Then in November, 2004, a fully-recorded version of La Nouba, Cirque's resident show in Orlando at Walt Disney World was put on sale. (It was also broadcast, in April, 2005, on the US cultural network Bravo (where Cirque had a broadcast contract at the time)). The resultant video release gave fans a glimmer of hope that more resident show recordings might be forthcoming. In 2007, news of KÀ being filmed rocked the fan world. While several Las Vegas Cirque productions had been rumored in the past to have been filmed in their entirety, nothing had ever been broadcast. The resulting production airing on the European cable network ARTE was a ground-breaker. Not only was it the entire production, but it was also accompanied by a 90-minute behind-the-scenes documentary meant to run in sync with the program through ARTE's website. (And by way of completeness, Editor Ricky also notes that Amaluna also aired, in a 50-minute version, on ARTE in May, 2013.) We have asked about the "policy" (and its notable exceptions) in our exclusive interviews with two Cirque executives. In our 2010 conversation with Daniel Lamarre, CEO of Cirque (available here < http://www.cirquefascination.com/?p=1923 >) he addressed the issue with these words. "It's not by contract, it's more the philosophical approach of the casino. They're afraid we will lose clientele, which as a matter of fact, is totally contrary [to what we've found]. Because when we put our shows on video it entices people to come to the show." A later conversation with Jerry Nadal, VP of the Resident Shows division (found here < http://www.cirquefascination.com/?p=2283 > gave us more insight and filled in details on the exceptions. "[The contracts] don't forbid it, but they have exclusivity. And we've never felt there was value [in doing a video]. And the casinos didn't feel that there was a value in broadcasting the show or making it available. They wanted that exclusivity, that if you want to see it you have to come [to Las Vegas] to see it." In the case of the Disney World-based La Nouba, (benefiting from its non-casino based location) recording and broadcasting the show had a positive effect. "[As opposed to Las Vegas] you're going down [to Orlando] with a different mindset; you're going down there for the theme parks and everything. Because of our deal with Bravo at the time [after the broadcast of La Nouba in April of 2005] we actually saw an increase [in sales]. People would say they saw it on TV and it was something that interested them. It did [increase sales] and we've said that to people. But the hotels say they want to maintain that exclusivity and we don't have a problem with that." So how does that policy square with the broadcast of KÀ on ARTE-TV back in late December of 2008? "It was an opportunity that came to us from the TV station; they asked to do it. It was [broadcast] over two nights over a holiday period. One night was [the show] and one night was behind-the-scenes. We thought it was a good opportunity. At the time because of the growing international market we thought there was great value in showing what was there, the size and scale of it, because what we've had through Europe have been touring shows. So we thought there would be good value there. And we knew that through social media and YouTube there would be chunks that would end up making the rounds. I don't think it's hurt the show at all." That idea of introducing Europeans to the grand scope and larger size of the Las Vegas resident Cirque shows continues, as ten years on the world is rocked again, as ARTE-TV (Association Relative à la Télévision Européenne, a French-German TV network, www.arte.tv) has filmed and broadcast "O," what some fans testify is the pinnacle of Cirque's creativity. Filmed in October 2017 at the Bellagio Hotel and Casino in Las Vegas, the show was first broadcast on December 26, 2017, and put online as a stream soon after. Now, before reading further - Stop. Go check it out (if it's still possible). You'll thank me later. It's available in two languages, either German or French (which really only matters during the introduction). For German go to: < https://arteconcert- a.akamaihd.net/am/concert/076000/076600/076634-000-A_SQ_0_VOA- STA_03416125_MP4-2200_AMM-CONCERT-NEXT_syEh1Kq24F.mp4 > For French go to: < https://arteconcert- a.akamaihd.net/am/concert/076000/076600/076634-000-A_SQ_0_VF- STF_03416121_MP4-2200_AMM-CONCERT-NEXT_syDs1Kq0Gi.mp4 > If you can download it, do so. Right now. Don't hesitate! Do it!! And, as an additional bonus, while you're thinking of it, also download the "Behind The Scenes" video that accompanies the broadcast! For German go to : < https://arteconcert- a.akamaihd.net/am/concert/079000/079600/079669-000-A_SQ_0_VO- STA_03416109_MP4-2200_AMM-CONCERT-NEXT_syCu1Kpzjs.mp4 > For French go to: < https://arteconcert- a.akamaihd.net/am/concert/079000/079600/079669-000-A_SQ_0_VO- STF_03416105_MP4-2200_AMM-CONCERT-NEXT_syCr1Kpzds.mp4 > Got both nestled safely on your hard drive? Ok, we can proceed. Let's talk about the "Behind The Scenes" featurette first. Its 6:45 long, with the same technical specs as the full show (which we discuss below). It includes interview bits with the following: o) Daniel Lamarre - CEO (speaking English) o) Gabriel Pinkstone - VP, Show Quality (English) o) Jerry Nadal - VP, Resident Shows (English) o) Benoit Jutras - "O" Composer (French) o) Katy Savoie - Synchronized swimmer and coach (French) o) Dominique Lemieux - Costume Designer (French) Other than the interviews, there are very few shots presented here that aren't in the show, though most of the new shots are from underwater showing divers helping artists, and are interesting in that regard. Other than extolling the virtues of "O" in the pantheon of Cirque shows, there is not