======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 7 July 2018 ISSUE #174 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * CIRQUE ACQUIRES VSTAR ENTERTAINMENT * * * The addition of VStar Entertainment Group to its portfolio allows the Montreal creative powerhouse to expand its audiences with plug-and- play creative content specifically designed for children and families. With its integrated live entertainment platform and broad global distribution network in small theaters, the acquisition of VStar and Cirque Dreams will contribute to further establishing Cirque du Soleil Entertainment Group as the world leader in live entertainment for audiences of all ages. “Building on the successful integration of Blue Man Group over the last year, today we are taking another decisive step towards realizing our ambition. While circus arts will always be at the core of our creative offering, we continue to look for ways to expand and diversify our portfolio with new forms of entertainment and new brands, reaching new audiences and expanding our own creative and production capabilities”, said Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group. “VStar Entertainment Group has a proven track record and recognized expertise in small theatrical production, which complements Cirque du Soleil’s expertise in large- scale production and global touring. We firmly believe the knowledge transfer will help us develop our own capabilities in this type of entertainment and therefore, contribute to growing our footprint in the live entertainment production industry.” Read more about the VSTAR ACQUISITION within. * * * CIRQUE ANNOUNCES BAZZAR FOR INDIA * * * Cirque du Soleil announced the creation of a brand-new touring show, BAZZAR, destined to open new markets and support the company’s ambition to become the global leader in live entertainment. With its creative concept as much as its new format, BAZZAR pays tribute to the roots of Cirque du Soleil for an authentic experience. The show will premiere in India, a company first, before visiting Greece and various countries in the Middle East. “After entertaining millions of people in sixty countries over the years, there are few remaining markets we have yet to visit. BAZZAR offers us new possibilities to introduce our brand. It enables us to continue our international growth in markets that offer great potential such as India and opens the door to exploring the African continent”, said Finn Taylor, Senior Vice-President, Touring Shows. Read more about BAZZAR within. * * * CIRQUE TO LAUNCH CREACTIVE FAMILY ENTERTAINMENT CENTERS * * * Cirque du Soleil is adding family entertainment centers to its portfolio of creative projects. The company has developed an innovative concept of indoor family entertainment experiences specially designed for retail locations. The recreational centers will offer a brand new immersive, creative and participative family experience, where people can stretch their imagination, flex their muscles, explore newfound circus skills, and take a bow on the virtual Cirque du Soleil stage. “Our fans regularly express their wish to experience Cirque du Soleil from an insider’s perspective, to peek behind the curtain and imagine themselves stepping into our artists’ shoes. With CREACTIVE, we make that possible by inviting families to jump on stage, offering them another way to explore our creativity beyond our live shows”, says Marie-Josée Lamy, Cirque du Soleil Producer of CREACTIVE. Building on the success of Club Med CREACTIVE, currently offered at Club Med locations in Punta Cana, Dominican Republic and Opio, France, the new indoor centers will be installed in premium immersive spaces covering approximately 2200 m2 (24,000 square-feet). CREACTIVE will offer a range of acrobatic, artistic and other Cirque du Soleil- inspired recreational activities, such as bungee jumping, aerial parkour, wire and trampolines, mask design, juggling, circus track activities, dance and more. This new creative venture fulfills an opportunity that arises from the transformation of retail around the world, as developers are increasingly looking to offer entertainment experiences that turn malls into holistic destinations. As such, the company has partnered with global real estate leader Ivanhoé Cambridge to launch its first CREACTIVE indoor center in the world, a unique collaboration which further consolidates the relationship between Cirque du Soleil and its minority shareholder, the Caisse de dépôt et placement du Québec. The first indoor CREACTIVE family entertainment center is planned to open at Ivanhoé Cambridge's Vaughan Mills, located just north of Toronto, in September 2019. The City of Vaughan is one of Canada’s fastest growing cities located in the heart of York Region and the Greater Toronto Area. Cirque du Soleil is currently in discussions with Ivanhoé Cambridge for additional locations in Canada, as well as with other partners for international markets. * * * NEW ROSÉ INSPIRED BY CIRQUE LAUNCHES NATIONWIDE * * * Born out of a partnership between wine innovators Truett-Hurst Winery and Wines That Rock, LLC, this Cirque du Soleil Rosé is another example of the innovative and inspiring wine selections that Albertsons Companies stores are best known for. Albertsons Companies will carry the Cirque du Soleil Rosé in banner locations across the United States, including Vons, Safeway, Albertsons, Tom Thumb, Jewel Osco, Randalls, Shaw’s, and more. “We are pleased to have been presented with such an opportunity by Truett-Hurst for our first wine release with this delightful rosé. At Cirque du Soleil, we embrace those who audaciously want to do, try, see and feel things differently, and this is one of the reasons why we agreed to take on this adventure,” said Jonathan Tétrault, President and COO of Cirque du Soleil brand. “We pulled out all the stops and assembled a dream team for this project. From our master winemakers in France, the luxurious glass selected for the bottle, to our collaboration with the Cirque du Soleil team on the elegant label, this project was a dream come true. The innovative wine team at Albertsons Companies worked with us closely throughout the project to make sure every detail was perfected, and to ensure this rosé will be the ‘go to’ wine of the season,” said Phil Hurst, Co-Founder, President and CEO of Truett- Hurst Winery. The limited-edition wine is available at Albertsons Companies stores and suggested retail is $19.99. Read more about the wine within. * * * MSC CRUISES ORDERS FIFTH MERAVIGLIA CLASS SHIP * * * During a ceremony in Saint-Nazaire, France on June 14th, MSC Cruises announced that it has signed an order with Saint-Nazaire (STX) shipbuilders of France to build a new Meraviglia-class cruise ship to be delivered in 2023. The ship will be the fifth in MSC’s Meraviglia and Meraviglia-Plus class, joining Meraviglia, Bellissima, Grandiosa, and Virtuosa. It will come into service at 1,087 feet-long, just about the same size as Meraviglia, and will be able to carry 4,816 guests at double occupancy with 1,704 crew members. MSC expects to christen MSC Bellissima in Southhampton on March 2, 2019, Grandiosa in Hamburg in November 2019, and Virtuosa sometime in 2020. Cirque, through its 45 Degrees division, is partnered with MSC Cruises to provide exclusive Cirque du Soleil-branded entertainment onboard these next-generation ships. With Sonor and Vaggio performing on Meraviglia currently, and six more under creation (two for each ship), it stands to reason that Cirque du Soleil will extend their Cirque at Sea brand to this fifth as-yet-named ship. * * * LAST, BUT NOT LEAST * * * The rest you'll find within our news section this month, but before I go... o) On June 19th, Zumanity celebrated its 7,000th performance. o) On June 21st, Septimo Dia celebrated its 250th Performance. o) On July 1st, DIVA made its debut in Andorra. - Pictures: https://www.facebook.com/45degreescirquedusoleil/ posts/1588206887969290 - Video: https://www.facebook.com/45degreescirquedusoleil/ videos/1586928634763782/ o) On July 8th, Kurios said goodbye to Tokyo where more than 535,000 guests had seen the show in just five months! 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 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 * "We're Off and Running - A Series of Classic Critiques" Part 15 of 16: Varekai, Part 2 (2003-2004) By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- Las Vegas Strip stunner: BAZ shutting down July 29th {Jun.14.2018} ------------------------------------------------------- In Las Vegas production shows, financial numbers trump musical numbers, every time. The latest example of that entertainment-industry reality, “Baz — A Musical Tour de Force” is closing after its July 29 performance at The Palazzo Theater. Actors Equity Producer and General Manager Blair Farrington informed the cast just prior to Tuesday’s 8 p.m. performance. “Las Vegas needs more shows like ‘Baz,’ unique and original shows that can match the hotel’s brand standards,” said Farrington, a veteran Vegas producer who also produced the Show in the Sky at the Rio and the splashy arrivals of Britney Spears and Gwen Stefani at Planet Hollywood. “We provided that, and the numbers have been quite good lately. But in all these cases, the numbers need to stand on their own, and ours didn’t. At some point, it just comes down to business.” The decision to shut down the production was confirmed Tuesday night by the property’s PR team. The statement said: “After a solid two-year run, ‘Baz— A Musical Tour de Force,’ will end its run inside The Palazzo Theatre on July 29. From the very beginning this show has been special to The Venetian and The Palazzo families. Having won accolades in Las Vegas and national press alike, ‘Baz’ featured some of the best musical talent Las Vegas had ever seen. “We wish all of the show’s performers the best of luck in future endeavors. At this time there are no plans for a replacement.” The cast and crew are said to be “devastated, blindsided” by the sudden news, which was handed down at the corporate level. The show had been produced by, and financially sustained, by the property. A stage adaptation of three Baz Luhrmann films (“Romeo + Juliet,” “Moulin Rouge” and “The Great Gatsby”), the musical opened at Palazzo under its original title of “Baz — Star Crossed Love” on July 13, 2016. The show had struggled to sell tickets in its first year, but business did pick up after the show marked its first anniversary. The cast had been eagerly anticipating the production’s upcoming second anniversary when the news came down tonight. Also, “Baz” had just launched a new marketing campaign in May, and new costume pieces had just been delivered to the performers, making the decision even more unexpected. In a tweet that might well have referred to the sad news, original cast member Timyra Joi posted at 8:02 p.m., “Hmmm. So funny how the universe works.” “Baz” originally opened as a For The Record production out of Los Angeles in June 2015, at Light nightclub at Mandalay Bay. The show closed the following August as then-club owner and production partner Cirque du Soleil moved completely out of the nightclub business. Tuesday night’s closing of “Baz” spells a second lancing of musical theater on the Strip in less than a week. On Friday, “Marilyn! The New Musical” at Paris Theater announced it would be shutting down after Sunday’s performance. But unlike “Baz,” that production “Marilyn!” intends to return to the stage on Sept. 4. Irony further permeates the demise of “Baz” in relation to “Marilyn!” That show’s lead, Ruby Lewis (who also starred in the show at Light), left “Baz” to take the Marilyn role in the show at Paris. Lewis is also featured in “Baz’s” the new ad campaign, the photos taken just before she announced she was leaving the production. And, Strip stage vet and renowned vocalist Randal Keith, who plays Darryl Zanuck in “Marilyn!”, had just accepted the role of Zidler, full-time, in “Baz,” where he had performed as swing for the character. Keith had planned to seamlessly shift to the show at Palazzo Theater after “Marilyn!” closed Sunday night. Keith’s first scheduled performance: July 28. { SOURCE: Las Vegas Review-Journal } ------------------------------------------------------- Gran Canaria European HQ for 2019 Project {Jun.15.2018} ------------------------------------------------------- “Cirque du Soleil chooses Gran Canaria as European headquarters for 2019 project is pleased to announce its partnership with ExpoMeloneras to bring its shows to Meloneras – Gran Canaria”. The entertainment company and “the largest theatre producer in the world”, based in Montreal, announced yesterday that the island of Gran Canaria will be the European headquarters for its latest run of scenic projects. Cirque du Soleil chooses Gran Canaria as European headquarters for 2019 project’s arrival on the south of Gran Canaria is the result of a project that they and Expomeloneras have been working on for a year and a half, and according to Cirque du Soleil chooses Gran Canaria as European headquarters for 2019 project “has also been possible thanks to the support and collaboration of the City of San Bartolomé de Tirajana, the Cabildo de Gran Canaria and the Government of the Canary Islands” . Finn Taylor, Senior Vice President of Shows at Cirque du Soleil Tour has declared: “We are proud to announce our partnership with ExpoMeloneras and confirm that Cirque du Soleil will bring its shows under the White Big Top to one of the most visited coastal destinations in Europe. Meloneras – Gran Canaria is situated as a first class tourist destination. It is the perfect location for our shows, due to its good climate, its connectivity and its excellent hotel offer. ” The project is set to materialize with a first visit by the White Big Top in 2019. The tour plan, the show and the exact dates are not yet confirmed. They will be announced in coming months. Among the various destinations analyzed, the land provided by ExpoMeloneras, where the Big Top circus tent will be installed, has been selected as the best location. Gran Canaria, due to its excellent air connections with North and Central Europe, is very much an international island. The tri- continental geographic position of the Canary Islands, and its privileged relationship with America, Africa and Europe, is to be a strategic location base for Cirque du Soleil. This will be the first such project, and if all goes well there will be more. { SOURCE: The Canary News } ------------------------------------------------------- Blue Man Group to Pay $3 Million+ to End Dispute {Jun.16.2018} ------------------------------------------------------- Ian Pai always felt, he said, that he had played a core role in the success of Blue Man Group, an avant-garde performance ensemble whose members appear as