======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 8 August 2018 ISSUE #175 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Look! We finally reached the next important publication milestone - our 175th issue! Can you believe we've been publishing for 18 years now? We've seen a lot of change at Cirque du Soleil through those years, but of course, we've changed a lot too. At our last milestone, I'd been so busy with a new house and new baby that I really didn't have the time to think about what it meant to reach our 150th issue. And now that we're here at #175 - gosh, where did the time go? - I find myself in a similar situation... who knew toddlers could take up so much of your time?! Now, as then, life moves on. As Heraclitus of Ephesus was fond of saying (loosely translated): "All is in flux, nothing abides." Change is the only constant and so Fascination will continue to change as Cirque itself pivots into new and exciting things. I may not always agree with the direction the company takes, nor the desire to cover every aspect of the ever-growing Cirque du Soleil Group empire, but for now I'm still following the sun. And it's still shining bright. That's all I can hope for. * * * NEW CRISS ANGEL SHOW COMING TO LAS VEGAS * * * It's official: Criss Angel will make his oft-anticipated move to Planet Hollywood in time for the holidays. The veteran Strip illusionist opens "Criss Angel Mindfreak" in Criss Angel Theater, formerly Planet Hollywood Showroom, beginning Dec. 19. Angel and Caesars Entertainment announced the move in a news release on July 31st. Angel's impending move to Planet Hollywood was reported by the Las Vegas Review-Journal back in December, which we, of course, covered here. Angel said the Dec. 19 date is a "soft" opening during the traditionally slow holiday season. He'll likely celebrate his grand opening in January, though that date is not finalized. "This is not me taking my Luxor show and moving it to Planet Hollywood," Angel, who closes Oct. 28 at Luxor, said. "This is an entirely new show. We're renovating the theater and bringing in a whole new production." The new "Criss Angel Mindfreak" will run Wednesdays through Sundays, with tickets starting at $69 (minus fees) and are already on sale. Read more about this announcement in our news section within. * * * KEVIN AND ANDI ATHERTON IN VOLTA * * * In case you missed it... Kev and Andi made the following announcement back on June 16th... "We've been given the opportunity to perform a Duo Aerial Straps act in the Cirque du Soleil show Volta. Volta is currently touring North America. The opportunity was presented to us several weeks ago. After discussing it with each other and with our immediate family members, we felt it would be a symbolic way for us to honor and pay tribute to our friend and colleague Yann Arnaud. Yann tragically lost his life recently during one of his performances on Volta. He was doing what he loved the most. This return to the Big Top stage is with mixed feelings. This horrible accident affected us enormously, along with the circus community as a whole. Each performance we do, we will do in the memory of Yann and for his beautiful family left behind. There was one thing Yann loved more than performing and that was his family. We spoke yesterday with Yann's wife Inna, along with his father Christian and together we decided we'd like to contribute a portion of each of our performances on Volta directly to support his daughters Lilia and Kiana. We all felt that Yann would appreciate this. We can't imagine the pain and heartache felt after losing someone so close to you. This is for you Yann!" We wanted to remind you that the twins will appear in VOLTA beginning with the Seattle run of the show (September 7th), and stay through to San Francisco (Jan 6, 2019), so only two stops. From there they have an appointment in Germany for the re-launch of Paramour! * * * OTHER ITEMS OF NOTE * * * o) Get ready for thrills and chills Seoul, Korea! After welcoming 8 million spectators from 61 cities in 19 countries, Cirque du Soleil is coming your way! Catch KOOZA under the Big Top at the Jamsil Sports Complex starting November 3rd. o) 45 Degrees' Monte Carlo show is coming. Check this quick teaser: https://www.facebook.com/MonteCarloLiveSBM/videos/2087520967947057/ o) Aurelie Dauphin is performing a Vocal Aerial Silks act in Corteo o) Corteo celebrated it's 100th arena show on July 14th. Congrats! o) Volta has a new programme book, but you can only get it on site. o) Pablo Gomis and Pablo Bermejo are returning to Alegria! As are quite a number of other past Alegria alum. Stay tuned for more! Okay, so let's go! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | At CirqueCast: | | < http://www.cirquecast.com/ > | | | | Realy Simple Syndication (RSS) Feed (News Only): | | < http://www.cirquefascination.com/?feed=rss2 > | | | \----------------------------------------------------/ - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News & Highlights * Q&A -- Quick Chats & Press Interviews 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 16 of 16: Varekai, Part 3 (2005-2006) By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- La Presse Teases "Just a Little Night" {Jul.04.2018} ------------------------------------------------------- The creators of Cirque du Soleil worked yesterday to create an alley- like atmosphere to represent Les Colocs and the band's late singer Dédé Fortin, who died tragically in 2000. Director Jean-Guy Legault, who is on his fourth tribute show with Cirque, focuses on the unifying aspect of the music of Les Colocs. "We're in an alley party, we did not call them alley cats for nothing, they were very close to people, near the street, in a very inclusive, almost communal universe. So, we wanted to recreate this universe in which they created, in which they met and which corresponds to the universe of the band." As for the three previous shows in this Cirque tribute series, musical director Jean-Phi Goncalves made the musical arrangements of "Juste un p'tite nuite" from the original 13-piece Coloc soundtracks, such as: "Dédé", "Passe-moé la puck", "Juste une p'tite nuite" and pieces from more recent albums "Les Colocs", "Atrocetomique", and "Dehors novembre". In addition to the recorded music that will punctuate the 13 paintings of this acrobatic musical show, we will be able to appreciate the talent of the American dancer Jason Nious, a fan of body percussion, who participated in Cirque's Kà and Zarkana shows. With microphones placed on the wrists and feet, he will produce sounds with his body, which will intermingle with percussion. We see him here on the left, rehearsing with some of the 27 artists in this production. The circus artist Alexis Vigneault repeated yesterday his aerial number made from a suspended lamp in front of the stage. A number he will do on the piece The answering machine , above a mobile platform turned to the public. In an urban setting made of various metal structures, pipes and lampposts, on which we find graffiti. "There will be a lot of collective numbers," said acrobatic designer Émilie Therrien. The makeup of designer Florence Cornet, wrapped in mystery, is part of this universe of alleyway desired by the director Jean-Guy Legault. "It's as if the girls had spent the night with their make-up," she says. With a dirty and outdated side. The girls will have makeup splashes , while the boys will have scratches in the face, a way to evoke alley cats. The dancers and