much new info for Cirque fans. Though in discussing why the show has such a strong reputation, Mr. Nadal points out that after Bellagio opened in 1998 there were no new casino properties opening for another 3 years. This gave "O" three years as 'the new shiny object' on the strip and allowed it to build its reputation uninterrupted. Three of the interviewees speak French, so I can't tell what they're saying (anybody want to translate?) It's interesting to note that, despite ARTE being a French-German collaboration, Lamarre and Pinkstone don't also speak French in the piece. So, after that "pre-show animation" how is the actual show recording? The resultant MP4 program is 1.5 GIGS of data, for a total running time of 93 ½ minutes. It is in pretty good quality for a download, measuring 1280 frames wide by 720 frames high (called "720"), with a transfer rate of 2.3 megabits per second. The audio is also not shabby, with a transfer rate of 125 kilobits per second. Okay, enough about the specs, how is the program? Pretty much the entire show from start to finish! But first you must sit through two minutes of introduction, in German or French. Introducing Vegas, the various Cirque shows, and the importance of "O" in Cirque's inventory. The show then begins with the pre-show animation, where an "innocent" audience member is plucked from the audience to become part of "O"'s world. Other filmed Cirque productions generally pick up after pre-show animation and warnings, as the show really begins. But here it is important to understand the character Guifà's (Philemon) part in the story of the show. He is seduced by his beauty Aurora, and is escorted to the stage to read the warning announcements, before being lifted into "O"'s watery world. From what I can remember, including warning announcements in a show video hasn't been done before. The show then begins, and from what I can tell includes all the acts in their regular order over the following 83 ½ minutes, though there may have been some small cuts. (Editor Ricky noted that the cadre act (Zebras on a tilting grid of squares) is not the full act, as some choreography, including walking upside down on the apparatus, was missing here.) The show is well-lit and bright, and the high detail of the download is better than the KÀ recording (placed online in a lower definition "480" format), or nearly any other "unofficial" resident show recording to make the rounds of fannish circles. Unlike other Cirque videos, once the show proper starts there are next to no audience reaction shots. Once you enter the world of "O" you are submerged for the duration. A number of camera angles capture the action, including from the sides of the stage, behind the stage, from high in the rafters, even occasional underwater shots. The shots tend to be rather quick, which can cause a disruption in following the action. The director, Benoît Giguère, invites us deeper into the many storylines by focusing on small bits of character action in between individual tricks or larger stage actions. The camera will focus on the Zebras, or the Comets, or Eugen, who will have some small bit of business or a reaction, but it adds so much to the show. I see things here I have not noticed in our viewings of the show. (And new bits, like Eugen holding up a cell-phone-photo-encouraging "Photo Op" sign during the curtain call.) I looked carefully for edit points, where they could trim in order to make a 90-minute runtime. I couldn't find any, even in the two clown interludes which look to be presented in their entirety. It would have been very easy to eliminate one of those completely in order to save time. Yet here they are. In an interesting twist, the credits are presented in English. Though it would have been nice if the artists had been referenced by their main act or character name rather than in one lump as they are here. An artist with the show mentioned online that there were several "regulars" who were not performing when the show was recorded, but it didn't look to us to have affected the show. The sheer beauty that is "O" is well preserved here. The director, Benoît Giguère and Producer Sébastien Ouimet (who also produced the Toruk, The First Flight video), and the rest of the team at Cirque du Soleil Images are to be commended. Though I don't expect it to be available on DVD or Blu-Ray anytime soon, it will be available in fannish circles for years to come. You got your copy while you were reading this - didn't you? ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 9 of 16: Alegria, Part 2 (1995) 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 1995's reviews of Alegria. # # # THE CIRQUE CALL OF LIFE By: Jan Herman | LA Times January 19, 1995 Backstage between shows at Cirque du Soleil, dozens of performers saunter into the company bistro tucked behind the blue and yellow big top. They look nothing like the exotic creatures who have just taken their bows to the wild applause of happy, dazzled circus-goers. They've shed their fabulous costumes in less time than it takes to say "Alegria"--the name of this spectacular production--and they are chatting breezily in half a dozen languages: French, English, Russian, Walloon, Mandarin and even Mongolian. The bistro hums with gossip about everything from newborn babies to holiday travel. It is just days to Christmas here in Santa Monica. The whole globe-trotting company has a month's vacation before the next stop on its North American tour--a six-week stand in Costa Mesa, beginning Tuesday and ending March 5. Everybody is itching to take a break. Some will be heading for ski resorts, others for the tropics. Many will be flying home to see their families for the first time in a year. Ulan Batur, here they come. Look out, Moscow. "I like this life," says Emilie