bright blue characters and use unorthodox instruments to create raw percussive music. He had worked with the ensemble in its early days, he said, serving as its music director for shows in several cities and helping to compose some of its music, build sets and create the group’s distinctive instruments, constructed from PVC pipe. But years after the group’s ascendance, which included an Off Broadway run of more than 20 years, a Grammy-nominated album and annual revenue often estimated at $100 million, Mr. Pai said he had determined that the payments he was receiving for what he termed his contributions of “musical compositions and creative work” were not what he deserved. So he sued in 2016, saying he felt betrayed by the group’s founders. Court records indicate that the suit has now been settled with an agreement in which Blue Man Group will pay Mr. Pai more than $3 million to resolve his claims. As is common in lawsuit settlements, neither side would discuss the specific monetary figure or other terms of the agreement that was reached in April to end the case in New York State Supreme Court. A reference to the rough size of the payout was included in a separate lawsuit filed by Blue Man Group against its insurance company, Ironshore Indemnity, in an effort to force the company to contribute to the settlement. In his suit, Mr. Pai had initially sought $150 million in both punitive and compensatory damages. The court dismissed some of his initial claims, but the case ended quickly after Mr. Pai took the stand to testify. In response to a request for a comment, Blue Man Group’s lawyer, Toby Butterfield, said Friday it was “happy to fully and finally resolve Mr. Pai’s claims, which Blue Man Group disputed both factually and legally from the outset.” Mr. Pai’s lawyer, Robert D. Piliero, also reacted favorably to the outcome. “Ian got to tell his story as the plaintiff,” he said Friday. “The defendants, Blue Men, made an offer we could not refuse.” Blue Man Group achieved wide renown as a cultural institution and a global brand beginning in the 1980s when the concept was hatched on Manhattan’s Lower East Side. The group’s success in New York spawned shows in multiple cities, appearances on “The Simpsons” and wax figure likenesses at Madame Tussauds in Times Square. Compared by one critic to “benevolent aliens — perplexed, faintly anxious and deliriously fond of making both music and a mess,” Blue Man Group came to be regarded as a must-see for tourists and a symbol of New York, perhaps not quite on the order of the Circle Line or the Rockettes, but a bit hipper. The group was formed by three friends — Matt Goldman, Phil Stanton and Chris Wink — who came up with an idea for a surreal performance. They began short sets with homemade props at alternative spaces downtown, got their first reviews when they played at La MaMa and in 1991 moved to their permanent home, the Astor Place Theater on Lafayette Street, where they still perform today. For three years, the original trio were the only Blue Men, performing six days a week. But wanting to expand to other cities, they began training other men (and a few women) for the job. So far there have been more than 100. And cities like Las Vegas, Orlando, Boston and Chicago have permanent Blue Man Group productions. The group’s New York real estate holdings include the building that houses its theater, a rehearsal space and video editing suite, and a recording studio and instrument creation lab. Mr. Pai, whose lawsuit identified him as a painter, a classically trained pianist and a dancer who had performed at Lincoln Center, was closely associated with members of Blue Man Group in its early days. He said that he helped compose many of the show’s wordless songs and came to view the original members as friends, joining them on vacations and attending one of their weddings. Although he had received hundreds of thousands of dollars in royalties over the years, he said he discovered in 2014 that he had been paid an amount, 1 percent of the box office, that was far below the industry standard for what he viewed as his level of contributions. Though the specific monetary figure has not been revealed, Blue Man Group said in its court papers in the separate insurance case that it had agreed to pay “an amount greater than the policy limits of $3,000,000.” The insurance case is continuing. Blue Man Group argues in its complaint that its insurer, Ironshore, initially would not extend coverage, saying that Mr. Pai’s suit echoed claims he had made in a 2014 letter that had not been reported to the insurance company at the time. Later, the insurer agreed to pick up 70 percent of the cost of Blue Man Group’s defense, but only a small portion of the settlement figures under discussion at the time. A lawyer for the insurance company did not respond to a request for comment. { SOURCE: New York Times } ------------------------------------------------------- Cirque du Soleil Rosé Tasting Notes {Jun.18.2018} ------------------------------------------------------- The creation of this premium Rosé de Provence required a lot of savoir-faire. Inspired by the infinite elegance of water, biodiversity of soil, the mistral wind that keeps the vineyards dry, and the raging emotions of the sun, grapes are transformed into a poetic ballet of sublime joy. Like Cirque du Soleil shows, this inspiring wine from the south of France provides pleasure and celebration, and takes us on an unexpected journey that lives in the moment but lasts in our memories. Cirque du Soleil Rosé is a joyous feast for the senses. Cirque du Soleil embraces those who audaciously want to try, see and feel things differently. As makers of joy, curiosity and because ordinary just won’t do, this Cirque du Soleil Rosé inspires people to celebrate the moment, keep life spontaneous and escape the mundane. Provence is located in the south of France in an area rich in history and renowned for producing some of the world’s most elegant Rosés. Winemakers from this region have a combined respect of the terroir and climate with a desire to produce approachable and fine wines. Bottler Hostellerie des Vins De Rognes is nestled outside the small town of Rognes, 15 km north of Aix-en-Provence. The terroir is composed of limestone clay soil and is blessed with a gentle Mediterranean climate. Grapes are harvested during the cool hours at night and then rushed to the winery where they are de-stemmed, crushed and then chilled to preserve the fresh aromatics. APPELLATION: Provence COMPOSITION : Grenache 70%, Cinsault 20%, Syrah 10% ALCOHOL: 13.0% by vol. RS: Dry – 0.5 g/l COLOR: Pale Pink AROMAS: Citrus and floral FLAVOR: Mixed summer berries and citrus BODY: Light This delightful Rosé is a delicate, charmingly pale and shiny pink rose in the glass with beguiling aromas of small red fruits, giving way to a beautiful floral range of flavors. This light-bodied wine is delicate and supple, velvety and fresh with slightly fruity notes leading to a crisp and refreshing finish. It is revelry in a bottle! For more information visit cirquedusoleilwine.com. { SOURCE: Wines That Rock, LLC } ------------------------------------------------------- Cirque Announces BAZZAR for India {Jun.21.2018} ------------------------------------------------------- In its continual quest to conquer new markets and support an ambition to become the global leader in live entertainment, Montreal-based Cirque du Soleil is set to bring a show to India for the first time in its 34-year-history. Executives from the company announced on Thursday, June 21st at Cirque's sprawling headquarters in St-Michel, that its newest show - BAZZAR - will have its world première in Mumbai and then play New Delhi this fall with runs in Greece and various countries in the Middle East. There are no plans to bring the show to Montreal for a commercial run, but all concerned did comment: Never say never. However, a rough, unfinished version will run in Montreal in July, under the Big Top at Cirque's HQ. If you are a member of the Cirque Club, which is free to join, you will have a chance to win tickets to see the preview performance. Some media will also be invited. "After entertaining millions of people in sixty countries over the years, there are few remaining markets we have yet to visit. BAZZAR offers us new possibilities to introduce our brand. It enables us to continue our international growth in markets that offer great potential such as India and opens the door to exploring the African continent”, said Finn Taylor, Senior Vice-President, Touring Shows. “One of my big roles over the last almost 20 years has been to take the shows to wherever we’ve not gone before. Last year we opened China and we brought Kooza, our Big Top show, [there], which is obviously one of the other big markets we weren’t touring. So we decided we wanted to tackle India, that we wanted to get a footprint in the market now, so we can start developing it further as we move through the next few years.” The company will also return to a more intimate Big Top similar to the one used in its early years. This new nimble format will allow BAZZAR to tour with a lighter infrastructure, thus widening its options for site location (and cost savings of up to 50% over an average touring Cirque show). Those limitations mean that the performance has been scaled down too. A typical Cirque big-top touring show tent has a 51- meter diameter. This one will stretch only 41 meters. About 60 to 70 performers and technicians will put on the show, far fewer than the usual 100 to 110. And the audience will be more intimate too, at 1,500 people versus the typical 2,500. Ticket prices will be lower in India compared to the Cirque shows in North America. Taylor notes that the average ticket price in India for Hollywood movies is around US$3; ticket prices for the Cirque show will be about US$45 — half what they would cost in a normal western market. “I think the opportunity for us is enormous” with Bazzar, said Taylor. “India’s economy is growing year after year. So we wanted to get in now to be able to establish our brand, to get in early before everyone else comes and be able to set a footprint.” It remains to be seen whether that price point will stick. With its population of 1.2 billion people, India has become a major exporter of information technology services and outsourcing work. But its per capita income remains below the world average. “India is one of those last big frontiers,” Mr. Taylor said. “Even if we don’t make money the first year, it’s worth us going to be able to establish a very lucrative market in the long run.” ABOUT THE SHOW Bazzar tells the story of a troupe of acrobats, dancers and musicians who are creating a show; it’s a bit of a homage to the early days of the Cirque du Soleil. “‘Where did Cirque start from?’ was my main inspiration,” said Susan Gaudreau, the show’s director and the person who came up with the original storyline. “I thought about this group of artists and I thought about (Cirque founders) Guy Laliberté and Gilles Ste-Croix and how they all got together in the original Big Top and just would create. I wanted to watch a troupe of artists create something and the audience would follow them through the creative process.” The show includes nods to Cirque du Soleil founders Guy Laliberté and Gilles Ste-Croix, such as fire breathing and stilt walking. They are combined with impressive scenography, remarkable aesthetics, live music and acrobatic feats; all of which are key features of a Cirque du Soleil show. “Creating a show specifically to introduce Cirque du Soleil to a totally new audience is a creative challenge. It pushes our creators to find our essence and articulate it in a way that is universally understandable. With its story centered on the creative process itself and the energy found in the unexpected, BAZZAR shines a light on what is uniquely Cirque du Soleil," added Gaudreau. The show is said to be an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians craft an awe- inspiring spectacle. Lead by their maestro, they band together to invent a whimsical one-of-a-kind universe. In a place where the unexpected is expected, the colourful group reimagines, rebuilds and reinvents vibrant scenes in an artistic, acrobatic game of order and disorder. Come and claim your place amidst this marketplace of merriment and creative camaraderie. You just might find that the end of the story is really only the beginning! TOUR PLAN The plan is to take BAZZAR to a number of smaller countries in the Middle East and then to the space-constrained Greek islands of Santorini and Mykonos, followed by a return to India next year. After that, in 2020, Cirque is currently in talks with stakeholders in Egypt, Algeria, Tunisia, and South Africa to bring BAZZAR to the African continent. The Indian run this fall is one month in Mumbai and one month in New Delhi. BAZZAR is Cirque du Soleil’s 43rd original production since 1984. Facebook: facebook.com/BAZZAR Twitter: @Cirque #BAZZAR Instagram: cirquedusoleil #BAZZAR { SOURCE: Cirque du Soleil, Montreal Gazette, The Globe and Mail } ------------------------------------------------------- One Drop Partners w/Contemporary Artists To Raise $15M {Jun.22.2018} ------------------------------------------------------- In an exclusive collaboration with the Sprüth Magers gallery, and under the direction of renowned curator and critic Philipp Kaiser, Art for One Drop will kick off Phillips’ fall sale season on September 21. Fifty of some of the most recognized and admired artists worldwide have graciously donated works of art to the auction, including: Tracey Emin, David Hammons, Barbara Kruger, Jenny Holzer, Ugo Rondinone, Kara Walker, Sarah Lucas, Ed Clark, Jennifer Guidi, Nicolas Party and many more. Established in 2007 by Cirque du Soleil founder Guy Laliberté, the One Drop foundation has 13 active water access projects in Latin America, Africa and India that will reach over 1.3 million beneficiaries once completed. But providing access to safe water is only the first step. One Drop’s unique approach to international development is intrinsically linked to the arts, leveraging its knowledge from Cirque du Soleil in the creation of Social Art for Behavior Change programs. These locally-inspired social art activities such as theater, murals, videos and exhibitions foster positive behavior change that empowers communities to take ownership of the projects over time. “Access to safe water is one of the most important ways to support the development of communities around the world and Phillips is honored to work with One Drop on this important auction,” said Edward Dolman, Chief Executive Officer of Phillips. “We are truly grateful for the outpouring of generosity we have seen from some of the most important artists working today. The works of art they have donated