acrobats have about an hour and a half to make up. The designer of the 150 or so costumes of Just a Little Boy, Sébastien Dionne (Stone, tribute to Plamondon), was in the same direction as his colleagues by creating what he calls "a studied street look." "We imagined a gang of roommates who wear what's in the closet. Everyday clothes, inspired by the grunge period, that they will exchange during the show, tells us who is now working with the costume designer Daisy Simard. Because it's a bit like that, the lives of roommates." { SOURCE: La Presse } ------------------------------------------------------- ICYMI: Cirque Acquires VStar Ent & 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 } ------------------------------------------------------- Meet the Visual Artists of "Juste une p'tite nuite" {Jul.14.2018} ------------------------------------------------------- By: FRANÇOIS HOUDE, Le Nouvelliste (NOTE: This article was originally published in French. It has been translated into English using Google Translate. As such, there may be some errors in translation.) Cirque du Soleil could have done business with Montreal artists or elsewhere to create the decorations of Juste un p'tite nuite. Nobody would have been angry. They opted for two Trois-Rivières artists, Jérémie Deschamps Bussières and Félix Lemay. Nothing prevents us from believing that the Cirque simply chose the best artists available. The two visual artists from Trois-Rivières who collaborated in the tribute show to the Colocs were marked by the work of Dédé Fortin and his happy band without having followed them since their beginnings. It has even been an advantage, they believe. "We knew their music, obviously, pleads Felix Lamy, but after their career. It was through the film Dede through the mists that we had an image of what the Colocs were. We have never seen one of their shows and maybe it's an advantage because we were not influenced by what they themselves did. It allowed us to offer our vision to the group and not to copy their own inspiration. " The Colocs and Quebec are closely and inextricably linked in their young thirties. "For me, the Colocs are the fleur de lys. We cannot talk about modern Quebec without mentioning the Colocs somewhere. They have marked an entire generation and those who followed because their music is still there. They knew how to express as much in their music as in the poetry of their texts an urban reality that stuck to our experience. They have been able to translate the reality of a pack of people who have recognized themselves in their songs as much in their cheerfulness as in the suffering that many express." Without having seen Cirque du Soleil's show, Jérémie does not doubt for a single second of his success. "There are so many people who know the Colocs at first, but I think their imagination will still talk to a lot of people. Their music is varied, often very catchy and it seems perfect to serve as a basis for a great show. Through the contacts we had with the team, we could see that for every aspect of Just a little night, there is a lot of creativity. I'm sure it's going to be a big success." In terms of their contribution, they believe it can only be beneficial to their careers. "It's been a while since we've been working on getting the art out of galleries and that's another step in this journey," says Felix. Of course, a collaboration like this one will be positive for us in one way or another even if it is not what we were looking for in the first place. If only for the experience of working on scenography that was not part of our modes of expression and this, with high-level artists. We liked it a lot: if the opportunity arose again, we would do it again." "I'm happy with what we achieved because it looks like us," said Jérémie Deschamps Bussières. There was a challenge to achieve something beautiful with elements that, in themselves, are rather ugly and that, I think we did it well. It goes perfectly with the overall vision of the show and it also goes completely in the direction of our own artistic approach." What is surprising is that the duo of visual artists has not worked on stage sets for a good fifteen years and again, it was in a course in high school! That said, this is not the first way of doing circus that disconcerts. And then, it is a tribute to the versatility of these two creators who quickly felt comfortable in the role they were given. "We always liked what the Circus does, but the fact that it's a tribute to the Colocs, it immediately attracted us, explains Jérémie. We are not of the generation who discovered the Colocs from their beginnings; we came to their music a little later but they occupied a great place in our musical culture. If there was a show that we wanted to work on, it's definitely this one." "We never thought we could ever work with the circus but when the opportunity arose, we sure jumped at the chance," says Felix. I had never stopped thinking that our productions, Jérémie and I, could have integrated into what the Cirque does. At the same time, what we have done has always been creative, colorful and finally, we realize that it goes particularly well with the creative approach of the Circus. The other thing we did not dream about Cirque is that we basically work in 2-D: we're not at all in the stage sets, usually." Yet, contacts with Cirque's creative minds were only open. "Initially, they gave us an idea of ??their orientation but in a very broad way to leave plenty of room for our creativity," says Jérémie. They were then extremely open to all that was proposed. We speak the same language. I think things have been easy because they recognize the qualities they are looking for in employees. They quickly understand who they are dealing with and see if it can work with them." "Specifically, we knew they wanted to dress the scene with graffiti, which was already close to our personal creation, continues his colleague. We are already working with spray paint on our paintings so we knew we could do something interesting with graffiti using this technique." "They lined us up with certain songs that, in their eyes, were evocative and we were particularly inspired by the song The comet. The text is really strong and we realized that in their texts in general, the words are particularly evocative. We can sometimes leave a single word of a song, put it in the background and it evokes lots of ideas, images. It was really inspiring to work with the band's songs." The two artists maintain that they have not received any categorical refusal of their proposals. That some adjustments during the process consisted first to present ideas, then sketches, then models that were later transposed to the scale of the very large stage of the Cogeco Amphitheater. "From beginning to end, we were on the same wavelength," they summarize. LARGE FORMAT ------------ The biggest challenge for this decor? "The height! We have never done anything so big. We worked on software to scale our drawings to make sure it worked. We had never done this before, but we never had such a surface to cover! It takes all the grandeur of the stage, "explains Jérémie Deschamps Bussières. The preparation was such that the direct work on the surface to be covered was only a week. "We knew so well what to say that we were confident enough to improvise when needed to apply the paint. The final work lasted a week but we do not calculate the two months we took to think about the project and to design it. Throughout this