Therrien, 17, a slim Canadian acrobat who hails from Sherbrooke, Quebec. "But now it's a lonely time. I've been too long (since early October) in the same city." Therrien, who intends to become a circus choreographer, earned her high school diploma on the road. When was that? "I graduated in San Jose," she replies. Cirque's touring performers tend to think geography is chronology. The troupe was in San Jose in August and September. Jean-Luc Martin, 29, a veteran of several tours, measures the years in countries. He joined the Montreal-based company in 1990 and has performed since then in Cirque productions all over Europe. A tumbler, aerialist and juggler, Martin leads "Alegria's" crusty old gaggle of not-too-bright "nostalgia birds." They personify the core theme of the show--the old versus the young--and seem to have lost their bearings in the cosmic barnyard. You'd never recognize Martin out of his weird chicken get-up. He not only looks as handsome as Prince Valiant, but also knows exactly where he belongs. Martin is a Louisiana native who moved to Canada at 13 and took up rock-climbing at 17. Before he ever thought of becoming a circus performer, he made the mountain walls of British Columbia his home away from home. "What excites me most right now is just doing my job," he says. "It's work that is set in stone. But every morning when you wake up, the stone crumbles. You're always changing something. There's always someone injured, or something unexpected happens. You have to make adjustments. "The other day a father put his child on the edge of the stage and turned around to fix his chair. Well, this child kept staring at me. So I got him to come to me. He held my finger, and the two of us became an act--me in my bird costume and this child in his innocence." Martin notes, as every good clown will: "You can never predict what's going to happen. You have a formula to follow, but you have to be able to improvise. You keep your nose in the wind and your eyes open." Of course, circus performers don't always see life on the road through the same lens. "I was just talking to one of the little girls," Martin says. "She plays a nymph. I think she's 16. She said, 'My God. I wake up, go to school, practice, do the show, go to bed, wake up, go to school, practice, do the show, go to bed. My life is always the same.' "For me, the routine has more variation. I've made a lot of friends in L.A." Meanwhile, the Tongan fire-knife dancer Tovo Lisiate Tuione is just getting used to circus life. He joined "Alegria" in San Jose in September, after the artistic directors realized the production lacked an essential element. It had music (folksy). It had risk (breath-taking). It had humor (bittersweet). It struck dark chords (despite the title, which means "joy" in Spanish). It had a strong man (not too friendly). It had contortionists (young). It had brilliant acrobats and aerialists (many). It had humanity (clowns). It had hoops (gorgeous). But their stellar back-to-basics show, a $3-million production intended to celebrate Cirque du Soleil's street-performance roots, was missing--what? Of course! A fire act! They dispatched one of their talent scouts to the Pacific. He found Tovo in Hawaii. Costa Mesa will be Tovo's third stop on the tour. But already this spectacular 18-year-old performer can't get enough of it. "This is my first time off the islands," he says. "I want to get around, see the world." There are plenty of women out there who want to show it to him, too. Tovo has been getting mail. Lots of mail, with hand-drawn hearts. More, it seems, than any Cirque performer since that flamboyant Russian heartthrob of four years ago. (Remember Vladimir Kehkaial in "Nouvelle Experience"? He soared like a spectral Icarus and looked like a smoldering tease who set pulses fluttering with a mere toss of his jet-black mane.) Rest assured, Tovo is no tease. He swoops out of the darkness, carrying a flaming baton, wearing nothing but fringes of leather. In the yellow glare of the firelight, his smoothly muscled body has the glow of burnished teak. His million-watt smile takes care of the rest. Then he begins to do things--dangerous things. He eats the fire, and he's not timid about it, either. He doesn't take a split-second lick. He makes it a three-course meal. Then he dances with the fire, twirling one and two and even three flaming batons. And he does it all with remarkable grace and relaxation. "I love performing," he says, sitting demurely in jeans and a T-shirt at one of the bistro's corner tables. "My manager told me I'm supposed to make the dance look hard, not to make it look easy. But it's hard to make it look hard." It's only when he's injured--Tovo reveals scars on his feet and taped burns on his hands--that his act is difficult, he says. But nobody else in the cast seems to agree. The heat from his flaming batons is so intense that even the show's most agile acrobats won't grab them without three-foot tongs. Pavel Brun, a lanky, blond Russian, works behind the scenes. He is the major-domo, officially titled the "artistic coordinator-on-tour," which suggests a desk-bound corporate bureaucrat. Nothing could be further from the truth. "I'm the pompous entertainer for everybody here," he quips, pulling up a chair and gesturing toward the crowd behind him. "I keep them all alive. I'm the crop and the carrot, the baby-sitter, the shoulder to cry on." Brun, 37, has the right experience. Born and raised in Moscow, he trained in pantomime, juggling, acrobatics, classical and modern dance. He made his escape to the circus as a teen-ager, "if nothing else to protest against my parents," he says. "They wanted me to become a designer or an architect, just like them." Instead, at 14, Brun began performing with a troupe of pantomimes "in the