have never been offered at auction and we are confident that they will bring additional awareness to this vital initiative.” Benefiting safe water projects in Latin America The funds raised on September 21 at Phillips for Art for One Drop will benefit One Drop’s life-changing work in Latin America, namely through its Lazos de Agua program centered on Social Art for Behaviour Change that will help transform the lives of more than 200,000 people in Mexico, Guatemala, Nicaragua, Colombia and Paraguay, through sustainable access to safe water and sanitation. “With the Art for One Drop charity auction, incredibly generous artists, art dealers, galleries, art advisors and Phillips are joining us to say out loud that we need and want to change the world in a bold and positive way,” said One Drop founder Guy Laliberté. “2.1 billion people worldwide lack safe drinking water at home. We are coming together to continue reducing that staggering number. Seeing this ambitious project come to life has further propelled my passion for art and my belief that art, in its many forms, can be a strong catalyst for change.” Art for One Drop will be held on Friday, September 21, 2018 at 6pm at 450 Park Avenue in New York City. For more information visit: www.artforonedrop.org. { SOURCE: Look to the Stars } ------------------------------------------------------- 45 DEGREES Wins Two Applied Arts Magazine Awards! {Jun.29.2018} ------------------------------------------------------- 45 DEGREES has won not one but two Applied Arts Magazine Awards. The first, in the category of "Craft Motion/Animation - Series" is for the video content created and produced for Helene Fischer's LIVE 2017/2018 Tour. The video content designed for Helene Fischer, one of Germany’s the most acclaimed pop artist, was inspired by time. The semi-circular screen lends itself to the initial images of a stylized clock. The objective was for the video content to play an integral part of the story by creating a customized series of video clips using innovative in-camera effects, each equally bold and refined and holding a unique beauty on their own. 45 DEGREES / Cirque du Soleil in collaboration with 4U2C and Baillat Studio Executive Creation Director: Daniel Fortin Creative Director: Patricia Tremblay Stage Director and Writer: Mukhtar Omar Sharif Mukhtar Executive Producer: Olivier Goulet Video Content Designer: Jean-Sébastien Baillat Chief Executive Producer: Yasmine Khalil Executive Production Director: Patrice Poulin Project Director: Lydia Brown Assistant Director: Manuel Bissonnette Artistic Coordinator: Marc-André Goulet Production Director: Jan Mylle Technical Director: Ian Donald Project Manager: Alexe Mercille-Gagné Motion Graphics Artist: David Baril, Maxime Boisseau Programmer: Hugo Ralet Associate Creative Director: Andréanne Dumont Shooting and Director of Photography: Davai Senior Marketing Director: Céline Payelle LINK /// < https://www.appliedartsmag.com/winners_gallery/design/? id=204&year=2018&clip=1 > The second, in the category of "Poster - Series" for their presence at the 2018 Bal du MAC. The objective was to create a series of posters for an immersive experience that invites guests to delve into a universe under permanent surveillance inspired by George Orwell's dystopian novel, 1984. They were designed to support the propaganda campaign, using evocative symbols of censorship and surveillance to create a strong visual identity, sometimes inspired by the aesthetics of prison bars in the most literal sense, and sometimes by the dehumanization that such a system represents. 45 DEGREES / Cirque du Soleil Chief Executive Producer: Yasmine Khalil Executive Creation Director: Daniel Fortin Creative Director: Frank Helpin, Patricia Tremblay Art Director: ÉMilie Lagacé Design Director: ÉMilie Lagacé Illustrator: Filip Hodas Senior Marketing Director: Céline Payelle Account Manager: Myriam Jean-Baptiste LINK /// < https://www.appliedartsmag.com/winners_gallery/design/? id=264&year=2018&clip=1 > { SOURCE: 45 Degrees, Applied Arts Magazine } ------------------------------------------------------- Cirque Acquires VStar Entertainment & Cirque Dreams {Jul.05.2018} ------------------------------------------------------- VStar Entertainment Group is a live entertainment provider producing theatrical shows, exhibits, cruise ship shows and outdoor events. VStar is best known for its children and family shows showcasing popular brands from Nickelodeon and Spin Master, such as PAW Patrol. Over nearly four decades, it has built an impressive footprint in the global entertainment industry, presenting over 39,000 performances in more than 40 countries, reaching over two million guests annually. On its own, PAW Patrol Live “Race to the Rescue” toured in 250 cities in 18 countries on 4 different continents in 2017. “VStar has a history of growing through partnerships with great entertainment brands and we are always on the lookout for the next transformative opportunity. We now find ourselves on the brink of our next chapter and only a global producer like Cirque du Soleil could help us achieve our vision. Their expertise in the live entertainment industry is unparalleled and it is an honour to join forces with their organization”, said Eric Grilly, CEO of VStar Entertainment Group. Cirque Dreams, founded by Broadway Director Neil Goldberg and established in Florida, is the entertainment group’s circus arts division which successfully produces and operates tours and shows in theatres and various popular touristic venues through partnerships with Norwegian Cruise Line and Gaylord Hotels, among other business to business opportunities. “I have always admired the creative forces behind Cirque du Soleil and could not wish for a better partner to continue developing Cirque Dreams. I look forward to contributing my creative mindset to the company’s evolution”, added Cirque Dreams President Neil Goldberg. DIVERSIFYING THE PORTFOLIO -------------------------- Lamarre said Cirque Dreams’ expertise in the production of shows in theatres and tourism hot spots will help broaden the Cirque du Soleil’s portfolio. “The Cirque sells about 13 million tickets a year,” Lamarre said. “Our acquisitions since last year have added another four million to our sales.” While terms were not disclosed, Mr. Lamarre said the transaction is worth “several million dollars.” The deal puts Cirque du Soleil in third place in the live entertainment industry after Live Nation Entertainment Inc. and Anschutz Entertainment Group Inc. as the circus arts company seeks to diversify its production and expand globally. “Which, in terms of position, is great because we think there is room for someone to consolidate the live entertainment market,” Lamarre said. “And we’re seeing ourselves as that consolidator.” And the Cirque hasn’t finished diversifying. “We have an amazing distribution machine, touring in 450 cities around the world with each show that we develop,” he said. “This distribution machine can distribute more than just Cirque. We want to be able to be in a market for as long as possible. That’s why we’re looking for shows that are different from the ones we currently have in our portfolio.” Cirque du Soleil is already one of the world’s biggest live entertainment producers, offering shows in 450 cities every year, and Lamarre says the Blue Man Group has increased its international presence thanks to the backing of the Cirque distribution network. He believes the same thing will happen with the VStar properties. “It’s a new era because our new owners have the resources that help us accelerate our growth. Our strategy is very clear — to develop more and more new markets around the world and also at the same time to bring new artistic content, which is all good news for Montreal because we’re creating jobs and you have an organization based here that is growing at a rapid pace that makes it exciting for all of our employees, including myself. For our artists, it means more creative challenges.” “For us, it’s clearly an entry into the world of children’s shows. Obviously, a lot of families are coming to Cirque du Soleil shows, but we have never targeted kids specifically and with VStar, that’s their specialty. They have an amazing partnership with Nickelodeon … the most popular property is PAW Patrol. I didn’t know that much about it until I spoke to my grandkids. It’s a huge franchise for kids. So we think there is great potential with them and with their kids’ expertise to expand all the kids’ properties we can acquire together and distribute internationally. My grandkids love it, so I will be a hero with my grandkids when I tell them.” VStar’s Cirque Dreams is specialized in the tourist business, with cruise shows and productions at Gaylord Hotels and in small theatres across the U.S. With this diversification, some fear the Cirque may stray from its main mandate of producing artsy circus shows, but that is not the case, Lamarre says. “We are going to produce more Cirque du Soleil shows than ever before,” Lamarre said. “So the core business remains a very important development axe of our business. We have a lot going on in China, we have new shows in development. The mandate we have from our new owners is to become the global leader of live entertainment and in order to do that, if you don’t want to put too much pressure on the core business, it’s by adding other types of content to acquire new audiences.” The Cirque used to produce one new show a year, which meant they usually had two new shows in the pipeline at any given time. Now the circus is producing three new shows a year, which means they have about 10 productions in different phases of development now. WHO IS VSTAR? ------------- VStar Entertainment Group is a leading entertainment company and producer of unforgettable live experiences for audiences in the U.S. and internationally. From concept through activation, VStar imagines and creates custom tours featuring original content, and licensed, branded tours that provide highly engaging entertainment for fans of all ages. With nearly four decades of expertise in all aspects of event production and management, VStar delivers turnkey, in-house solutions for theatrical shows, interactive exhibits and brand activations. VStar also creates custom-fabricated mascots and costumes, large-scale sets, scenery and 3-D installations, serving as a valued resource for professional sports teams, Fortune 500 companies and experiential marketing agencies. Headquartered in Minneapolis, VStar has presented more than 39,000 live performances across 40 countries, and entertains nearly two million guests annually. Current VStar tours include PAW Patrol Live! Bubble Guppies Live, Cirque Dreams and Discover the Dinosaurs: Time Trek. Previous VStar (formerly VEE Corporation) productions include Sesame Street Live, Barney, Bear in the Big Blue House, Curious George, Dragon Tales, and Kidz Bop Live! For more information, visit www.vstarentertainment.com. WHO IS CIRQUE DREAMS? --------------------- Since 1993, Cirque Dreams has integrated a robust knowledge platform combining theatre, circus arts and imagination into quality family entertainment and shows for Broadway, Norwegian Cruise Line, Gaylord Hotels, Armed Forces Entertainment, theatre tours, theme parks, casinos and venues worldwide. Popular titles include Cirque Dreams Jungle Fantasy, Cirque Dreams Holidaze and Cirque Dreams Unwrapped. For more information, visit www.cirqueproductions.com. Interestingly, in December 1999, Cirque du Soleil sued Florida-based Cirque Inc. in federal court accusing the company of trademark infringement, trademark dilution and unfair competition practices. Cirque du Soleil’s claim was that Cirque Inc.’s productions were too similar and confused patrons by using the moniker “Cirque”. Cirque Inc. disagreed with this view, arguing that “Cirque”, which means “circus” in French, was a generic term and therefore not subject to trademark. The motion brought by Cirque du Soleil was denied and the court therefore ruled that Cirque du Soleil could not lay claim to the term “Cirque”, which the company felt had become synonymous with its brand and a protectable trademark. Cirque du Soleil appealed that decision to the 9th Circuit Court of Appeals in San Francisco in April 2004, but Cirque du Soleil lost the appeal. And now, fifteen years later, they own the company they once sued. { SOURCES: Cirque du Soleil, PRNewswire, Globe and Mail, Montreal Gazette, Bloomberg, Deadline } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- All The Vegas Podcast: Brandon Pereyda of Zumanity {Jun.26.2018} ------------------------------------------------------- Brandon Pereyda is a rare being in the Vegas entertainment scene, a born-and-raised Las Vegas native who performs in one of the most perennially popular production shows on the Strip. A self-trained aerialist, Pereyda has contributed one of the most thrilling acts in Cirque du Soleil’s “Zumanity” for almost 10 years now, flying above the stage and over the bewildered audience from his customized chain apparatus. It’s sexy and daring and beyond memorable, and for Pereyda, it’s still as intense as the very first time he took the Cirque stage. “It’s still something I have to prepare for mentally for a couple hours every day and I still get nervous every single time,” he says. “But once I drop in it’s like this second persona kicks in, this rockstar inside of me just comes out and I’m like, okay, here we go. Then it’s over before I remember. It’s like being shot out of a cannon.” We also talk with Brandon about growing up in Las Vegas at Palo Verde and Centennial high schools, dropping out of college to join Chippendales, breaking into the generational world of the circus arts, getting tied into knots while perfecting his first tissu act, getting the call from Cirque while pumping gas, the ever-present element of danger that comes with being an aerialist and much more. LISTEN/WATCH HERE: < https://youtu.be/8hX49LBA4pQ > { SOURCE: Las Vegas Weekly } ------------------------------------------------------- Eleni Uranis: A Cabinet of Subconscious Curiosities {Jun.28.2018} ------------------------------------------------------- The big top passed through Portland, Ore., last year with Cirque du Soleil’s Kurios: Cabinet of Curiosities. One of the first things you notice about Kurios’ steampunky design is its centerpiece. A clock is positioned up high, visible for all to see. Auspiciously set to 11:11, it doesn’t take long to realize, as the show gets going, that time has stopped and we have been transported. According to a few numerologists, 11:11 is a significant moment because it gives you access to the mysteries of the universe and the deepest parts of who you are and what is true. It is synchronistic—an opportunity to reflect and focus on your highest potential. The Kurios