period, there has been a lot of follow-up emails and meetings." "We are very proud of the result and the feedback we got from the circus people, both the designers and the artists and technicians, was very positive. They all tell us it works perfectly with the show." For Jérémie Deschamps Bussières and Félix Lemay, their contribution to Juste un p'tite nuite is not a work of support, but a work in itself. "For me, we could take separately what we did and it is a work that represents us very well. We would be proud to show it in another context detached from the show. I even feel like I could cut portions that would be justified as complete works in themselves." "What I discovered about Cirque du Soleil is that they will look for the best of each employee by allowing them to express themselves. It's like a challenge to each participant of the show, a challenge to surpass themselves and it's all of all that makes a show successful, "says Felix Lemay. { SOURCE: Le Nouvelliste } ------------------------------------------------------- Fast Company: "This is your brain on Cirque du Soleil" {Jul.17.2018} ------------------------------------------------------- BY DANIEL TERDIMAN Itsuko Noto lives in Japan, which means it takes her a minimum of 12 hours to fly to Las Vegas. But at least twice a year she grabs her passport and makes the journey to Sin City for intensive Cirque du Soleil immersion–two shows a night, 14 total per week. Although she sees nearly all of the company's seven different Vegas shows (except Criss Angel's "Mindfreak Live"), as well as many of its other shows around the U.S., Asia, and Europe, "O" is her mainstay. First opened in Vegas in 1998, "O" is Cirque's famous water show, probably its most ambitious, given its clever and beautiful incorporation of a 1.5 million-gallon swimming pool that, at certain points, seems to magically disappear. Every night she's in Vegas, Noto makes her way over to the grand 1,800-seat theater at the Bellagio for "O's" late show. All told, she takes in 10 "O" performances a week, and over the course of her career as an all-star Cirque fan, she's seen it well over 100 times. "It touches my deepest emotion," Noto tells me by email. "I feel the tears welling up at the end of the show every single time." For the folks at Cirque du Soleil's Montreal headquarters, there's something powerful and intriguing in Noto's experience, in the way she expresses the emotions "O" raises in her. And more important, there's something in that experience they thought they could-and should- measure and quantify, because emotional experiences can guide their business decisions for years to come. "We have some [fans] who keep coming back, 30 to 40 times, mostly various shows, but the fact that [Noto] would come back and see the very same show [more than] 100 times, always "O," we found that fascinating," says Marie-Hélène Lagacé, Cirque's head of public relations. "What is it that you feel when you come see the show that makes you want to feel it again and again and again and again?" SEARCHING FOR AWE ----------------- Although I can't play in Noto's league, I'm still a self-professed Cirque nerd. I've seen at least 40 Cirque performances over the years, and 14 years ago, I worked briefly as an usher on "Alegria," one of the company's most beloved traveling shows. But never before had my experience of seeing a Cirque show been like the one I had at "O" in late April as the ground-breaking company was celebrating its 35th anniversary. That night, in a private suite in the Bellagio theater, complete with red privacy curtains and velvet-backed seats, I'd been fitted with an EEG built into special headgear–surface electrode caps, they're called–that looks like a swimming cap that just happen to have about two dozen wires, each of which has a colored LED at the base, connecting me to a nearby computer. Barely able to move for fear of disturbing the wires, and having been instructed specifically not to clap during the performance (because although "it's the worst thing to ask people at a show like this," doing so might mess things up), I was about to be observed and measured for science. To be precise, I was one of 60 "O" audience members that week who were taking part (voluntarily, of course) in a major study the Cirque was conducting in partnership with the New York-based "neuro-design" studio Lab of Misfits, to see if it was possible to identify, and quantify, the emotion of awe. The research at "O"–which was done side-by-side with a control study on a small theater show in New York that is known to generate joy and positivity, but not really awe–was a reflection of Cirque's awareness that, although the entertainment company has worked hard over the last three decades to measure fan satisfaction, there was something it wasn't capturing in the way fans reported their experience of watching a Cirque du Soleil show. With no one else in the theater, save for a few acrobats rehearsing on the stage below, I talked with Lagacé and Kristina Heney, Cirque's chief marketing and experience officer, about the genesis of the experiment. "We were seeing an emotion on the faces of fans in theaters, arenas, and big tops around the world, and they weren't able to convey it to us in a way that we felt we were getting the full scope of the picture," Heney tells me. "We'd do the typical marketing word clouds, and we'd see 'awesome' and 'oh my god,' and then we'd see the ingredients of the theatricality–'acrobatics,' 'music,' [and] 'costumes.'" But the disconnect was the emotion, Heney says, and so when the team felt like it had reached the end of its means in terms of typical marketing work, it reached out to Lab of Misfits to see if science could help explain the emotions that Cirque performances elicit. Cirque du Soleil is one of the best-known and best-loved entertainment brands in the world, but it nevertheless thought it had a broader branding problem. Although a Young & Rubicam study had shown that it was the most differentiated brand in North America–at least when it came to uniqueness and what the brand "brings to the table," explains Heney–the Y&R study revealed that its relevancy factor was was low, particularly among millennials. For Cirque, performances that make an impact are vital, particularly in connecting with the audience emotionally, not only immediately after the show, but into the future. You can't just take in a Cirque show anywhere or anytime–they're not on TV, or generally available online, and at any given time, they're only in 15 or so cities around the world. So the company needs to develop lasting relationships with both existing and new fans that will inspire them to keep buying tickets, either in destination cities like Las Vegas or when the traveling shows come to town. "We felt like we needed to better understand this emotional bridge," Heney says, "in order to maintain that relevance, and really, truly hear what our fans wanted from us." Heney explains that scientists believe there are 20 different human emotions, with a hierarchy that, for example, goes from surprise to wonder. Think of magic: How did they do that? And then there's awe, which she says has only recently been discovered as an actual emotion. If they could figure out how to guarantee that fans feel genuine awe during shows, maybe they could inspire them to come back again and again. As a student of emotions, Beau Lotto, a world-renowned neuroscientist and the "head misfit" at the Lab of Misfits, was himself thinking about