Moscow underground." By that he doesn't mean the subway. He means "unofficial performances." It was the '70s. "Everything was illegal," he says, "rock music, jazz, avant-garde painting. We had a very tough government. Very stupid, not just tough. If you were in pantomime, it meant you were gay. If you were gay, you were not normal. If you expressed yourself without words, it meant you must have something secret to say." At 16, Brun realized he needed serious circus training. He auditioned for Russia's most prestigious company, the Moscow Circus, and won an apprentice slot. For each slot, he says, there were 150 applicants. In the late '80s, working as a choreographer, he was creating new acts at the experimental workshop of the Moscow Circus when Gilles Ste- Croix, Cirque du Soleil's founding artistic director, invited him to Canada. Brun loved what he saw. "They were doing what I was always thinking about," Brun says. "It was a totally different kind of circus performance. It was a fusion of the arts--music, theater, acrobatics, singing, dance. It was crazy and romantic." In 1992, he left the Moscow Circus to become assistant choreographer for the Cirque's "Saltimbanco" show, which toured North America for two years, went on to Japan for six months and will begin a two-year tour of Europe in March. Ironically, Brun's own kids want no part of circus life--"They're lazy intellectuals," he says in jest--and he's not about to push them. His daughter Valeria, 19, visited him on the tour but left it in San Francisco in July and returned to Moscow, where she attends the Russian Academy of Theater Arts. "My daughter did not follow me," Brun says. "She is a historian of theater. When I need to know something now, I ask her." He says he has seen "many frustrated circus families with very well- trained kids. They perform at a very high level, but they have no fun doing it. It is a paradox." On the other hand, there's Bochka, the backstage mascot of "Alegria" who just had his fifth birthday and already thinks he's the Cirque du Soleil ringmaster. Bochka's mother, Otgonjargal Shirnen, who hails from Ulan Batur, Mongolia, and coaches the contortionists, says Bochka has seen every performance of the show since Montreal, where the tour began 10 months ago. "He knows the acts by heart," she says. "He thinks he can do all of them." Bochka, rapidly becoming bilingual, agrees. Asked in English whether he wants to join the circus, he shakes his head up and down. His answer is vigorous and to the point. "Yes!" he says, grinning like a magnificent imp. * * * * * CIRQUE CITY: STATE OF THE ART M. E. Warren | LA Times Jaunuary 16, 1995 COSTA MESA - Rain soaked the big top, but nothing short of a tsunami could have dampened the enthusiasm of audience and performers alike as Cirque du Soleil opened its latest extravaganza, "Alegria," at the South Coast Plaza mall Tuesday. Alegria means "joy" in Spanish, and in its best moments, when bodies are free falling in curlicues or snaking themselves into outlandish profiles, this new Cirque production conjures whoops and laughter. At its not-quite best, it still works an alchemy of incredible athleticism and pure showmanship that rivals anything, anywhere. The story of "Alegria," however, doesn't come together as compellingly as we have come to expect of Cirque du Soleil. Instead of focusing on the persona of a central master of ceremonies, "Alegria" features a trio of wistful clowns and a chorus of old birds mincing about in plumped suits and feathered hats. The slightly sardonic edge that characterized the humor of previous Cirques is gone, too. The clowning is often touching rather than hilarious, and the pervasive bird imagery is engaging but thematically elusive. The overall impression is of a kind of contemplative ecstasy, of the human spirit in flight, yet anchored to life by the melancholy that is inextricably part of the human condition. The magic of human grace and strength in Mikhail Matorin's spectacular cube act is combined with the kind of visual poetry that is Cirque du Soleil at its most triumphant. Spirit and space in conflict and balance, Matorin and his cube brought images of Leonardo da Vinci to mind, particularly that famous drawing of the man with his arms outstretched standing in the midst of geometric patterns. So fluid is the Russian artist's suspended performance on the rings that the cube, which he manipulates around himself with his feet, seems to be moving him. The undeniable queens of the evening, 10-year-old contortionists Ulziibayar Chimed and Nomin Tseveendorj from Mongolia, mesmerize with the unearthly flexibility of their bodies. These girls bend in ways that make you wonder whether the parts will stack up again when they straighten. They leave you questioning whether they are actually put together like other people. For those of us who cannot keep even a Hula-Hoop off the ground, the extraordinary performance of Elena Lev is humbling. This Russian artist is too young to have hips, but she doesn't need them. She can swing a hoop in any position with any part of her body, and she doesn't stop at one hoop, either. Her finale is a dynamite impression of a human slinky. Acrobatic displays abound in "Alegria," starting with Fast Track, a crisscrossing trampoline routine that is as graceful as a polished ballet and looks like the kind of fun kids have when they fly out over a river on a long rope. Multiple flips and gainers are tossed off by the golden-clad Fast Trackers and later by the silvery Russian bar artists. The Russian bar is half tightrope, half balance beam suspended on human shoulders. The act that crowns the evening, the Flying Lev, is trapeze artistry taken to untraditional heights by eight aerialists who fell from the top of the tent almost as steadily as the