universe quickly becomes an amusement park for the senses. The Victorian fantasy realm of Kurios (with some cues taken from Fritz Lang’s 1927 science-fiction movie Metropolis) slowly comes into focus and you begin to see where the subconscious mind intersects the conscious mind, where an elaborate, fanciful dream becomes reality—or parallel reality as Cirque is so adept at creating. The industrial looking stage is overtaken by a host of gadgets and thingamajigs like flying machines, oddly shaped musical instruments and a gramophone, along with provocative characters wandering about a laboratory: Klara the Telegraph of the Invisible, The Curiosistanians, The Kurios robot, Nico the handyman, The Seeker, Mr. Microcosmos and Mini Lili. All of whom are festooned in dreamy costumes and tantalizing make-up. Which brings us to the show’s make-up artist, Eleni Uranis. Kurios marks Uranis’ seventh show as make-up artist with Cirque, having started with the company in 1989 as assistant costume designer. It was in 2004 when she joined Cirque’s make-up workshop, and saw her ideas spring to life in Dralion. And in 2005, Uranis designed the make-up for Reflections in Blue, the show Cirque produced for the opening ceremonies of the 11th FINA World Aquatic Championships. “The creative process is long,” Uranis says. “It takes about two years to develop a concept. And I arrive six to eight months before opening. I work closely with the director and costume designer.” Before designing the make-up, however, Uranis explains that she needs to see the face of the performer who will wear the make-up. “I do three or four tests of the make-up,” she adds, before locking down a design. Kurios has a large cast of 44, which is typical of a Cirque du Soleil show. Once Uranis and the director have agreed on the right look for the show, she begins to train all performers in technique and application of the make-up design. Most of the acrobats, she says, unless they have worked with Cirque before, do not have experience applying make-up. So, it’s a lengthy teaching process that involves two additional assistants, to ensure the performers know how to be precise and nuanced when executing the design. Once the make-up is approved, Uranis takes photos so the performer(s) can practice. They can use the image(s) to refer to until they have perfected the make-up application themselves, which takes about an hour. Kurios, which takes place in a wacky Fellini-esque universe that somehow feels like our own, but with an abstract magical flare and, one could argue, expanded impression of consciousness. And part of the challenge, according to Uranis, was to keep the characters human but invoking a feeling of something different in each of them, of a world that is both familiar and foreign simultaneously. The other challenges with Cirque shows (and Kurios is no different) are two-fold. One is to make sure the character make-up can be seen and has impact from far away, according to Uranis. “The biggest thing that changes are the shapes and detail,” Uranis says of playing large venues. “Distance will change those.” Another is that she likes to have a deep understanding of the psychology behind each character. “I need to invent stories about the character(s). The (performer) and I need to have an understanding of their psychology.” Delving into a character’s feelings and thought processes gives Uranis a roadmap to the overall design and color palette she chooses. “When I design something,” she says, “I try not to do what’s been done before.” As the lights dim and the Kurios macrocosm unfolds, Uranis’ skill and passion for make-up and theatricality help sweep the audience into an upside down world full of invention and new perceptions, where time ceases to exist and anything is possible. { SOURCE: Make-up Magazine } ------------------------------------------------------- Joey Arrigo brings “Waz” to life in VOLTA {Jun.30.2018} ------------------------------------------------------- The amazingly flexible and insanely acrobatic artists of Cirque Du Soleil are known to be experts at their artistry. But what brought them to the Cirque family is exciting. Michael Cook from Out in Jersey sat down with Joey Arrigo, who portrays “Waz” in the latest Cirque Du Soleil production Volta. It kicks off at the Philadelphia Expo Center on July 12, 2018. He and Arrigo chatted about what it’s like playing Waz in Volta, how dancing can truly make you shine, and why everyone should learn to accept their own proverbial “blue feathers.” Q. You are playing the role of Waz in Cirque Du Soleil’s Volta. Tell me about your path to this role. My path to this role was a big one. It kind of came at me at a time in my life where I was using the character development of “Waz” in Volta kind-of at the same time. The overall theme of our show is self- acceptance and self-love. Waz is a character who needs to feel that within himself. He needs to accept every bit of himself and love himself for who he is. That is when we can really free our spirit. I feel that it really came at a time in my own life where I could use this character to use lessons in my own life. It was a big moment for both myself and for Volta all together. I feel a lot of us in the show took this message and it inspired us to create the show that we have today. Q. For you personally, it sounds like the role of Waz came at truly the perfect time. Absolutely. I feel that it came as a really great push for me artistically to be able to create a character, and to perform a character, who is not strong, right from the beginning. The character kind of digs deep within himself and explores that vulnerable side. Showing vulnerability is a really big step towards gaining power. I think that really shows a great journey for someone who is broken down. It builds themselves up, back to strength. As many main characters of movies, stage and shows, they go on that journey. And that is what really brings an audience member in. It’s relatable. Everyone can learn something and be inspired by Waz’s story. Whatever their metaphorical blue hair is, Waz has his blue feathers that he is insecure about. Everyone has their blue feathers that they themselves are insecure about. Everyone wants to free themselves, and learn to love themselves. Q. As a performer, what do you think your own “blue feathers” are? As a performer-so many things. I will say that over years of performing, I have gotten rid of many insecurities in my life. Now after this long life of performing, I don’t have a ton of things that I am insecure about. I have learned to really take myself seriously as an artist and a performer. And I share exactly that with my audience every single day. I think as we grow up and learn about who we are, we sometimes question choices we make artistically and choices we make personally. It is all about coming together with those things. I would not say that I am really insecure about anything with myself anymore. And I think that is why I am able to tell this story. There are no real scripts with me. It’s definitely “what you see is what you get.” It’s all out on display for everyone. Q. Were you always a fan of the Cirque du Soleil shows before joining the company? When I was five years old, my parents had one of Cirque Du Soleil’s first shows, titled Nouvelle Experience on VHS. I think it was their show from the mid to late 80’s. Watching it in my living room I was already inspired. I knew what Cirque Du Soleil was, and I loved that they brought the energy of the circus to almost the feeling of a Broadway show. They brought so much heart to the circus and things that make people so happy and love so much. I always knew that one day I wanted to be a part of this show at some point in my life. There was a clown on this VHS tape. And as a five year old I had no idea what was going on. I just knew that he was very entertaining. Sixteen years later and I get a call from Cirque to join Kooza. And I went to Europe, starting in Vienna Austria. The night of my first show my artistic director told us “good luck, and don’t be nervous.” He said the creator of the show is here tonight. I was obviously nervous. But all went well and I had a fantastic evening, and a great show. The creator of Kooza, David Shiner, came back stage and I put two and two together. He was the clown from the VHS tape in my living room all those years ago. I got to be in his show. I said when I was five years old, I wanted to be in that, and I was. It is everything that I wanted and more. Q. What is it like being such a big a part of Volta? I hold the responsibility very high on my shoulders to be a part of this show, as well as to be one of the characters. Being a part of Kooza, before this, I was able to honor what is a traditional Cirque Du Soleil show. It was full of traditional circus art and kind of followed the theme of what traditional Cirque Du Soleil can bring to someone; a magical world full of acrobatics that stun you and it feels like a traditional circus. Coming into Volta we are doing the exact opposite. We are taking a story line that is extremely modern day and relatable to our audience, rather than a mystical magical world that people have come to expect from Cirque. We felt that it was now time to give them something real. To be a part of that adventure and almost that lift of trying something new. It was super adrenaline pinching for us all during the entire creation. I also hold the responsibility high on my shoulders. Q. So, is it fair to say that Volta is not just story based. It’s also character based? Our show is story based. And it is about how much we can relate to our audience and how much our audience can take away. That relies on me and how I am expressing not only Waz’s feelings, but also my own. Because they do parallel so much. It’s an emotional journey every time I get on stage, and a different one at that every day. I am very proud to be a part of this show. Our show has gone through so many things when it comes to the side of creation. We have reinvented it so many times, even in the past year. I have loved being a part of that process. Knowing what works and what did not work. And knowing the potential that this show has for a very long run in the future. Q. This is not the first large production you have been a part of. You worked with Mia Michaels on So You Think You Can Dance right? I did! That was actually one of my first jobs. I got very lucky that I had a connection through a friend-of-a-friend who said that Mia Michaels needed an assistant. Mia and I began our relationship when I was sixteen. And I worked with her on and off through the next five years until I joined Cirque. Mia was probably one of the people who inspired me the most. She made me view dance in a real way for the first time. I think as a child growing up as a dancer, it's all about learning your left foot from your right. And then you learn your body’s awareness and figuring out this instrument that you are growing into. Not only are you learning about the body you have, but you are learning about the body you are growing with. As you gain your adult body, you move differently and dance differently. Your experiences have been different. Mia was the first person who taught me how to take my life, and how I feel, and bring that into a very structured technique of dancing and to make it art. Her influence on the art that I do will stay with me forever. I think she is brilliant and any dancer would be lucky to work with her. Q. So, Mia taught you not just dancing, but about life? Your spirit, your soul is what is going to let you shine as a dancer. As cliché as some of those words can be, she also would use the term that you body is just your earth suit. This is the suit that I inhabit right now. But my soul is something that is way stronger than that. Dancing from your soul, and giving from your soul, is what is going to make you shine, and make you an individual. It will make you, you. Q. If you had to look five years down the line, where do you want to see your career go? I feel like I am standing here with many roads in front of me for the next five years. This company allows you to dream so big. Because I have been a part of this creation for so long I know what it takes to create a show with this company. I’m interested in seeing it from the other side and looking at it from a directors point of view. I have so many opinions when it comes to the look and the aesthetic of our show. And I look at the overall feel of what our audience is going to take away. That is how I see myself at some point in my life in a director’s position no matter where that may be. I have also thought about stepping into a choreographer’s role. I’ve done a lot of choreography for myself, which is very different than doing it for other people. Dancers or acrobats that don’t have a dance background, and making them look fantastic through that is different. A lot of my choreography comes from competitive dance studios that compete all over the country. I have done a lot of work with that. A big dream is to take the company that I have already worked for, and love, and put my magic on these stages. That is two of two thousand places I see myself going. Q. There are so many little boys that may be coming to the show that want to be dancers, and have not told their parents or feel comfortable expressing that. If you could tell those little boys that want to be a performer, like you are, what would you tell them? I am 26-years-old now! It was not that long ago that I was that little boy. It was only about 22 years ago. I grew up in a time where I dealt with a little bit of bullying or backlash from people who did not understand what I wanted to do, or where I wanted to take my life. That all circles around to self-acceptance and self-love. The naive nature of being a child just really allows us to do that. We naturally follow our hearts. If our heart is beating strong enough for something, we just go for it. No matter what the implications or what people will say or think. We know that this is something that is going to make us happy. If it is something that you really really love, you have to do that. Follow your heart. I never understood anyone who got themselves into a situation, or a life, or a job that they did not love. Our time on earth is limited. And you are only going to be that ten year old dreaming little boy once. You are only going to be 16 once. And you are only going to be in your twenties, one time. Do it the right way. If you have a passion and something is filling your heart and sparking your interest, take it! Slap it on the head and run with it because it can be all yours. { SOURCE: Out in Jersey } ======================================================================= 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 ------------------------------------ Alegria-25th Anniversary: Montreal, QC -- Apr 18, 2019 to Jul 21, 2019 Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019 Toronto, ON -- Sep 12, 2019 to Dec 1, 2019 Amaluna: Lima, PE -- Jul 22, 2018 to Aug 12, 2018 Quito, EC -- Sep 6, 2018 to Sep 23, 2018 Bogota, CO -- Oct 26, 2018 to Dec 16, 2018 Buenos Aires, AR -- TBA Koozå: Changsha, CN -- Jun 29, 2018 – Aug 19, 2018 Kurios: Osaka, JP -- Jul 26, 2018 to Oct 29, 2018 Nagoya, JP -- Nov 22, 2018 to Jan 27, 2019 Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019 Sendai, JP -- Apr 19, 2019 to May 29, 2019 Luzia: Boston, MA -- Jun 27, 2018 to Aug 12, 2018 Guadalajara, MX -- Aug 30, 2018 to Sep 16, 2018 Monterrey, MX -- Oct 4, 2018 to Oct 21, 2018 Mexico City, MX -- Nov 8, 2018 to Dec 23, 2018 Houston, TX -- Jan/Feb 2019 Orlando, FL (WDW) -- Mar/Apr 2019 Totem: Alicante, ES -- Jul 20, 2018 to Aug 19, 2018 Zurich, CH -- Sep 5, 2018 to Oct 14, 2018 Paris, FR -- Oct 25, 2018 to Dec 2, 2018 London, UK -- Jan 12, 2019 to Feb 9, 2019 Vienna, AT -- Mar 9, 2019 to Apr 7, 2019 VOLTA: Oaks, PA -- Jul 12, 2018 to Aug 5, 2018 Seattle, WA -- Sep 7, 2018 to Nov 4, 2018 San Francisco, CA -- Nov 15, 2018 to Jan 6, 2019 San Jose, CA -- Feb 13, 2019 to Mar 17, 2019 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ TORUK - The First Flight: Beijing, CN -- Aug 1, 2018 to Aug 12, 2018 Shanghai, CN -- Aug 16, 2018 to Aug 26, 2018 Rotterdam, NL -- Oct 11, 2018 to Oct 14, 2018 Oberhausen, DE -- Oct 17, 2018 to Oct 21, 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 Turin, IT -- Nov 15, 2018 to Nov 18, 2018 Bologna, IT -- Nov 22, 2018 to Nov 25, 2018 Frankfurt, DE -- Nov 30, 2018 Zagreb, HR -- Dec 7, 2018 to Dec 9, 2018 Barcelona, ES -- Jan 18, 2018 to Jan 27, 2018 Madrid, ES -- Jan 30, 2018 to Feb 3, 2018 Pamplona, ES -- Feb 6, 2019 to Feb 10, 2019 Milan, IT -- Feb 14, 2019 to Feb 19, 2019 Antwerp, BE -- Mar 14, 2019 to Mar 17, 2019 Vilnius, LT -- May 22, 2019 to May 26, 2019 Prague, CZ -- May 31, 2018 to Jun 2, 2019 Munich, DE -- Jun 5, 2019 to Jun 9, 2019 OVO: 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 Murica, ES -- Jan 16, 2019 to Jan 20, 2019 SÉPTIMO DÍA - NO DESCANSARÉ: Cordoba, AR -- Jul 27, 2018 to Jul 29, 2018 Mar del Plata, AR -- Aug 3, 2018 to Aug 5, 2018 Rosario, AR -- Aug 17, 2018 to Aug 19, 2018 Buenos Aires, AR -- Aug 31, 2018 to Sep 9, 2018 (FIN) CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Baltimore, MD -- Jul 5, 2018 to Jul 8, 2018 Estero, FL -- Jul 12, 2018 to Jul 15, 2018 Sunrise, FL -- Jul 18, 2018 to Jul 29, 2018 Orlando, FL -- Aug 1, 2018 to Aug 5, 2018 Greenville, SC -- Aug 8, 2018 to Aug 12, 2018 Raleigh, NC -- Aug 15, 2018 to Aug 19, 2018 Greensboro, NC -- Aug 22, 2018 to Aug 26, 2018 Hershey, PA -- Aug 29, 2018 to Sep 2, 2018 Sioux Falls, SD -- Sep 20, 2018 to Sep 23, 2018 Grand Forks, ND -- Sep 26, 2018 to Sep 30, 2018 Winnipeg, MB -- Oct 3, 2018 to Oct 7, 2018 Green Bay, WI -- Oct 11, 2018 to Oct 14, 2018 Des Moines, IA -- Oct 17, 2018 to Oct 21, 2018 Wichita, KS -- Oct 24, 2018 to Oct 28, 2018 Oklahoma City, OK -- Oct 31, 2018 to Nov 4, 2018 Tulsa, OK -- Nov 7, 2018 to Nov 11, 2018 Norfolk, VA -- Nov 29, 2018 to Dec 2, 2018 Cincinnati, OH -- Dec 27, 2018 to Dec 30, 2018 CORTEO: Kingston, ON -- Jul 4, 2018 to Jul 8, 2018 Saint Catharines, ON -- Jul 11, 2018 to Jul 15, 2018 Bridgeport, CT -- Jul 18, 2018 to Jul 22, 2018 Nashville, TN -- Jul 26, 2018 to Jul 29, 2018 Jacksonville, FL -- Aug 1, 2018 to Aug 5, 2018 Charlotte, NC -- Aug 8, 2018 to Aug 12, 2018 Louisville, KY -- Aug 15, 2018 to Aug 19, 2018 Indianapolis, IN -- Aug 22, 2018 to Aug 26, 2018 Duluth, GA -- Aug 29, 2018 to Sep 2, 2018 Fresno, CA -- Sep 20, 2018 to Sep 23, 2018 West Valley City, UT -- Sep 27, 2018 to Sep 30, 2018 Victoria, BC -- Oct 4, 2018 to Oct 7, 2018 Vancouver, BC -- Oct 10, 2018 to Oct 14, 2018 Kelowna, BC -- Oct 17, 2018 to Oct 21, 2018 Kamloops, BC -- Oct 24, 2018 to Oct 28, 2018 Lethbridge, AB -- Oct 31, 2018 to Nov 4, 2018 Minneapolis, MN -- Nov 8, 2018 to Nov 11, 2018 Cleveland, OH -- Nov 15, 2018 to Nov 18, 2018 Quebec City, QC -- Dec 6, 2018 to Dec 9, 2018 Toronto, ON -- Dec 12, 2018 to Dec 16, 2018 Montreal, QC -- Dec 19, 2018 to Dec 30, 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 Mon, Dec 31, 2018 | 4:30 p.m. & 7:00 p.m. Single Show Dates (7:00pm Only): o Monday, Nov. 26, 2018 o Thursday, Nov. 29, 2018 2018 Dark Dates: o Saturday, Sep 29, 2018 o October 27 - 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 Tue, Jul 17 - 7:00pm & 9:30pm o Tue, Oct 09 - 7:00pm & 9:30pm o Tue, Dec 11 - 9:30pm only o Mon, Dec 31 - 4:00pm & 6:30pm 2018 Dark Dates: o August 6 - 14 o September 16 o November 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: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2018 Dark Dates: o August 14 – 18 o September 15 o October 20 o December 4 – 8, 11 – 15 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2018 Dark Dates: o August 20 – 28 o October 22 -25 o November 5 - 7 o December 11 - 13 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 --------------------------------------------------- *) CIRQUE IT OUT Hosted by Gold & Silver Medalist 2016 Olympics - Artistic Gymnastics, Winner of 'Dancing With the Stars' Season 23, NY Times Best Seller - Laurie Hernandez. Tune in and follow along with us every week as we go through different workouts with Cirque du Soleil athletes and their coaches. o) EPISODE 11 - 25min Lower Body w/ Mystère Performer {Jun.13} In Episode #11, discover Kristina Ivanova's fitness routine. She is our artist from Mystère and we will follow her full body workout led by Artemis Scantalides, Cirque du Soleil Performance Conditioning Specialist. Exercises: Crocodile Breathing, Quad Stretching, Hands and Knees Rocking, Cat Cow Tilt, Hip Rocks, Half Kneeling, Goblet Squats, Hip Hinges, Hanging Leg Raise, L-Sit, Floor Leg Raise, Kettlebell Deadlift, Romanian Deadlift, Wall Assisted Handstand Hold, Side Lunges, Side Planks, Box Jumps, Kettlebell Swings, Single Leg Squats, Lateral Skater Jumps LINK /// < https://youtu.be/xHsOzIgO68I > o) EPISODE 12 - Work Out & Train Like a Cirque Performer {Jun.20} In Episode #12, discover Pierre Cottin's fitness routine. He is our Aerial Specialist from "O" and we will follow his full body workout led by Artemis Scantalides, Cirque du Soleil Performance Conditioning Specialist. Exercises: Diaphragmatic Breathing, Head Nods, Egg rolls, Cat Cow Tilt, Hip Rocks, Arm Circles, Pilates Glute Bridges, Floor Hollow Pull, Side Planks, Relaxed Hangs, Active Hangs, Hollow Hangs, Pull Ups, Hanging Leg Raises, Hand Walkouts, Wall-Assisted Handstands, Kettlebell Carries LINK /// < https://youtu.be/5mS6AdcSSHE > *) MUSIC VIDEO w/LYRICS o) KÀ - "O Makundé" {Jun.12} Solo Kunda o makundé Oupo djire Choeur Umma kunda o makundé Solo Kunda o makundé Toumido djoure Choeur Umma kunda o makundé Solo Tamali yet matsura Choeur Si koudali yet matsure Ounde Solo Tamali yet ma Choeur Si koudali yet matsure Tutti Kunda o makundé Oupo djire Umma kunda o makundé Kunda o makundé Oupo djire Umma kunda o makundé Kunda o makundé Oupo djire Umma kunda o makundé Tamali yet matsura Si koudali yet matsure OUNDE Tamali yet ma Si koudali yet matsure Solo Tamali yet matsura Si koudali yet matsure Ounde Tamali yet mat Si koudali yet matsure Tamali yet mat Koudali o makundé LINK /// < https://youtu.be/8ijsLo3yj_k > o) VOLTA - "To The Stars" {Jun.19} Leaving the city Playing with the key Possibility There's no one else but me No one else but me, here Leaving the city I've been to the bay Turning off the dark men Falling for my new sun I'm leaving you the cold I'm burning up the grey I'm leaving you the cold And I'm sending you a sign Mm- Mm- Mm- Mm- Something has changed within me Nothing will ever be the same I'm done playing with logic Of someone Else's game Leaving the city Floating over the bay Turning off the dark moon Falling for my new sun I'm leaving you the Cold I'm burning up the grey I'm leaving you the cold And I'm sending you a sign Oh- Oh- Woah- Oh- Hey Oh- Hey Oh- Oh- Oh LINK /// < https://youtu.be/ss8JPR9o_cI > o) Zumanity - "Meditation" {Jun.26} Love is beautiful, fierce, and strong. An insatiable, all-consuming fire. A lion pacing on the red hot embers of desire. Love is a thirst that’s never quenched, a sacred flame that can’t be drenched by icy showers of sobriety or a society strangled by notions of propriety. So what kind of love is this, this love that dares not speak its name? This love that hangs its head in shame? Is this so-called love even worthy of its name? True love doesn’t lie, it doesn’t hide, and it will never be denied the right to sing its furious song in the sad, empty streets from dusk ‘til dawn. Love laughs at fear and cries out its name for all to hear. Love is beautiful, fierce and loud. But most of all, love is PROUD. LINK /// < https://youtu.be/-wmtxGRCd_0 > o) Alegría - "Vai Vedrai" {Jul.03} Vai Vai bambino vai vedrai Vai Vai piccino vai vedrai vai Vedrai Dove mancha la fortuna Non si va piu con il cuore Ma coi piedi sulla luna oh mio fanciullo Vedrai Vai vedrai che un sorriso Nasconde spesso un gran dolore Vai vedrai, follia dell uomo Follia Del uomo senza driturra vai Follia Dei guerrieri senza paura vai Follia Dell bambino pien di vita che giocando al paradiso Dall soldato fu ucciso mio fanciullo Lovai Vai vedrai che un sorriso Nasconde spesso un gran dolore Vai vedrai follia dell uomo Follia Vai vedrai che un sorriso Nasconde spesso un gran dolore Vai vedrai follia dell uomo Lovai Vai vedrai che un sorriso Nasconde spesso un gran dolore Vai vedrai follia dell uomo Vai Vai bambino vai vedrai Vai Vai piccino vai vedrai vai Vedrai Dove mancha la fortuna Non si va piu con il cuore Ma coi piedi sulla luna oh mio fanciullo Vedrai Vai vedrai che un sorriso Nasconde spesso un gran dolore Vai vedrai, follia dell uomo LINK /// < https://youtu.be/SSYlGMgGZgw > --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) New 2018 Show Trailers - Corteo: < https://youtu.be/FaSQeX3HJzw > - Amaluna: < https://youtu.be/rBpkHsLsDRM > - LOVE: < https://youtu.be/hIJZAfyRlD4 > o) Cirque du Soleil's Happy 34th Birthday Video LINK /// < https://youtu.be/t4R4cVWiuW4 > o) Cirque Celebrates World Music Day LINK /// < https://youtu.be/9DmaQR8PeVI > o) Behind the Scenes with CRYSTAL LINK /// < https://youtu.be/4q76r1yA2cY > o) From Dance to CIRCUS: In Residence with Edgar Zendejas LINK /// < https://youtu.be/-a50PGTzaK8 > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "We're Off and Running - A Series of Classic Critiques" Part 15 of 16: Varekai, Part 2 (2003-2004) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 15 of 16: Varekai, Part 2 (2003-2004) 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. In this installment, we look at reviews and other articles from Varekai's second year. # # # CIRQUE'S NEWEST TOURING SHOW DESCENDS ON GEORGIA By: Julie Phillips Jordan | Athens Banner-Herald March 1, 2003 Cirque du Soleil shows seem effortless. Performers glide through the air, climb, balance, juggle, dance and contort their bodies with fluidity and grace, awing the audience. The Montreal-based Cirque du Soleil was formed in 1984, and exclusively uses human performers in its shows, creating through their acrobatics a world where virtually anything is possible. The road to creating this seeming effortlessness is part of the job of Michael Montanaro, choreographer for Cirque's latest touring show, "Varekai," which opens at the Grand Chapiteau at Cumberland Galleria in Atlanta on March 6 and runs through April 6. Having spent much of his career as a dance choreographer, Montanaro said in a recent interview he's found it challenging to bring together the different acrobatic elements of a Cirque du Soleil show. "My responsibility is to connect everything together, so in some sense, each piece fits within the context of what the director wants," Montanaro said. In the case of "Varekai," director and writer Dominic Champagne created a story based on the mythical figure of Icarus, whose wings fashioned of wax and feathers melted when he flew too close to the sun. The character of Icarus in "Varekai" is played by Russian artist Anton Chelnokov, who performs dives and contortions in a net that holds him captive following his descent to earth. There's much more to the show, though, and while the plot ultimately remains somewhat artistically abstract, Montanaro said the challenge is linking the many different performance acts together. "Varekai" performers run the gamut, from the Acrobatic Pas de Deux - a blend of ballet and acrobatics between two performers, to Aerial Straps, in which two "flyers" are suspended by wrist straps and glide above the stage in a synchronized aerial dance. There's also body skating, where artists create the illusion of skating on a slick surface; Georgian Dance, in which performers from the Republic of Georgia perform their traditional dances, recalling their countrymen's struggle to dominate their land; handbalancing on canes, showing off the strength and flexibility of Russian artist Olga Pikhienko as she contorts and balances herself atop canes; Russian swings in which acrobats are propelled into the air and caught by their partners; juggling; triple trapeze and more. "We have a team of designers, too, all working on the many different aspects of the show, so it's hard, in the end, to say who came up with what - it's such a collaborative effort," Montanaro said of the overall show. Montanaro said his work in contemporary dance prepared him for his role with Cirque. And when he got the call in 2001 that he'd been invited to work with the world-famous Cirque du Soleil, "I was ecstatic," he said with a laugh. "A chance to be a part of the creative team for a company with such a world-class reputation, and for redefining the circus arts, I was just amazed." Among the acts in "Varekai," is body skating in which the performers use graceful movement to create the illusion of skating. Other acts include aerial straps, triple trapeze, juggling, Georgian dance, Russian swings and more. He added, though, that he was a little overwhelmed at first. "I spoke to some other people who'd been with Cirque, and they said the best thing to do is for the first couple of months, just sit and watch. ... And even now, every time I see it - even after working on the show and putting it together - I'm still as amazed as I was the first time." Carmen Ruest agreed. Working in the casting department as a talent scout, Ruest searches for performers for the organization's shows. Currently there are eight different Cirque du Soleil shows in production; five of those are touring productions while three are on permanent location - "Mystere" and "O" in Las Vegas and "La Nouba" at Walt Disney World in Orlando, Fla. "Every year there's about 25 percent replacement, and there's also always a new show in creation, so it's a great deal of work," Ruest