the challenge of re-creating awe in order to study it. "And here we were, trying to describe an emotion that we didn't have the language to describe, and neither did our audience," says Heney of Lotto. "We immediately got along . . . and when I found out his company is called The Lab of Misfits, it was kindred spirits." It would be tempting to roll your eyes when you hear that a giant entertainment company like Cirque du Soleil–which is planning its own theme park, recently bought The Blue Man Group, and is always designing new shows–is conducting an experiment to study awe. But for Heney, it's actually essential to understand something like the emotions its audiences feel as it plans for the future. "There's a lot of potential around our greater organization to be able to explain how we connect to our fans," Heney says. "For the last 34 years, we've focused on circus arts to create that emotional connection, and we're evolving." SELF-REPORTING -------------- In the weeks prior to heading to Vegas for Cirque's neuroscience experiment, I–and many Cirque ticket buyers–took an online Lab of Misfits questionnaire that aimed to figure out who might be a good fit for the study. The questionnaire presented statements, such as, "I have experiences that are indescribable," or, "I have experiences that stir my soul," and asked how true they felt. Though Lab of Misfits didn't reveal the exact purpose of its work with Cirque, the introduction to the questionnaire noted that it wanted to understand how immersive theatrical experiences affect the brain. Because I was working on an article about Cirque's experiment, I knew I'd be taking part, and what it was. But for everyone else who was chosen, its exact nature was a surprise until arriving in Las Vegas. In exchange for free tickets to "O" and an upgrade to one of the VIP suites, they agreed to be poked and prodded, and have their brain activity observed during a performance. Twice each night for five nights, Lab of Misfits techs wired six of us up with the headgear, and once we'd posed for photos and gotten used to being strapped in, they gave us iPads that prompted us throughout the show to answer questions about just how much awe and wonder we were feeling at that exact moment. In the row of seats immediately below the suites, another few dozen folks also had iPads and were answering the same questions, albeit without any wires, and with full freedom to applaud. The idea was to collect as much self-reported data as possible and correlate it all with the brainwaves of those of us in the suites. Everyone was told they'd receive a report reflecting their emotional experience during the show, but not until Lab of Misfits had fully analyzed the results, a process that is expected to take until this fall. Back in Vegas, sitting with Lotto, I asked him why awe has traditionally gotten the short shrift when it comes to attempts to understand emotions. "Maybe it's like consciousness itself," Lotto tells me philosophically. "It's difficult to study something that is difficult to define. And maybe as we are starting to understand these other emotions, we are starting to better define what awe might be and how to better define it. And in some sense, that's what it is to be a bit of an adventurer–that you are stepping into territory that is, itself, not so easily definable." But while Lotto looks and talks like a philosopher, he's actually a scientist, and there's no doubt that his, and Cirque's, goal with the experiment is to be able to point to emotions that people watching the "O" performances were feeling and say, without a doubt, which moments in the show generated awe. "Maybe if they experienced awe, and we knew where, we could say, 'This is you on awe,'" Lotto says. "'This is your brain on awe, or your brain on Cirque.'" THE CIRQUE WAY -------------- In her previous life, Heney worked for the NBA, and she's intimately familiar with the emotional swings on the hardwood. "In a basketball game," she says, "it's King [Lebron] James doing a buzzer beater in a playoff game. You get it. [But] here, it's been a little more obscure for us." Heney and other executives in Montreal are well aware that there's no way to predict what Lotto's research will show, or even if the findings will be in any way meaningful. But Cirque du Soleil is an organization that champions audacity, looking at things upside down on the theory that doing so can make you better appreciate things that are right-side up. That approach is known as the Cirque Way. And it's the Cirque Way of taking risks and trying unknown things that led the company to set out on this journey to define and quantify awe. "It's why we feel empowered to try a scientific test that we have no idea what's going to come out of it," Heney says. "We have a deep feeling of responsibility to figure something out, but it's this idea that if you're moving forward, and trying new things, you're not failing." TAKES YOU OUT OF THE MOMENT? ---------------------------- As a self-professed Cirque nerd, the one thing I didn't expect when I set out to take part in the neurological experiment is how I'd actually feel during the performance. I first saw "O" in 1998, and I saw it again a number of years later. In both cases, I was well and truly, yes, awed. How could you not be by some of the incredible acrobatics, divers jumping balletically dozens of feet into the water, Russian swings, and more? Yet here in Vegas in April, an EEG strapped to my head, and told not to clap, wondering when the next prompt from the iPad would be, I found myself distracted and constrained, and left to over-analyze my own feelings of awe. I wasn't the only one. After the performance, I pulled aside Hailey Dean and Jeffrey Dimas, a couple who'd come to town for their anniversary and who had been recruited for the experiment. Although Dean says she is excited to find out how her own brain reacted during the show, she agreed that actually participating impacted her experience. "I think it was a little harder to have actual expressive feelings when you're hooked up to something," she told me. "I was a little bit worried that if I'm moving a little too much, is my brain stopping working right now?" Something else she said was interesting, too, and it matched what I'd felt: The iPad questions that would pop up every few minutes, asking, among other things, about the level of awe we were feeling, would often come at very low-emotion moments in the show. It turns out, that was exactly by design. "We went through the show and selected times that are more likely to elicit awe than others, and also times that are less likely to exhibit awe," says Lotto. "We are looking for a correlation between the magnitude of their expression and their response in their brain." Back in Japan, Noto writes to me that during an "O" performance, she experiences joy, excitement, thrills, nervousness, sadness, humor, hilarity. And afterwards, she says, "My heart is full of happiness and gratitude to this mind-blowing show." Cirque du Soleil knows it offers something different than other kinds of entertainment, and it wants to know exactly what's different. The theory is that the shows generate awe in a unique way. Now, the question–which we won't know the answer to for several months yet–is whether science can prove it. "If there's actually a powerful emotion that they're taking out of the theater with them, that they can't explain to me," Heney says, "it's my obligation to try to label it so that we can