rain beat down outside. Promotional material claims that "Alegria" aims, in part, to hark back to the street-theater, carnival roots of circus. Rick ZumWalt's strongman act certainly evokes images of 19th-Century sideshows, but director Franco Dragone has yet to find a jazzy way to showcase a Sampson. ZumWalt undoubtedly is very strong, but his routine isn't. There's nothing weak about the production design, however, which features Dominique Lemieux's fabulously expressive costumes and a Luc Lafortune's three-dimensional lighting design that makes the spinning cube look liquid and sews the air with spangles. Rene Dupere has created another powerful score, performed to perfection by the six-member orchestra and augmented by chanteuse Francesca Gagnon. * * * * * AN ARRAY OF BEASTS WITH ONLY TWO LEGS By: Jon Pareles | New York Times March 31, 1995 Should a circus lead viewers to contemplate mortality and geometry? Should it evoke Russian winters, European cabarets and tropical rain forests? For those who think so, the Cirque du Soleil -- whose latest production, "Alegria," will be under its big top at Battery Park City through May 14 -- is the only game in town, and perhaps in the world. Cirque du Soleil, which is based in Montreal, is probably the most pretentious circus anywhere, but it earns every pretension, using costumes, music and balletic motion to turn a variety show into a dreamlike unity. "Alegria" provides laughs and gasps, as a circus must; it also has a note of apocalyptic melancholy. Its trilingual (Italian-English-Spanish) theme song, declaimed by Francesca Gagnon with husky Edith Piaf peaks, calls for joy in an elegiac minor key. In "Saltimbanco," its 1993 New York production, Cirque du Soleil was sleek and otherworldly. "Alegria" looks earthier and more baroquely costumed, full of fringes and glitter, with hints of Fellini and Hieronymous Bosch, "Cats" and Hindu temple carvings. Its music, by Rene Dupere, also gets around, from klezmer to tango, from cabaret waltzes to wordless pomp suggesting Pink Floyd. While Cirque du Soleil does not use animals, it has not forgotten them. For "Alegria," its trapeze artists are exotic birds, its gymnasts gold-lamed fish, and the screeches of jungle birds and monkeys fill the tent as the audience enters. Cirque du Soleil's acrobats, clowns, fliers and contortionists perform feats that are common to circuses everywhere. They offer the bread- and-butter astonishments of bodies twirling through the air toward perfect catches and landings. In a trampoline-and-gymnastics routine, an androgynous corps of acrobats liquefies air and space, as their ranks criss-cross the stage in flips and somersaults with pinpoint timing, faster and faster. They return for a different test: Russian poles, long flexible boards held on the shoulders of a pair of comrades, on which they land after leaps of ever-increasing difficulty. Trapeze teams pose in midair, or whirl across the tent's dome toward catchers' waiting arms. There are also children so poised and limber they seem to be another species entirely. "Alegria" includes a pair of 10-year-old Mongolian contortionists whose paired bodies twist and invert themselves so smoothly they might almost be morphing, and a 13-year-old Russian gymnast, Yelena Lev, who twirls one silver hoop on a toe extended straight above her head, another around the knee of the leg supporting her. As the children perform, there are onlookers onstage: a clown in shabby clothes on extra-long crutches, standing on a single stilt, or a gaggle of birdlike harpies, wearing jowly masks and gray wigs. Those harpies, along with a scuttling, big-bellied, hunchbacked character in a red tail coat, silently introduce the show and hover at its edges, reminders that even the most vigorous and graceful bodies cannot conquer time. They hold up ornate frames to the other performers, as if to suspend them while their perfection lasts. The oval frames are part of the play of geometry in "Alegria," as are spherical lanterns and Miss Lev's gleaming circles. During the second half, Mikhail Matorin appears with the skeleton of a silvery cube. He is bare-chested, holding the cube with his arms outstretched like a Christ figure; as organ music plays, he is raised aloft, resurrected. Later, he spins another cube around himself, while the lights turn its reflective surfaces into streaks of red and blue; then he sinks to the floor, prostrate, awaiting another rebirth. The clowns in "Alegria," part of the circus's infusion of talent from the former Soviet Union, are existential sad sacks, perpetually wandering. One shadows another in a Marxian (Groucho and Harpo) pantomime, with its slapstick turned mysterious by slow, spooky music. In another routine, a clown hangs up an overcoat, puts one arm into a sleeve, and enacts a couple's tender parting. A rope ladder becomes the railroad for the train to take him away, into the wind and snow of an enveloping storm. Circuses show off mastery, the triumphs of trained bodies. "Alegria" makes that mastery seem more precious, revealing the circus as a temporary refuge from time and fate. * * * * * CIRQUE DU SOLEIL'S ALEGRIA By: William Stevenson | Back Stage April 21, 1995 Blending expert acrobatics, haunting music, existential clowning, and extravagant costumes, Cirque du Soleil is not your typical circus. There are no animals--just humans who perform incredible feats with their bodies. And there is never a dull moment in this year's fast- paced edition, "Alegria," which is a credit to director Franco Dragone and artistic director Gilles Ste-Croix. After an introduction offering superfluous plugs for the tour's sponsors, the fairy tale-like show opens with a parade of company members, who come from around the world but are based in Montreal. Then two