said. Having been with the casting department full time for eight years, she's seen it grow from a department of five to 31, which has helped ease the load a bit. Still, she said, there's the challenge of travel - trying to get to all corners of the globe at any given time to check out performers. "But," she said, "it's all worth it. Because when you see a show, there's something magical about it, something that makes you believe that everything is possible. I believe that myself," she said. * * * * * * VAREKAI WOWS WITH VISUAL WONDERS By: Joseph Jeong | Georgia Tech March 14, 2003 "The circus is in town, the circus is in town, but this is not your father's circus anymore!" If Cirque du Soleil wanted to use a cliché slogan, that could be it. But Cirque du Soleil is anything but trite, hence it doesn't have to resort to using gimmicky catch phrases to capture its audience. Its colorful and extravagant acts do that well enough without any help from marketing. The latest production by Cirque du Soleil is called Varekai (pronounced ver-ay-'kie), which means "wherever" in the Roman language of the gypsies. Written and directed by Dominic Champagne, Varekai is the story of a young man Icarus, who falls from the sky and finds himself in the extraordinary world of Varekai, a place deep within a forest, at the summit of a volcano, where the extraordinary can be ordinary. It is here that Icarus discovers a whole new world of possibilities and even love. Varekai is an extravagant and colorful experience that pushes not just Icarus' mind to the limits, but also the audience's. The moment one enters the trademark blue and yellow Grand Chapiteau, it is as if one is transported to a whole new world of color, sound and even physics. Amazing acrobatics defy gravity, while the color and sound assault one's senses to their limits in the world of Varekai. Varekai is split into 15 acts, seven before the intermission and eight after, and it is bookended by the two best acts: "Flight of Icarus" and "Russian Swings." "Flight of Icarus" is a subdued opening act that introduces the protagonist. It is a stunning display of aerial acrobatics that depicts the fall of Icarus from the heavens. "Russian Swings" is, of course, a more vibrant and colorful finale that celebrates the rebirth of Icarus in the world of Varekai, but its aerial acrobatics are just as breathtaking and amazing. If you have never been to a Cirque du Soleil performance, you should try to catch this unique act before it leaves town. It's an experience worth the price of admission and then some. * * * * * * WHAT'S NEW UNDER THE ELEPHANT-FREE BIG TOP By: Bruce Webermay | New York Times May 1, 2003 Cirque du Soleil, which has turned an original mix of performance elements into an international entertainment franchise, is back in New York with its latest show. Called "Varekai," which, according to a program note, means "Wherever" in the Gypsy language, Romany, it has set up a literal camp under colorful circus tents at Randalls Island Park in the East River, where it will remain through June 22. The new show, on a three-year tour, is one of eight different Cirque du Soleil extravaganzas currently touring or planted in Las Vegas and Orlando, Fla. By now the company's signature is set in stone, and "Varekai" follows the formula. It's a collage of choreography and circus arts, flamboyant costuming and set design, world music and New Age spirit. Though the level of artistry is high as ever, there is undoubtedly a staleness infecting the show as a whole. Dervishlike Georgian dancers, an adolescent Asian trio of bola jugglers; a menagerie of posing trapeze artists: at one point the man sitting beside me mumbled, "I think I saw some of this 30 years ago on 'Ed Sullivan.' " Though that's a little harsh (not to mention off by a decade), the point is well taken. As usual there is supposed to be a theme invoked or a story told by the show -- Dominic Champagne, the director, also gets credit as the writer -- though also as usual the narrative so hazy as to be inconsequential. The best guess here is that "Varekai" involves an innocent young fellow's arrival in a strange land, where he comes of age and eventually finds love. In the opening act the young man, in white (Anton Chelnokov), descends from the rafters swathed in a fisherman's net; the effect is not unlike that of Jane Krakowski's entrance in "Nine," though Mr. Chelnokov's dazzling and gorgeous midair solo is considerably more acrobatic if nowhere near as salacious. The final scene is a wedding of sorts, with gymnasts launching themselves from violently rocking swings into the seeming stratosphere, all in celebration of the nuptials of Mr. Chelnokov and his lady, Olga Pikhienko, an impossibly flexible young woman whose specialty is supporting herself with one hand, balancing on a cane upside down. In between, there is a variety show that includes a couple of pairs of clowns. One pair -- Claudio Carneiro and Mooky Cornish -- is very funny, especially in a routine in which the trim Mr. Carneiro plays a mediocre magician and the heavyweight Ms. Cornish, in a short purple teddy, his clumsy assistant. There is also a fine and amusing juggler (Octavio Alegria). "Varekai" is generally at its best when it treats gravity with indifference. An aerial bungee cord ballet is performed with spectacular daredevilry by two brothers, Andrew and Kevin Atherton, whose physiques, costumes and embraces nonetheless give the breathtaking act a suggestive homoerotic charge. There is, however, show-offy repetition in almost everything, and there is hardly an act in "Varekai" -- which is, at two and a half hours, itself too long -- that wouldn't benefit from being trimmed by a couple of minutes. Stéphane Roy's set, with tall spiky stilts spread across the rear of the stage, suggests a forest of bamboo, or a louse's-eye view of a porcupine's hide. It's dramatically lighted of course in other-worldy fashion, by François Bergeron; and the costumes by Eiko Ishioka, mostly made out of latex for the sake of the gymnasts, complete an environment that is part Middle Earth, part outer space and part superhero comic book. The eclectic music, written by Violaine Corradi and played very loudly by an eight-piece orchestra, is of the pretentious sort that testifies to its own magnificence and encourages spectators to roar in response. * * * * * * CIRQUE DU SOLEIL: VAREKAI By: Barbara and Scott Siegal | Theater Mania May 1, 2003 No matter what anybody tells you, there is no story to follow in Cirque du Soleil's new show, Varekai. There is a theme, which is flight, or at least man's intrepid efforts to leave this earth however briefly. But trust us: The only narrative in this show is the one that you make up in your own head. Still, as a collection of acts that genuinely defy gravity, the show is utterly mesmerizing. And except for one decidedly unfunny clown with foliage growing out of his pants, almost every act is original, exciting, and unforgettable. In other words, Cirque du Soleil is back. If you know what the troupe does, and if you know that you love it, then all you need to be told is where the hell it's taking place. Seriously, when was the last time you went to Randall's Island Park in the East River? One wonders how they came up with this location, but people are getting there: The tent was packed the night we saw the show, and the run of Varekai has already been extended for an extra nine performances through June 22. For those of you who don't know much about Cirque du Soleil, let's start with the name -- translation, "Circus of the Sun." It's appropriate in the sense that this is one extremely hot circus. And while it may not have three rings like Ringling Bros. and Barnum & Bailey, what the Cirque people do is so special and so popular that the real ring here is the one at the cash register. People will pony up to see a circus without circus animals because the human animal is by far the most trainable -- and the most willing to risk his or her neck for a meal. Lord knows, no other animal would be so foolhardy as to attempt some of the dangerous stunts in this show. For example, there's Anton Chenokov performing stunts high up in the air without a net. Well, that's not entirely true; he does have a net but it isn't beneath him. He hangs from it! Yes, all of his spectacular mid-air acrobatics take place in and around a man-sized piece of netting. The act is called "Flight of Icarus" but might as well be called "Net Profit." Olga Pikhienko uses her hands to balance herself, upside down, on canes -- and that's just the premise of her act. Where she takes it from there will leave you slack-jawed in amazement. Most of the acts in Cirque du Soleil will cause you to ask yourself what possessed these people to learn such peculiar stunts. Yet there is something totally liberating about an act called The Russian Swings, whose members catapult themselves high up into the air where they hit huge pieces of cloth or canvas and then come sliding back down to earth. It's absolutely joyful to watch, and it sure looks like fun. Among the other particularly breathtaking acts are two brothers who do their stunts hanging and swinging from straps on their wrists. There is a very impressive juggler and two whirling-dervish types who end their act with a thousand-mile-a-minute swordfight of clanging blades and shields. And, happily, there is another clown who does a hilarious bit of searching for a wandering spotlight while he aptly sings "Ne me quitte pas" (translation: "Don't leave me"). The show was written and directed by Dominic Champagne. Need we tell you that it bubbles? Champagne should toast his collaborators: Eiko Ishioka designed the costumes for this kaleidoscope in which all of the performers are clad in colorful, oftentimes playfully nutty outfits. Stephane Roy devised a set that has the look of an ultra- modern forest. Nol van Genuchten designed lighting that ranges from the intensely atmospheric to the spectacular; the tent is invaded by what seems like swarms upon swarms of fireflies during one sequence, and the effect is stunning. One caveat: In order to cram as many people as possible into the Cirque tent, the seats are so narrow that they're downright uncomfortable. We may be among the shortest, smallest-boned (dare we say thin?) critics in New York, but even we felt like sardines. Of course, this won't be a problem for small children, and we should note that the sightlines are great; each row is a step up behind the one in front. But adults should bring a spatula and a lot of butter to get themselves into their seats. We are told that, in the language of the gypsies, "varekai" means "wherever." Dominic Champagne may have one idea of what that has to do with this show, but we think it means that "wherever" Cirque du Soleil puts up its tent -- even on Randall's Island -- audiences will follow. * * * * * * CIRQUE TOUJOURS! By: Richard Corliss | TIME June 12, 2003 The chasm couldn't be wider between those who love Cirque du Soleil and those who love to hate it. In any discussion (argument, fistfight, Gulf War III) about the Montreal-based circus, there's no DMZ. I'd call the rival groups the Cirques and the Squares — except that the anti-Cirque faction has claimed the hip ground. For them, Cirque du Soleil is just a pretentious name for a pretentious circus troupe too chintzy to pay for animals. On the white painted face of it, the Cirque-haters have a few points. Who is uncomfortable mocking mimes? Who wants to see the strutting of street performers you would flee from if they performed on your street? Who enjoys the threat of being yanked from the anonymous discomfort of a wooden seat to be the butt of a clown's slapstick raillery? Who hopes that all this medieval merriment will be encased in two hours of New Age music? And who is ready to pay $95 a ticket for the privilege? The expected antiphonal response: "Nobody" times five. Many savvy folks of my acquaintance would rather endure a colonoscopy supervised by Michael Moore humming Reba McIntire songs than attend the new Cirque extravaganza "Varekai" (now playing on Randall's Island in New York City), or read about the show in their own magazine. I not only know these people; I work for some of them. So, humbly, I defer to their worldly wisdom. And fervently, I say they're wrong. Not simply because I'm the official Cirque du Soleil reviewer for TIME magazine, but because each of the debating points can be concisely and conclusively rebutted. To wit: The lack of animals? No loss: humans are easier to train, and they come potty-trained; they only thing missing here is the stench of elephant dung. The mimes and clowns? They consume maybe 15 mins. of a two-and-a-half-hour show; and in "Varekai" two of the three clown spots provide inspired comedy. The audience participation? Should you be chosen, you'll be spared the humiliation that would be your lot on any TV show — no Simon Cowell will sneer your efforts into embarrassment. The world music? It evokes a world of music, from Ladysmith Black Mambazo to "Hava Na Gila," but it's really just the pumping pulse to the acrobatic artistry awaiting you. The price? It's about the same as for a Broadway musical, and kids get in for 30% less. (Their enraptured thanks should cover the cost.) As for the seats: if your butt isn't cushion enough, bring a pillow. I can understand the resistance of my cooler friends to the Cirque trappings, though to me the forest tones of "Varekai" have their own humid enchantment. But beneath Cirque is a circus, a demonstration of acrobatic skill and sorcery: humans doing, 10 times a week, what most humans can't do. Viewers who fail to be impressed, moved by the performers' dedication, their strength and finesse, are beyond blasé. They're emotionally inert. (Except, of course, for my friends and employers at TIME. They have unusually high standards.) Some of you don't need my badgering, since more than 6 million people have seen a Cirque du Soleil show. And if you don't live near one of the 10 cities where "Varekai" will be playing this year or next, tune in to the Bravo network Saturday (the 14th) for a TV version of the show. It's preceded by a half-dozen Cirque specials, which give you a hint of the wonder that Guy Laliberté and his alchemists have been manufacturing for nearly 20 years. But just a hint: the TV shows don't come close to capturing the in-person Cirque sensation. You can't lock magic in a box. GYPSY IN THEIR SOULS Each Cirque show has a different, often arcane name, to match the hazy twists of the "plot" that binds the show's dozen acts. "Varekai" has no such obscurantist aims. Andrew Watson, the writer-director, spells it out in the press notes and house program. The word "Varekai" means "wherever" in the Romany language — appropriate for the theatrical and circus gypsies who have come