communicate it to our 4,000 employees, so artists can feel it, so our finance community can feel, and so that everyone within our organization can feel it." I asked Noto if she experiences awe when she watches "O." "Definitely yes," she responded in all capitals. "I am always overwhelmingly awed at the beginning of the show, the moment . . . the red curtain is blown away and the pool looks like a quiet lake, [and] then the music starts. It gives me goosebumps and chills every time." { SOURCE: Fast Company } ------------------------------------------------------- Photos from "DIVA" by Cirque du Soleil in Andorra {Jul.17.2018} ------------------------------------------------------- Photo credit: Dominik Pare This summer, Cirque du Soleil returns to Andorra for an all-new, one- of-a-kind free event in Europe. Following the success of the SCALADA series, a new chapter begins with Diva by Cirque du Soleil, which pays tribute to some of the greatest divas of all time. Ready to relive music's most celebrated hits through the lens of Cirque du Soleil? This year's spirited acrobatics will be performed to the rhythm of the songs of the divas who shaped our history. http://www.cirquefascination.com/?p=11845 ------------------------------------------------------- Cirque Partners With BookMyShow To Make Indian Debut {Jul.18.2018} ------------------------------------------------------- BookMyShow today announced that it is working with the world's largest live entertainment company Cirque du Soleil to bring them to India for the first time later this year. Canada based Cirque du Soleil's brand new touring show 'Bazzar', its 43rd original production, will have its World Premiere in India this November 2018, through shows in Mumbai and Delhi, before heading to other countries. Originally composed of 20 street performers in 1984, Cirque du Soleil Entertainment Group completely reinvented circus arts, going on to become a world leader in live entertainment. It has brought wonder and delight to over 190 million spectators with productions presented in close to 450 cities in 60 countries. Their spectacular shows offer the audience striking and dramatic performances, featuring fascinating and whimsical costumes staged under magical lighting and set to original music compositions. Through their shows, Cirque du Soleil takes its viewers into unparalleled worlds with never seen before acrobatics, impressive choreographies and immersive characters and stories, which are told entirely through breath-taking visuals, thereby transcending any language barriers and appealing to a large audience. Cirque du Soleil is now making its first entry into India with BookMyShow and will bring its newest production 'Bazzar' first to Mumbai, followed by New Delhi. This production will be performed by Cirque du Soleil artists under the newest version of its famous Big Top Tent, which is 19 meters (62 feet) high and is 41 meters (135 feet) in diameter, and will seat more than 1500 guests. Announcing this association, Albert Almeida, COO-Non Movies, BookMyShow said, "In addition to providing our customers access to world class entertainment, BookMyShow has been playing an increasingly important role in bringing newer genres of entertainment to the Indian market. Cirque du Soleil is an unbelievable entertainment experience that has amazed millions of people across the world with its performances that defy 'normal' in every sense. We are excited to work with them as they prepare for a debut in India. With our unmatched experience in the entertainment space and our understanding of this market, we are well positioned to work with them on all aspects to ensure its success here. This association, more importantly, will also immensely contribute in strengthening India's position on the global live entertainment map- a vision that BookMyShow has been working towards." Daniel Lamarre, President and CEO, Cirque du Soleil Entertainment Group said, "After entertaining millions of people around the world for over 30 years, there are few remaining markets we have yet to visit. We have been looking forward to introducing Cirque du Soleil to the Indian market, which is very important for our international growth. It is for this very reason that we trusted this significant task to entertainment experts BookMyShow. With their deep knowledge and understanding of the market, we are confident that BookMyShow will permit Bazzar, a show that introduces the essence of what Cirque du Soleil is, to have a successful debut in India." Kunal Khambhati, Head of Live Events and IP, BookMyShow said, "Cirque du Soleil is nothing like India has ever seen before in live entertainment. Brought together by a group of perfectionists, be it the artists or creative and technical teams behind the productions, Cirque du Soleil will undoubtedly floor the audiences by what they experience under the Big Top. We are confident that the fast growing number of entertainment seekers in India will love to witness Cirque du Soleil's Bazzar later this year, irrespective of whether they have heard of them before or not. Bazzar will be an eclectic mix of dance, music, drama, comedy, action & world class acrobatics – a true blockbuster on the live stage." Registrations for Cirque du Soleil will go live on BookMyShow on July 18, 2018. Registered users will get early access to Cirque du Soleil tickets in India. { SOURCE: Exhcange 4 Media } ------------------------------------------------------- "Just a Little Night" a Success! {Jul.19.2018} ------------------------------------------------------- FOTOS: http://www.cirquefascination.com/?p=11797 FOTOS: http://www.cirquefascination.com/?p=11821 FOTOS: http://www.cirquefascination.com/?p=11869 By: Samuel Larochelle / HuffPost Quebec (NOTE: This article was originally published in French. It has been translated into English using Google Translate. As such, there may be some errors in translation.) From the first second, our hearts were conquered. From the first dance movements, our bodies wanted to party until the early morning. From the first notes, our memory opened the box dedicated to the Colocs, in this way they had to break the barracks, to their incomparable analysis of society, to the dozens of songs that have marked our history, and to the voice of Dédé, whose boredom we have not finished. Let it be said: the show Just a Little Night ("Juste une p'tite nuite") is electrifying, touching and in every way memorable. If you have not seen Cirque du Soleil's tributes to Beau Dommage, Robert Charlebois and the world of Luc Plamondon over the last three summers, hurry up and buy your tickets for the new grandiloquent show presented in the Cogeco amphitheater in Trois-Rivières. This is undoubtedly one of the most beautiful productions of the year in the province, all forms of art combined. The opening number puts the table to perfection: on the tunes of Puck's mummy, a group of dancers and acrobats, dressed in grunge clothes straight out of the 1990s, perform with a passion and a indisputable charisma. While the first occupy the scene with a few touches of gumboots, giving us the impression that the show has been running for months, the others enjoy themselves by launching a two- storey structure and twirl on the trampoline wall casually. Driven by the music of the Colocs, rearranged in a great way by Jean- Phi Goncalves, who never betrays the band's signature, nor the voice of André Fortin, the performers show a contagious intensity. In addition to knowing how to make