young trapeze artists, Xavier Lamoureux and Caroline Therrien, perform a difficult routine that is all the more exciting because it's done without a net and close to the audience. Its mysterious mood is partly due to Rene Dupere's evocative music, smokily sung by Francesca Gagnon. Three clowns get ample opportunity to shine. And a crew of gymnasts do double backflips with ease. After a superb performance by Elena Lev, in which she stretches her body unbelievably while spinning one or more hoops, the first act ends with more clowning and a kind of indoor tornado that blows confetti into the audience. The second act includes Mikhail Matorin, who ably maneuvers on rings with a giant metal cube, which he supports himself. Then the gymnasts return, this time performing double backflips on hand-held balance beams. After more clowning, two tilly contortionists, Ulziibayar Chimed and Nomin Tseveendorj, bend themselves into unfathomable positions. Finally, Andrei Lev's troupe ends the evening with a rousing trapeze act in which each member soars through the air to be caught by another. Every act is individually remarkable, but all are fused into a unified production, with fine sets by Michel Crete and excellent lighting by Luc Lafortune. With its neo-Baroque music, lighting, and costumes, the whole affair might be laughable if it were not so beautifully realized. Cirque du Soleil creates its own enchanted world, and considering the troupe's international popularity, it's clearly a world that audiences want to return to often. * * * * * BIG TIME BIG TOP CIRQUE DU SOLEIL SHINES ON By: Richard Christiansen | Chicago Tribune July 23, 1995 In the beautifully illustrated book that celebrated the 10th anniversary of Cirque du Soleil in 1994, there is a black-and-white photo, taken in 1982, that shows Gilles Ste. Croix, a lean, mustachioed, long-haired stiltwalker, setting off on a solitary walkathon to help raise funds for a new circus entertainment that he and his street-performer colleagues had launched in Quebec. Now move forward 13 years. Ste. Croix is still lean, but he no longer has a mustache or long hair. For a fund-raising device, he has traded in his stilts for a cellular phone, through which he keeps in touch with the ever-expanding, far-flung empire of the Cirque. The little summer festival that he and his friends started just outside Quebec City in 1982 grew into a full-blown circus that they put under a blue and yellow striped tent and called Cirque du Soleil (Circus of the Sun, and so called because founder Guy Laliberte believes he gets his best ideas under the influence of a tropical sun) in 1984. Their first circus cost $50,000, employed 62 people and ran for a little less than three summer months in Quebec. The performers brought their own costumes. Today, with year-round operations on three continents, the Cirque spends about $2.5 million on each show and charges a top ticket price of $41. The organization's annual budget runs around $55 million and there is a payroll of 600 persons. There are 45 performers wearing 90 costumes in the latest creation, "Alegria," with each costume custom designed for the particular magical environment of this production. The astounding growth of Cirque du Soleil is evident in miniature in the attendance figures for its Chicago visits alone. When Cirque first set up its tent in 1989 in the Cityfront Center area, it played to about 65 percent capacity in a 1,750-seat big top. In 1991, on its second visit, but now in a 2,500-seat tent, it played to 84 percent, and two years later, it did a near-capacity business of 99.84 percent. Similar sell-out business is expected for "Alegria," which opens a 4 1/2-week run Wednesday in its old stamping grounds at 400 N. McClurg Ct. And Chicago is only one stop on a long trail of engagements that various forms of Cirque are now playing across the globe. Since its breakthrough United States engagement in Los Angeles in 1987, Cirque has extended its audiences far beyond Canada. "Alegria," which goes to Boston, Washington, D.C., and Atlanta after it leaves here, is nearing the end of a two-year North American tour that began in 1994 in Montreal. In 1996, it will tour Japan; after that, in 1997, it will move on to Europe. Meanwhile, "Saltimbanco," which was created in 1992, wrapped up its American visits in 1993, went to Japan in 1994 and is now in Europe for another two-year tour. Earlier this year, "Mystere," a new, different Cirque show, opened at the Treasure Island Resort in Las Vegas, in a permanent theater designed especially to accommodate a lavish circus production. Back home at its headquarters in Montreal, the Cirque creative team is busy developing the early stages of their next offering, due to open in 1996, which will repeat the now-established five-year cycle of American-Japanese-European touring. On other fronts, Ste. Croix says, Cirque management is preparing a television series and a feature film, either for theatrical release or cable or network showing. By spring of 1998, an even larger theater for Cirque attractions should be ready to open in Las Vegas. Shrewd merchandisers that they are, the Cirque people also have developed a line of Cirque souvenirs--T-shirts, jackets, caps, masks, mugs, posters, key rings, watches, tins, pins, shopping bags, compact discs, videos, scarves, ties and dolls. And if you don't get the chance to buy them in the Cirque shop attached to the big top, there's a mail order catalogue from which you can order. The amazing thing about this phenomenal expansion is that it has been accomplished by the same crew of ragamuffin players who began so modestly in 1982. Composer-arranger Rene Dupere, who provides the Cirque's special sound, was a music teacher and tuba-playing street musician before he linked up with