from all over the globe to Montreal, only to wander across North America for the show's three-year run. Here's the story line (which seems translated, sometimes poetically, sometimes whimsically, from the French): "Deep within a forest, at the summit of a volcano, exists an extraordinary world — a world where something else is possible. A world called 'Varekai.' From the sky falls a solitary young man, and the story of 'Varekai' begins. Parachuted into the shadows of a magical forest, a kaleidoscopic world populated by fantastical creatures, this young man sets off on an adventure both absurd and extraordinary. On this day at the edge of time, in this place of all possibilities, begins an inspired incantation to life rediscovered." The show comes to life, slowly, gradually, like a jungle dawn. A dozen creatures (members of the company, costumed by renowned Japanese artist Eiko Ishioka) prance or creep across the verdant stage. (The scenic designer is Stéphane Roy.) A half-dozen others clamber halfway up the tall bamboo shoots. Somnambulist images take shape, suggesting the paintings of Magritte and Bosch, the stately stagescapes of Robert Wilson. This is the circus, not of your memory but of your artistic bachelor uncle's dreams. In this Rousseau reverie are a myriad of forest denizens, animal, vegetable and that one human. Five creatures seem an amalgam of species: they walk on stilt-stalks. Another keeps time with an invisible paddleball. A beige bird walks carefully, as if hunters might capture and crate it at any moment. And then the boy appears, wrapped or rapt in a suspended net, a bas-relief painting against the living mural of the forest's residents. This is a place of illusions, false perspectives, trap doors; performers execute their dazzling routines, then disappear into holes that suddenly open on the stage floor. As I said, it's a circus at heart — with stunts that suspend all laws of geometry, physics and credulity. Who dreams up these murderously tough muscle ballets? For example, a two-man routine in the first act: I'll lie on my back and stick my feet up. You jump up onto my feet and, using them as a platform, do 32 somersaults — and landing on your feet, and mine, each time. The "water meteor" trio that follows has three Chinese boys (none older than 13, and all looking years younger) twirling large yoyos, sort of, on a kind of jump rope; for the climax, one boy holds the other two while the degree of difficulty accelerates to the googol power. (Then they vanish into holes.) I say, "Send in the clowns," and you ask to be excused. But thin, sad- faced Claudio Carniero (from Brazil) has an easy gift for playing the incompetent impresario, and his assistant, pudgy blond Mooky Cornish from Canada, makes for a fine foil and out-smarter. In the first act Carniero drags a spectator into a ramshackle magic routine and makes him disappear, never quite managing to hide him behind the cheap curtain. (At the end of the routine, Cornish tries diving down one of the stage holes but gets stuck.) In Act II he is a torch singer, lip- synching the Jacques Brel ballad "Ne me quitte pas" while trying to stay in the range of a very slippery spotlight. His ruses become more elaborate, more desperate, crescendoing to a lovely capper: that the spotlight has been controlled, "Duck Amuck"-style, by Mooky. An interlude of beautifully calibrated silliness. I've left out the most gorgeous, soaring pieces of "Varekai." Some things have to be experienced, and if poetry is what's lost in translation, Cirque is what beggars description. Another warning: In this synopsis, I may have got a few of the details wrong. Truth is, at a Cirque performance I sometimes forget to take notes. Under the blue and yellow tent I misplace my pencil and my critical scruples. For two hours I become a kid, gaping up at miracles of physical strength and elasticity, splendors of stagecraft. I envy the young children who see "Varekai." Like "the Lion King" on Broadway and "Finding Nemo" in the plexes, it is the perfect introduction to the empyrean of popular art — the wisest gift a parent could bestow. MY NORTH AMERICAN IDOLS The tone of much critical discourse in matters of popular culture is indulgent derision. TV reviewers join the rest of America in watching the weekly trudge of reality TV contestants — the idiot daredevils, quavering singers, annoying tykes, the people who are shocked that their neighbor has made a botch of renovating their rec room — and profess to find some nugget of entertainment truth beyond the ken of professional writers and actors. (Cirque had its own fling into docudrama, a Bravo series, "The Fire Within," that followed several Cirque hopefuls through the arduous audition process. Just say it wasn't the company's finest half-hour.) I can't summon even an awful fascination for these adventures in condescension. I watch a TV show or movie, go to a show, listen to music, to discover something smarter, funnier, more sublime than I could imagine creating. Stupid, boring, embarrassing: those I can do on my own. Call me old-fashioned, but I want what Jean Cocteau demanded of a work of art. Astonish me! Cirque du Soleil does just that, year after year, in every new show. Some more than others: none of Cirque's tent spectacles matches "Mystere" and "O," the permanent productions at the Treasure Island and Bellagio resorts in Las Vegas. I wrote it two years ago, and I still believe it: those are the two great theatrical experiences of the past decade. (And on Aug. 14th, a new show, the sexy "Zumanity," will open at Vegas' New York New York hotel.) But if "Varekai" is dwarfed by the Vegas epiphanies, it towers over most films, Broadway shows and even the finals of "American Idol." It has an otherworldly grace and magnificence that, after two viewings, still astonishes me. Skeptical New Yorkers, you have until July 6 to prove me wrong. Chicago (July 17 to Aug. 17), Los Angeles (Sept. 12 to Oct. 5) and Pomona (Dec. 4 to 28), you're next. Take the Cirque challenge, wherever. I warrant that any suspicions you bring to the tent will dissolve in the radiance. And when someone asks you to name all the things wrong with "Varekai," you'll be as quiet as a ... mime. * * * * * * VAREKAI WHIPS AUDIENCE INTO FRENZY By: Chris Jones | Chicago Tribune July 21, 2003 The Cirque du Soleil has morphed from a cool little Canadian circus aimed at arty hipsters to a long-lived mainstream entertainment brand with annual revenues in excess of $500 million and a slew of copy-cat pretenders to its throne. And yet this remarkable operation somehow manages to constantly reinvent itself and thrill Cirque neophytes and veterans alike. "Varekai," the newest tented attraction to arrive in Chicago, departs from the Cirque's dominant aesthetic over the years. And those first attracted to Cirque's dreamy brand of surrealisme may miss some of the quiet thoughtfulness of such gorgeous early shows as "Nouvelle Experience." But times change --and quicken. "Varekai" is a loud, dazzling and thoroughly beguiling family show that whipped its opening-night audience into a veritable frenzy. One can tell "Varekai" is the work of a troupe now rooted in Las Vegas. Even the clowns eschew noses and oversize clothing in favor of a fabulous cabaret deconstruction performed to "Ne Me Quitte Pas." If the roots of "Saltimbanco" were street performers, the roots of "Varekai" are in grand, inter-disciplinary spectacle with a huge budget. Given the number of people who have already seen its long- running shows in custom-designed Vegas facilities, Cirque knew that the tent pole has to be raised to a new level of high-tech energy. And "Varekai" delivers. But look closely at this show and you can see the influence of the Blue Man Group (not coincidentally, also a Vegas fixture). The show catches fire early in the first act with Icarian Games. At first, the act looks like a highly skilled but conventional fusion of human catapults and catchers. But the performers stare at each other (and the audience) with such emotional intensity that one's investment in their acrobatic routine turns into an emotional engagement. When they wobble or stumble, one's ready to leap up there and swoop the guys up in a protective embrace. Then just when the crowd has become a collective emotional wreck, Cirque trots out a trio of impossibly shrimpy guys who whirl ropes with metal "meteors" attached to their ends as if they were Dickensian urchins trying to get out of the workhouse. "Varekai" plays around evocatively with the story of Icarus and is suffused with notions of wings, danger and flight. The backdrop is a series of long poles, evoking everything from grassy reeds to stilts. But the great strength of this remarkable piece of entertainment is the quality of its acts. In a circus review, that may sound like a statement of the obvious. But at Cirque, the acts are only a minor part of the overall equation -- Cirque likes to create unifying (if oblique) narratives that emphasize its house performers in their whimsical costumes. Usually, those visuals dominate the experience. Longtime attendees at this circus tend to have favorites (mine remains Franco Dragone's "Mystere" in Vegas). But it's very much a matter of individual taste, depending on which metaphors one finds most resonant. I've preferred other visuals to those that infuse "Varekai." But never has Cirque toured a collection of acts like this one. Juggler Octavio Alegria manipulates objects with remarkable dexterity. And a dazzling Russian act in the finale involving two moving swings and a pair of massive white sheets is the most thrilling of mobile spectacles. Cirque has moved with the times. But it still maintains its one inviolate and brilliant rule -- no overt references to any pop-culture icon outside of itself. And it keeps the omnipresent metaphor that has sustained it all these years: the act of watching. You can find weird spectators in every corner of le big top -- staring and marveling, willing one to do the same. * * * * * * A CIRQUE-ULAR JOURNEY IN VAREKAI By: Evan Henerson | LA Times September 11, 2003 We could try to explain Cirque du Soleil's "Varekai" ... but then we'd have to bewilder you. Still, if you insist ... "It's about brotherhood and, I would say, transmutation," says composer Violaine Corradi. "You will see there is a love story between the myth of Icarus - our Icarus - and a caterpillar." Uh-huh, OK. Would-be aviators of Greek mythology and insects. Got it. How about you, Dominic Champagne. You're the director - perhaps you can enlighten us further? There's this blue and yellow big top outside that arena where the Lakers play their home games. What precisely is going on inside? "The fall of Icarus is the starting inspiration," says Champagne, referring to the myth of the young boy who fashioned a pair of wax wings and then flew too close to the sun. "It's quite beautiful, the idea that the closer you get to the Tree of Knowledge in the Garden of Eden, the closer you get to the light, you're facing also the danger of being burned. That type of lesson you can apply to many different levels of your personal experience. "I don't think we can explain everything or keep the knowledge of things in little drawers or cans where everything is totally understandable." That's Cirque du Soleil for you. Try a little surrealism with your gravity-defying acrobatics. And bring the kids. By now, nobody should expect lion-taming, trick horses or human cannonballs from Cirque du Soleil, the Montreal-based company whose product - many would argue - is a circus in name only. More than 15 years after the company opened the Los Angeles Festival - and with eight Cirque shows in circulation around the globe from Japan to Las Vegas - the Cirque is back in Los Angeles. Featuring more than 50 nationalities from more than a dozen countries, "Varekai" opens Friday at Staples before moving on to the Pomona Fairplex and the Orange County Fair and Exposition Center in early 2004. L.A. is the show's eighth stop. Expect no animals in "Varekai," which premiered in April 2002. Several acts are inspired by traditional elements of circus performance, including juggling, trapeze artistry and the Icarian games (aka humans beings juggling other humans on their feet). Yes, there are clowns: Claudio Carneiro and Kathleen "Mookie" Cornish playing a pair of hopeful ushers who desperately want to join the act, performing every cliched possible circus act ... badly. For "Varekai" (pronounced Veray-kie, the word means "wherever" in the Romany language of the Gypsies), Champagne and director of creation Andrew Watson assembled an entirely new creative team. Champagne hails from the world of theater, costume designer Eiko Ishioka is an Oscar- winning film costumer. Corradi has scored films and set the works of several Quebec poets to music. "There's an inherent risk-taking in bringing in a different creative team. That's huge," says Watson, who was a trapeze acrobat with Cirque du Soleil before moving behind the scenes. "When you're working with a lot of people, some of whom you don't know, some of whom have never been in Cirque before, you have to be very accepting of other people's processes. It's a circus show, and we never pretend it's not a circus show," he continues. "The most important thing is to create a show that has its own identity." And precisely what kind of an identity will "Varekai" have? Well, the show is set within a forest at the summit of a volcano - in a realm of infinite possibility. A young man - our modern Icarus - parachutes in and begins a fantastical journey. In no particular order, those acts include: -- Acrobats balancing by hand on canes and a solo dance performed on crutches. -- Acrobats twirling ropes with "water meteors" attached to the ends. -- The flight of Icarus, performed in a net by contortionist Anton Chelnokov. -- Body skating and Georgian dancing. To a person, the members of Cirque's creative team maintain that the company's avant-garde weirdness is like catnip to artists looking to flex their creative muscles. And it's not easy. "As a spectator and a professional playwright, I wondered if it was possible to tell a story in an acrobatic circus show," says Champagne. "I had to go through the experience, and I realized it was quite difficult to tell a story out of a circus. The dramatic and poetic source of inspiration helped me to create the universe that is now 'Varekai.' " Put another way, the appeal of jumping out of a familiar realm to work Cirque is a kind of ... "Freedom!" sings Corradi, who is scoring her second Cirque du Soleil show. "A show like 'Phantom of the Opera' - and I'm not judging - you can see the same show in London or New York. When you see a show like what Cirque does, you feel this very dynamic and organic body moving. It's more demanding to the artist and creator. As an