the party, the artists of the show, staged masterfully by Jean-Guy Legault, are also able to convey the darkness of some of the group's works. We first think of "Belzébuth", launched by a melancholic harmonica: the song evokes a man who compares himself to a cat and wants to escape with the wings of a bird, while an acrobat runs between the sky and earth on a Chinese mast. We also remember "Juste une p'tite nuite", which resonates as a man and a woman deliver a languorous and mysterious duet on the hoop, like two lovers who do not know if they still want one of the other nor how to leave. We still have pretty pictures of acrobats swinging on Russian swings to fly up, up, up in the air, while "La comète" cradles our ears. That said, we must absolutely express the overwhelming character of two other numbers. When you hear Dede humming Get out of here , telling the urgency of giving a distressed friend a helping hand, two men perform a hand- technically hands-on number that is moving with strength and grace. Later in the evening, an acrobat makes a suspended lamp his acrobatic tool. While one is moved by the words of the Answering Machine, he tries to reach the light, lets himself be crushed by this star that obsesses him, hangs on him and whirls in all directions, as if he danced with life. and with death. A number that touches the sublime. From one painting to the other, the interpreters wear a jacket or a shirt with a core, as if they were witnessing the life of Dede and the Colocs. The symbol perfectly illustrates the collaboration, cohesion, synchronicity and extreme joie de vivre shared by the 27 artists on stage. We feel the strength of the 10 dancers, kind of street warriors, on the rhythms of "Atrocetomique". We discover with pleasure the nonchalance of the guys and girls who tumble during "Bon yeu". We salute the ingenuity of the one waiting for death, hung by bungee threads, enveloped by the sadness of "Dehors novembre". We love the candid character of the juggling act, original and surprising, while "Dédé" resonates. We are completely fascinated by the girl and her colleagues who give a new definition to the phrase «jouer à la corde à danser», while Juliewe plunge back into a crowd of happy memories. And we really want to join the troupe on stage during "La rue principale", a fun section that would make anyone who still has a heart smile. In short, a total success. { SOURCE: HuffPo QC } ------------------------------------------------------- India will influence evolution of Cirque du Soleil: CEO {Jul.20.2018} ------------------------------------------------------- Cirque du Soleil will mark the world premiere of its touring show "Bazzar" in India soon. The country will play an important role in the growth of the globally popular live entertainment company, said its CEO Daniel Lamarre. They want to take it slow and find the right moves to enter the heart of Indians. "We always wanted to go to India. It is such a great country. We will learn from the country and we think the timing is right. We truly believe and hope that with our approach, India will become one of the most important countries for Cirque du Soleil," Lamarre said in an interview here. Cirque du Soleil is known for reinventing the culture of circus with themed, theatre-style acts - without animals - featuring multi- talented performers such as acrobats, gymnasts, mimes and musicians. Originally composed of 20 street performers in 1984, Cirque du Soleil Entertainment Group has wowed audiences with its death-defying stunts, extravagant sets and whimsical costumes through its productions in close to 450 cities in 60 countries. Recalling the origin of the idea to come to the "economically sound" India, he said: "I have been at Cirque for 17 years and I have a lot of Indian friends and they were always saying, 'How come you are not coming to our country?'. We had to wait to find the right partner." For the India foray, they have partnered with BookMyShow. "Bazzar", its 43rd original production with an Indian artiste Rajesh Mudki, will have its world premiere in India with shows in Delhi and Mumbai later this year, before heading to other countries. Lamarre hopes that in 15 years from now, he can say, "Have you seen the influence of India in our change and in our evolution?". "I believe that India will influence our evolution moving forward. A lot of people talk about diversity. At Cirque du Soleil, we don't talk about diversity. We live it every day with different nationalities influencing our growth. Now, it is your (India's) turn to influence the growth and content of Cirque du Soleil." Lamarre is sure that he will "go back with new artistes and new ideas" from the "rich Indian culture". "I want more and more artistes coming from your country because you have great talent." The production level and scale of "Bazzar" has been tweaked. But Lamarre feels it will give a basic idea about the Cirque du Soleil show. "The creative process was to deliver to India the best level of performance that you can deliver and that is what 'Bazzar' is all about." How have they worked out the logistics for tickets? "We have brought 'Bazzar' to a scale and pricing which can be affordable. When we enter a new country, we want to get involved socially and that is what we would like to do in India as well. There are programmes which we want to develop and bring to the country to help the people who don't have as much money as they should. "Having said that, the ticket price will be affordable to a majority of people." Lamarre is not oblivious to the power and influence of Indian cinema. And feels it will work in favour for their format. "I don't see the movie business as our competitor. It is a little bit like what I have observed in China. Movie business was developed first, and now live entertainment is following. "I see the same pattern in India. The fact that there is a well established movie industry in India is a positive for us and not a negative. It is making people more open to new type of entertainment and that is what we are going to offer." Going forward, they want to "listen to the Indian market" to paint a success story. "We believe we will succeed in India," Lamarre said. { SOURCE: The Quint } ------------------------------------------------------- Champagne Nicolas Feuillatte Becomes the Official Partner of Cirque Touring Shows in the USA & Canada {Jul.26.2018} ------------------------------------------------------- Champagne Nicolas Feuillatte has announced an exclusive multi-year contract with Cirque du Soleil as the first ever official Champagne partner of its touring shows throughout the USA and Canada. The partnership will begin in September 2018 with the premiere of VOLTA in Redmond, Wash. and will continue through December 2020. The partnership will see Champagne Nicolas Feuillatte served at more than 800 performances annually (including shows such as Cirque du Soleil VOLTA™, LUZIA™, Amaluna™ and Alegría™) in major U.S. and Canadian cities. including: Chicago, Los Angeles, New York, San Francisco and Washington, D.C. as well as Vancouver, Toronto, Ottawa, and Montreal. "We are thrilled to have our two incredible brands working together," said Christophe Juarez, CEO for Champagne Nicolas Feuillatte. "Both Nicolas Feuillatte and Cirque du Soleil were founded on the strong ideals of constantly reinventing ourselves and creating moments of awe and inspiration. Their artistic prowess and our Champagne bring enchantment and pleasure to life. We look