Cirque. Today he's an integral part of the Cirque's creative group, blending synthesizers, drums, percussion, violin, accordion and saxophone into the fusion that distinguishes each new edition. In addition to recording his Cirque scores for best-selling albums, he also is working on separate film projects in Canada. The creative team for costumes, scenery, lighting and music has remained basically the same over the last decade, and the concept behind each Cirque edition has not radically changed. Cirque derives some of its presentational style from earlier circus pioneers as far removed as China and Switzerland; and its performers- clowns, aerialists, acrobats, tightrope walkers, contortionists and magicians (but no animals)--are traditional circus artists. But the individually talented Cirque members, gathered from around the world and then schooled in the ensemble style at the home base in Montreal, are forged into a tightly integrated group of players and are placed in a unique, unmistakably Cirque aura through their bizarre make-up, glittering costumes and complex theatrical lighting. Though all Cirque shows since 1984 have had similar design and musical identities, each one has maintained a fresh, individual stamp. "We came from nothing," Ste. Croix says. "We have grown from street players to company managers, but we have tried to make that a comfortable growth. . . . "At this stage, we are the originals, still running the show and still carrying the original spirit, but now we must learn to spread that company spirit with new people whom we invite to sit around our table. "The flame continues to burn inside of us, but we must be able to pass that flame on to the right people in the future." * * * * * CIRQUE RETURNS WITH ITS MAGIC SPELLS By: Richard Christiansen | Chicago Tribune July 27, 1995 There is no form of theater on this Earth that better transports its viewers to a state of enchantment than Cirque du Soleil. The factors used to create the Cirque's illusory world make up an astounding blend of the oldest traditions of circus performance, the basic laws of physical science and the latest innovations in technological resources. Sound, light, costumes and scenery are woven into a single, mesmerizing spectacle, and the skillful use of music, song, dance and physical beauty creates a unique and spellbinding environment, into which the audience is totally immersed. In its fourth biennial visit here on the banks of the Chicago River at Cityfront Center, Cirque appears even more sophisticated and spellbinding than in the past. "Alegria," as this edition is called, has, as usual, a superb lineup of circus performers: 40 in all, ranging in age from 18 to 45, and including contortionists, tumblers, trapeze artists, a fire-knife dancer, tightrope walkers, highfliers and a trio of endearing clowns. Good to begin with, they are made magnificent by the bravura theatricality with which they are presented. When Elena Lev, a slip of a girl whose body is made up of elastic bones, sets a battery of bright metal rings swirling around her in a supreme example of brilliant Hula-Hoop maneuvering, that's sensational enough. But "Alegria" raises that difficult stunt to the realm of magic by focusing a series of colored spotlights on the hoops so that they seem to sparkle in glints of red and blue and green. A troupe of incredible young acrobats leaps through amazing feats of balance on the Russian bars, which is impressive enough, but the daring of these athletes is made even more sensational by their own spidery white costumes and chalk-faced, red-nosed makeup, and by the background of awe and wonder created by the precisely choreographed movements of a crowd of fellow circus creatures who are watching them. It's one thing to send on a parade of tumblers who perform unbelievably high, swift flips on the trampoline; it's quite another thing to train those tumblers to become dancers, so that their act becomes a ballet, as well. This is, in every step, a circus ballet, from the clown who seems to split himself in half to the gossamer, fairylike creature (Isabelle Corradi) who wafts through the show, helping to weave it together with her siren song of "Alegria." The tricks that the Cirque plays can be very simple, as when an old coat and hat suddenly become animated through a few deft movements by the great clown Slava Polunin, or they can be technically complex, as when a grid of lights criss-crosses the muscled form of Mikhail Matorin as he hangs high above the audience, within the gleaming metal framework of a cube. The jokes, too, are as basic as a clown whooshing past on a skateboard or as complicated as a wind machine-driven storm of paper bits sailing into the front rows of the crowd. Under director Franco Dragone, the Cirque's ingenious production team of Dominique Lemieux (costumes), Michel Crete (sets), Luc Lafortune (lighting and special effects) and Guy Desrochers (sound), Debra Brown (choreography) and Rene Dupere (music) fuse their talents into a seamless whole, each element contributing to the total envelopment of an almost extraterrestrial style. By themselves, the percussion and the wail of Dupere's score for six musicians and the fanciful shimmer of Lemieux's costumes are marvelous pieces of invention. Bring them together in the aura of magic that Cirque engenders and they are even more dazzling in their impact. It's a fifth dimension, a new universe, a world of wonder. Adult or child, you're going to become a part of it and surrender to it gladly. * * * * * HARMONY OF MIND, BODY AND SPIRIT KEEPS CIRQUE'S PERFORMERS IN SHAPE By: Bob Condor | Chicago Tribune August 24, 1995 Not much appears ordinary when Mikhail Matorin is lifting, balancing, spinning and hanging off a gigantic see-through cube during his solo act