artist, you have to want to always challenge yourself." * * * * * * HIGH-FLYING VAREKAI A STEP UP FOR CIRQUE DU SOLEIL By: Pam Kragen | San Diego Union-Tribune March 24, 2004 Cirque du Soleil takes to the skies in grand fashion with its latest theatrical export, "Varekai," now playing through mid-April under its fanciful blue-and-yellow tent at San Diego's Qualcomm Stadium. The aerial- and dance-themed circus stage show has all of the markings of its Cirque predecessors -- fanciful costumes and makeup, live singers, state-of-the-art lighting and mystical circus acts -- but it raises the quality bar an extra notch. "Varekai" is a big improvement over "Dralion," the Chinese acrobat- themed Cirque show that visited Del Mar in 2002. The "Varekai" acts are much shorter in length, there's more variety in the program, and the caliber of the performances is much higher (most of the "Dralion" acrobats wore safety wires and their acts were sloppy). "Varekai" also boasts the most elaborate and beautiful costumes, light and set elements ever created in Cirque's 20-year history. So what is "Varekai" (which means "wherever" in the Gypsy language of Romany)? My guess is that the action takes place in a mythical oversized swamp where the characters onstage represent the wildlife in and around the water. Acrobats in bug and lizard-like costumes perch high atop swaying metal poles like grasshoppers on reeds (the program calls it a volcanic forest, but I saw no trees or volcano). Fish, sea creatures and marine plants cavort in a colorful underwater dance. And aerialists dressed in elegant feathered headdresses soar overhead like birds. Into their midst drops the mythical Greek character Icarus, his wax wings melted by the sun, and the action begins. "Varekai" features an international cast of nearly 50 performers -- including acrobats, aerialists, dancers, contortionists, a juggler and a troupe of strolling and backstage musicians. There's a quartet of gibberish-speaking clowns, and there's even a disabled acrobat who performs a pommel horse routine/dance on his crutches. The troupe is accompanied by talented singers Zara Tellander and Craig Jennings, who perform the pulsing New Age score in a nonsensical language that blends French and English. The show has many high points, including Anton Chelnokov's nifty aerial ballet inside a suspended net; an impressive (if repetitive) tumbling/balancing act called "Icarian Games"; a high-spirited Georgian dance (three Russians perform fast-paced folk dances and battle with sparking swords); a high-flying finale featuring Russian gymnasts leaping and cart-wheeling from a see-sawing swing into pinpoint landings; and the gorgeous aerial duet of British twins Andrew and Kevin Atherton, whose soaring act on the aerial straps is perfectly conceived and executed. Less inspiring are overlong aerial hoop and contortion acts, as well as the ho-hum "Water Meteors" act in which a trio of petite Chinese acrobats tumble about while they spin ropes weighted at either end with rubber balls. One visual effect of the show is so spectacular it has a program entry all its own -- the "Cloud," a cloth, helium-filled, cloud-shaped balloon that floats over the stage, illuminated from within by a ghostly kaleidoscope of moving colored lights and images of flying birds. Another dazzling light effect involves swarms of buzzing green gnats that fly over the audience (accomplished through neat special effects wizardry). Gordon White, as a bare-chested wood sprite, leads the clown troupe through a mostly cliched and often-confusing series of slightly funny bits between the circus acts. The only bit that really works (and works hilariously well) is "Ne Me Quitte Pas," in which clown Stiv Bello plays a cheesy French cabaret singer trying desperately to keep up with an ever-darting spotlight. The show runs two hours, 30 minutes, with intermission. Some dark elements in the show, a few creepy costumes and frequent lighting blackouts may frighten sensitive small children, but the costumes, clowns and onstage action will enthrall most anyone. * * * * * * VAKREAI SOARING TO NEW HEIGHTS By: R. J. Donovan | ON Stage Boston August 8, 2004 With vibrant music and a sensual fusion of drama and acrobatics, Cirque du Soleil has returned to Boston -- this time with “Varekai,” meaning “wherever” in the language of the universal wanderers. More than 50 artists from 30 countries are represented in this year’s innovative production. Set in a lush forest, “Varekai” is inspired by the mythical tale of Icarus who flew too close to the sun. Here, the young man falls from the sky into a kaleidoscopic world filled with fantastic birds, bugs and assorted creatures. While his flight through the air may have been aborted, his journey on the ground is both surreal and amazing. As Icarus, Anton Chelnokov is stripped of his wings but rises in the air in a fishnet that he uses to display an almost effortless strength. He sails to the peak of the yellow and blue tent and soars above the forest floor only to spiral down to earth once again. Icarus’ betrothed is played by Irina Naumenko, a lithe and limber contortionist who balances on canes in a segment that (to her credit) is almost too painful to watch. Throughout the vibrantly costumed two hour show, the audience is treated to any number of spectacular presentations. Three youngsters (Liu Xinxin, Wang ZhinXhen and Zhang Cheng) each twirl twin water meteors suspended from ropes. Four shimmering green females (Helen Ball, Cinthia Beranek, Juliana Countinho and Sophie Olfield) work a triple trapeze. And six tumblers (Stiv Bello, Roni Bello, Javier Santos, Pedro Santos, Oleana Durnyeva and Mariya Kanatnykova) engage in Icarian Games, involving one member of each team reclining back on a tipped board to wildly toss, twirl and spin a respective partner with his feet. Dergin Tokmak offers a masterful solo ballet on crutches while Octavio Alegria juggles everything from boomerang-ing straw hats to ping pong balls. Although all the performers are exceptional, one act is really quite unusual. Dressed in mirror-image black leather outfits, brothers Andrew and Kevin Atherton present an aerial act suspended from wrist straps. Whether gracefully soaring as one unit or presenting a mid-air reflection of one another, they are remarkable. Comic relief is supplied by Jordi Deambulants and Joanna Holden. The duo works the crowd as the audience enters, returning during the first act as an Aladdin-like magician and his hapless assistant. Corny and incredibly amateurish, they’re so awful, they’re good. Deambulants returns in the second act as greasy lounge singer who can’t seem to stay in his spotlight. At the conclusion of the number, we see the spotlight attendant is none other than Holden, who has victoriously ruined the act. Saving the best for last, “Varekai” comes to an eye-popping finale with 13 Russian acrobats on two gigantic balancing-swings. They are not only propelled back and forth between the swings but fly up to the rafters only to be caught in huge spandex-like sails. It’s a definite crowd pleaser. Even the slightest detail is important in a Cirque du Soleil show and “Varekai” is no exception -- right down to the fireflies that float through the darkness and the pre-show sounds of water dripping in the rain forest. Production values are top notch throughout, with Eiko Ishioka's fanciful jewel-toned costumes and Nathalie Gagne's intricate make-up providing a treat for the eyes. * * * * * * CIRQUE CELEBRATES 20TH ANNIVERSARY WITH VAREKAI A Chat with Nicolette Naum and Stephane Roy August 31, 2004 The world Varekai means "wherever" in the Romany language of the gypsies, the universal wanderers. This latest touring production of Cirque du Soleil pays tribute to the nomadic soul, to the spirit and art of the circus tradition and to those who "quest with infinite passion along the path that leads to Varekai." Nicolette Naum, artistic director, and Stephane Roy, set designer, for Cirque du Soleil were online Tuesday, Aug. 31, at 11 a.m. ET to discuss the theatrical piece, its choreography, acrobatics, unique sets and the skill of the international cast. Midway through the discussion, Nicolette and Stephane had to leave for another interview. Touring publicist Chantal Blanchard stepped in and finished the discussion. A transcript follows. * * * Q. Nicolette and Stephane, welcome to washingtonpost.com. We're glad to have you with us and look forward to your Washington show at RFK Stadium. Will the show be done in tents? How will all that work? Cirque du Soleil will be performing one big top tent that will accommodate 2,600 people. Around the tent there are five smaller tents for VIPs, refreshments, socializing, entertainment, etc. It'll be like a little village all around, like modern gypsy. It'll have its own ambience and will no longer be like a stadium. It will reflect the theatrical, poetic, familial energy that Cirque du Soleil represents. Q. Please explain Varekai, the show. Varekai means wherever and it's about survival. It's about human beings that gather together into a forest finding a new place, searching for food, gathering together, and this family is expecting a huge event to happen and this event is the fall of Icarus. It's the journey of Icarus who lost his wings. In this journey all with all those human beings around he learns to walk. Everyone in this family shows to Icarus what human beings can do and what can result when they put their creativity and energy together. Q. What different countries are represented by your performers? Is it true that your group was scouting the Olympics for future performers? In this show Varekai there are acrobats who were in the Olympics in Atlanta or in Sydney and they're amazing. Last week we had members of Cirque in Greece at the Olympics interested in some of the athletes to possibly join us in the future. In Varekai, there are 25 performers who were in the Olympics in Sydney and Atlanta who are now working for Cirque du Soleil. Overall, 40 countries are represented in Cirque du Soleil. Varekai represents 13 countries. Q. How does one become a member of Cirque? What skills do you have to have? Is it a big organization? Do you recruit? The casting department travels around the world constantly. They go see the Olympics, they go see festivals, they visit athletic organizations. In all the shows we have high-level athletes, world champions. We have dancers, actors, musicians, performers who come from traditional circuses. The performers in our show have their own specialties which can be tumbling, gymnastics, diving, sport acrobatics, just to name a few. We are based in Montreal. People do apply with us. They send their resumes, videotape and we invite them to audition. We look for excellence in our performers. We look for something that is unique. The whole company has about 3,000 employees. We have nine different shows going on now at the same times in various parts of the world. Four of them are permanent shows, three in Las Vegas, one in Orlando and we have five touring shows: One in Japan, one in Australia, two in Europe and us in America. Q. How did Cirque evolve? As an alternative circus? No animals? It started out in Baie St. Paul in Quebec with street performers who all worked on stilts and they were called the High Heels Club and it is now a big company that employs, as we said, 3,000 people from all over the world. We concentrated on human beings and what they can do as opposed to animals in the circus. In a sense, human beings offer more possibilities than doing a show working with animals. We like to say the impossible is possible. The shows are a whole made up of the staging, the lighting, the costumes, the performances ... Because if you come to see a show there's no emcee. There's no spoken words. It's a made-up, invented language. So if there's a trapeze to set up, that set up becomes part of the show, the storyline, part of the whole emotion of the show. Q. I loved the Bravo series "Fire Within" that followed the development of the Varekai show. Do you have any quick updates about the performers we watched become part of the show, like Stella and Gareth? Stella has moved on. She left the production in December. She's now settled in Los Angeles and she's working there. Gareth is back in the U.K. and he's also making a living there. Q. Listening to the music used in the performances, I'm impressed with the "world music" concept -- but I can't determine what languages are being used or specifically what countries are being represented. Can you shed some light on the music being used in the performances? The language is an invented language. Sometimes you might recognize an accent that sounds Italian or Spanish or any other language but that's just for effect. The music is very world beat. Our composers are from the province of Quebec and Quebec, like the rest of Canada, is very much influenced by the planet -- the rest of the world. That's why there are Arabic sounds, Georgian sounds, African sounds, Hawaiian, from everywhere. Q. What is the culture of Cirque du Soleil like? How much of life is traveling, maintaining a normal life with family and physical training? Are you part of a union and what are some common issues (good or bad) that many in the organization face? There are 200 people traveling together. Out of that there are 56 acrobats or performers and then there are 80-90 technicians, logistics people and then you have our administrative and tour services people. Then we have our kitchen with five cooks. We have a school for the performers' children. We have husbands and wives and kids in our touring company. It is a little community. Nobody lives on site. We all live in corporate apartments. We try to become citizens of the cities we're in in the six to eight weeks that we're in the particular city. Back home at headquarters in Montreal, everyone lives like everybody else would in any other city. We have no union. One thing that you find out traveling with people from so many different countries is that everyone has issues but things always work out and it's very mind-opening to work around people from all these different cultures. Q. Are audiences different, say in Europe as opposed to the U.S.? We are fortunate enough that they do respond respond as enthusiastically and warmly as the people in the U.S. but we have to say that the American people are very loud and we love it. Yeah, definitely. # # # That's all for in this issue, but there's still one last installment to go! o) Issue #175, AUG 2018 - Varekai, Part 3 (2005) ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 18, Number 7 (Issue #174) - July 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., All Rights Reserved. No copyright infringement intended. { Jul.10.2018 } =======================================================================