forward to bringing exceptional experiences to guests through this unique partnership," Juarez continued. The partnership will take on different forms, including a Champagne Nicolas Feuillatte Lounge where guests will be invited into an immersive experience which will include Champagne and hors d'oeuvres. Cirque du Soleil concessions will serve Champagne Nicolas Feuillatte, and digital and retail integration will also be offered. "The values we share with Champagne Nicolas Feuillatte of celebrating the present moment, creating joy and wonder, as well as the passion and expertise we both pour into our respective products makes this partnership a natural fit. We are looking forward to working together in offering our guests a memorable experience," said Richard Davies, Vice President, Corporate Alliances at Cirque du Soleil. The natural association with Cirque du Soleil is part of Champagne Nicolas Feuillatte's latest brand campaign, Enchantment Awaits: an invitation to celebrate life's precious moments with emotion, intensity, generosity and boldness. The initiative includes the launch of a new immersive website and a refreshed visual identity for its full range of Champagnes worldwide, both debuting in the U.S. in September 2018. ABOUT CHAMPAGNE NICOLAS FEUILLATTE: Founded in heart of the UNESCO World Heritage listed Champagne hillsides, Champagne Nicolas Feuillatte is the youngest of the major Champagne houses, and the biggest wine growers' brand. It embodies the commitment and passion of its 4,500 associated growers spread across the appellation. In the course of just 42 years, Nicolas Feuillatte has quickly reached the first rank of Champagne brands in France, the third worldwide and the fourth in the USA. Its claim: Champagne is a wine born in a unique terroir. It need not be reserved for exceptional circumstances but is meant to be shared and to enchant life during the most cherished moments. The range of Champagnes by Nicolas Feuillatte is diverse, as the richness and diversity of the terroirs (5,189 acres of vines) and grapes sourced from the highest quality of crus. It is a demonstration of the unique savoir-faire of its Chief Winemaker and unique signature style made of finesse and elegance. Nicolas Feuillatte Champagnes are available in more than 100 countries worldwide with 10.3 million bottles sold in 2017 alone. Travel to is flagship state-of-the-art new winery and visitor center, the Éspace Nicolas Feuillatte in Chouilly, or visit www.nicolas-feuillatte.com. { SOURCE: PR Newswire } ------------------------------------------------------- New 'Criss Angel Mindfreak' show coming to Vegas Strip {Jul.25.2018} ------------------------------------------------------- Criss Angel will make his oft-anticipated move to Planet Hollywood in time for the holidays. As an early gift, the hotel is renaming its showroom for him. The veteran Strip illusionist opens "Criss Angel Mindfreak" in Criss Angel Theater, formerly Planet Hollywood Showroom, beginning Dec. 19. Angel and Caesars Entertainment announced the move in a news release this morning. Angel's impending move to Planet Hollywood was reported in this space in December. Angel said in today the Dec. 19 date is a "soft" opening during the traditionally slow holiday season. He'll likely celebrate his grand opening in January, though that date is not finalized. "This is not me taking my Luxor show and moving it to Planet Hollywood," Angel, who closes Oct. 28 at Luxor, said in a phone chat Tuesday morning. "This is an entirely new show. We're renovating the theater and bringing in a whole new production." "Criss Angel Mindfreak" will run Wednesdays through Sundays, with tickets starting at $69 (minus fees) and going on sale 10 a.m. Friday. Angel will have spent a decade at the pointed resort, first in "Believe" and later "Mindfreak Live." Thus, he effectively fulfills his original, decade-long contract with Cirque du Soleil and MGM Resorts. "It's amazing to be back home at Planet Hollywood, where I began 'Mindfreak' in 2005," Angel said in a statement earlier Tuesday. "As that TV series changed the trajectory of magic on television, I believe my new show will do the same for live performance, creating a brand-new immersive experience that the world of entertainment has never had." Angel promises 75 illusions with 20 new effects in his new show. He plans to tell his life story throughout the upcoming production, but as he forms this entirely new show, his cast will be different. Gone, especially, is the previous production's comedy elements. Angel's onstage sidekick, Mateo "Maestro" Amieva, will not make the move from Luxor. Amieva showcased his own "Action Man" one-man show at The Space in May. Also ending their run with Angel in October are comic great Penny Wiggins, or the dancer/magician Angel once promoted as his co-star, Chloe Crawford. All of those artists, familiar at Luxor, are seeking new frontiers after "Mindfreak Live" closes. A tireless artist known for his work ethic and boundless ambition, Angel reshaped the original "Believe," which opened to scathing reviews in November 2008, by stripping the show of its Cirque elements in favor grand acts he himself conceived. More favorable reviews, and audience response, followed. "Mindfreak Live," which opened further advanced Angel's vision of magic-as-spectacle. That show reached back to Angel's highly rated "Mindfreak" TV show, and he is again drawing from that series in his stage production. Crucial to Angel's move to Planet Hollywood is Caesars Entertainment's ownership of Planet Hollywood Showroom. Caesars took over the venue from Base Entertainment this year, and now has total control over the productions staged there. Planet Hollywood Showroom has been a difficult room in which to sell tickets (similar to many large-scale showrooms in Las Vegas). The last residency production show to succeed in the showroom was "Peepshow," which closed five years ago. Caesars has also bought out the "Crazy Girls" producer Norbert Aleman at the smaller Sin City Theater, across the mezzanine level from Planet Hollywood Showroom. Consequently, by the time "Mindfreak" opens, Caesars is expected to relocate Sin City Theater magicians Murray Sawchuck and Xavier Mortimer (but not "Crazy Girls," which will continue to run as scheduled). This is to satisfy a non-compete clause in Angel's contract that prohibits any other magician headliners in his host hotel. Angel enacted the same provision during his 10 years at Luxor. Angel is producing the show under his long-running Angel Productions Worldwide Incorporated (APWI) company, which he established in 1989 with his father, John Sarantakos. Base Entertainent and Caesars Entertainment are his as a production partners, billed as "presenters" of "Mindfreak," working as investors and also as marketers. "Criss Angel is one of the most innovative magicians in the world and we're ecstatic to bring his brand-new show to Planet Hollywood," Base Entertainment Chief Executive Officer Brian Becker said in a statement. "This show will shock and charm audiences with Criss' personal stories intertwined with revolutionary illusions and extraordinary advances in the art and technology of magic on stage." Said Caesars Entertainment President of Entertainment Jason Gastwirth: "Planet Hollywood continues to be at the forefront of entertainment in Las Vegas. Criss Angel's ground-breaking new show 'Mindfreak' is an entirely new approach to magic and solidifies Planet Hollywood's reputation as a premier