in the Cirque du Soleil, currently under the big tent at North Pier. For one thing his upper body is perfect biceps upon perfect pectorals upon perfect abdominals-and without any hint of the bodybuilder freak look. The definition in his muscles translates to all languages, including the the small talk among female fans who inevitably wait for another glimpse of "the Cube Man" after each Cirque performance and husbands who openly agree this guy's torso is, well, perfect. Or consider Matorin's dexterity with the cube, which is a three- dimensional framework of aluminum tubing that weighs 30 pounds and measures what would seem an unwieldy 6 feet on all sides. It's as if he is manhandling some sort of Jungle Gym or juggling the scaffolding you might see at a construction site. He spends eight precious Cirque minutes going through the paces of a high-intensity gymnastics workout that would shame most any Olympian. The 30-year-old Russian just doesn't seem human. But that changes when he addresses the question of just how he and fellow performers in the avant-garde circus stay in the shape needed to pull off their many amazing athletic feats since arriving in town July 26 with a show called "Alegria"--everything from cube spinning to flying trapezes to trampoline ballet to tightrope walking to acrobatic flips on a moving beam called the Russian bar. "My body is never 100 percent," said Matorin over a cup of lemonade at a backstage trailer cafe. "I am always nursing minor injuries and simply block out the pain during the act. When I practice some of the more difficult moves , I say to myself, `Oh, my God, that hurts! ' " Unlike others in the traveling company, Matorin has used the actual performances as the primary way to stay in shape over a grueling nine- city, 19-month American tour that started in May 1994. "We do 10 shows each week," he explains, "so I only practice twice a week for about an hour each time. Other than that, I walk a lot and go to the gym to use the weight machines only when I'm hyper." Of course, Matorin shrugs off his ritual hour of warm-ups before each show, in which he goes through an extensive set of stretching and strengthening exercises that includes enough pull-ups (30) to spread over a week for the rest of us. He said the pull-ups especially help him to "wake up the body." Power and grace Emilie Therrien, a tumbler in the "Fast Track" trampoline number and costumed bird and angel in other parts of the show, draws strength from a different approach. She attends dance class at the nearby Bryant Ballet school every morning for two hours to supplement the three official tumbling practices each week. She also travels with a bike, which she has been riding frequently on the city's lakefront trail. "The ballet strengthens my ankles," said Therrien, an 18-year-old French Canadian from Montreal who has notched more than 450 performances and thousands of flips, cartwheels and handstands in her two years with Cirque. "But I really do it because I love dance, and the classes give me energy I can take back to my job." It isn't surprising that Therrien and other "Fast Track" tumblers have ballet roots. Many of the trampoline movements among women and men contain a clear element of dancelike grace, particularly as the tumblers hold the final flips like a competitive diver elongating before slipping into the water. Therrien missed a week of performances earlier this year in Santa Monica, Calif., when she sprained an ankle while doing a rapid series of six flips. "I sort of hopped off the stage," said Therrien. "The directors had to make some fast adjustments to fill my spots. Sometimes we have to take something out of the show if a certain person is hurt." Working through the doldrums Even when they are healthy, the performers occasionally find it hard to complete their appointed moves. Like a baseball hitter or weekend golfer, the Cirque players can fall into a slump. "You might have trouble getting up enough speed or jumping high enough on a flip," said Therrien. "Maybe your arms are bending too much and you have lost the good feeling. The only way out is practice." The Cirque troupe has no physical trainer and only a few informal coaches. Yet it was clear during a recent visit to the backstage areas that the performers are serious athletes. They seemed to eat all the right foods before a performance--high-carbohydrate items such as fruits and bagels and split-pea soup--while drinking plenty of water. What's more, there was an impressive amount of proper stretching being done as showtime drew closer. Nobody seemed to be just going through the motions--in contrast to any given number of professional athletes on any given day. There were even some psych jobs in progress. "I concentrate on what I will be doing with the cube," said Matorin. "I don't want to talk to anybody in the half hour before we get started." After the show is another story. The personable, self-described "citizen of the world" enjoys mingling with the crowd--even if fans don't always recognize his surprisingly compact 5-foot-8-inch, 140- pound frame when it's covered with a shirt. He looks bigger and more imposing onstage. "It happens all the time," said Matorin, laughing. "I walk out with a friend, and he hears some people talking about how they are waiting for the Cube Man. My friend points to me, and the people say, `This is the Cube Man?' We have to convince them I'm the same guy." # # # That's all for in this issue, but there's still more to come! 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 18, Number 1 (Issue #168) - January 2018 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2018 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. { Jan.07.2018 } =======================================================================