destination for the absolute best in live entertainment in Las Vegas." Angel's former theater will itself undergo extensive renovations for a new Cirque du Soleil show, which is reportedly centered on motocross and BMX performances. The company will have closed the lid on magic at the Luxor when "Mindfreak Live" loads out. { SOURCE: Las Vegas Review-Journal } ------------------------------------------------------- Cirque Slips Certified TCPA Class Action for 2009 Faxes {Aug.06.2018} ------------------------------------------------------- It was an escape act worthy of Houdini, but it was brought to us by the good folks at Cirque du Soleil. In a case that underscores the extraordinary challenges facing callers navigating TCPA issues, just last Thursday Circue du Soleil narrowly escaped a certified TCPA class action involving faxes from way back in 2009! In Practice Mgmt. Support Servs. v. Cirque Du Soleil, No. 14 C 2032, 2018 U.S. Dist. LEXIS 12963 (N.D. Ill. Aug. 2, 2018) the Plaintiff had sued the Cirque folks–known for their high-flying acts and glamorous Vegas shows– for the most mundane of offenses: allegedly sending unsolicited faxes back in 2009 advertising "Saltimbanco." Somewhat remarkably, the case had actually been certified as a class action back in March of this year. At that time the Court had determined that the 2009 faxes were still actionable because a series of class actions had challenged those same faxes dating back to the year they were sent (yes, Cirque du Soleil has been quietly dealing with these suits for nine years) meaning that–in the court's view–the statute of limitations on claims related to the faxes were tolled and the claims could move forward. Yikes. To understand why the court changes its mind–spoiler alert: it did– you must first understand why the court originally held the case could move forward in the first place. So the earlier ruling was based on the old U.S. Supreme Court decision of American Pipe & Construction Co. v. Utah, 414 U.S. 538, 554 (1974), holding that the claims of class members are tolled during the pendency of a class action. The notion being that class members have the right to rely on the filing of the class action to protect their rights and need not file individual claims until the class issues are resolved. Yes, this is a complete fiction–class members by and large have no idea a class claim has been filed included them– but this is the flip side to the same legal fiction that animates the one-way intervention doctrine on display in Bad Reyes. So one takes the good with the bad I suppose, but I also digress. In Practice Mgmt., a special case of American Pipe tolling had been applied. Remember Circue du Soleil has been pursued in a series of class actions. And although American Pipe (probably) assures an individual's claims are tolled while a class action is pending, the circuit courts were split on the issue of whether successive class actions with tolled claims were possible. The Seventh Circuit Court of Appeal had permitted successive class tolling, however, which was the law the Practice Mgmt. court was bound to follow the first time it passed on the issue. But look up there!–some intervening Supreme Court precedent came to the rescue. In June, 2018– just a few months after the case was certified–the U.S. Supreme Court handed down China Agritech, Inc. v. Resh, 138 S. Ct. 1800 (2018). That case resolved the successive class action tolling question and held–directly–that American Pipe tolling only applies to individual claims not to class claims. So the Seventh Circuit had it wrong! Freed from the shackles of American Pipe the Practice Mgmt. court made short work of Plaintiff's class claims. Although the named Plaintiff may pursue his claims from 2009 based on the tolling created by the series of lawsuits Cirque du Soleil has been facing–the court found that the claims of the unnamed class members have evaporated before the current lawsuit had ever been filed. Thus the class was decertified and the ancient claims of class members regarding the long-forgotten faxes were dismissed. Bravo! The court also soundly rejected the efforts of Plaintiff's counsel to evade China Agritech's holding, suggesting that putative class counsel may have been abusing the system all along: Allowing the same counsel to litigate three successive class actions over nine years is exactly the abuse of tolling that China Agritech seeks to prevent. Just like the third successive class action that the Supreme Court found untimely in China Agritech, Practice Management's class claims in this third successive action are untimely. So while the court was required to hold its nose and allow the claim to move forward previously, China Agritech gave it the power to dismiss the claims outright. And that's just what it did. Once again, therefore, TCPAland delivers an extremely interesting result based upon an obscure body of procedural law proving, once again, that TCPA class litigation is not for the green of horn or the faint of heart like…say… this trapeze act. { SOURCE: The National Law Review } ------------------------------------------------------- BAZZAR to debut with two Indian performers & Mallakhamb {Aug.09.2018} ------------------------------------------------------- Two Indians, quite a bit of mallakhamb, aerial hoops and suspension acts are among the thrills you can expect at the India debut of Cirque Du Soleil. The Canadian troupe that started with 14 street dancers in 1984 is bringing its large-than-life production values to Mumbai on November 14, from where it will travel to Delhi, most likely in mid- December. Cirque Du Soleil (French for Circus of the Sun) is known for its traveling big-top tents, its hit shows in Las Vegas, and its wild, over-the-top acrobatics. They’re expected to bring 25 containers full of props and costumes, a cast and crew of 62 and a tent 19 metres high and 41 metres in diameter to their debut at the MMRDA grounds in BKC. The production, called Bazzar, follows a troupe (like Cirque) who have come together from different backgrounds to develop a show and build the sets, led by their Maestro. There’s a dramatic interlude between a floating woman and the Maestro. There’s a hairceau act, featuring acrobatics by a woman suspended by a metal loop embedded in her topknot. And a sampling of the aerial-hoop, acrobats-flying-at-each- other kinds of stunts that they are best known for. “For the first time ever, we’re introducing two Indian performers who will display strength and technique through mallakhamb,” says Marie Helene Delage, director of creation for Bazzar. “We’ve created Bazzar as a way to introduce Cirque to India, since we’d been looking to tour here for a while,” adds Finn Taylor, senior vice president of Touring Shows. The show will accommodate about 1,500 in Mumbai. “India is a completely new market for us. That’s why we are working with local partners to help us better understand the Indian ways and culture,” says Delage. One of the two mallakhamb artists they’ve roped in is 34-year-old Santacruz resident Rajesh Mudki, who says he had been waiting for such an opportunity for “the longest time”. He was given the freedom to create his own character and will be introducing the audience to Mr No, in a four-and-a-half-minute “spiritual act that imparts positive energy to other characters”. As international audiences have seen with Mystère (acrobats with a pinch of Chaplin comedy), Michael Jackson ONE (a joyful homage to the pop singer), and even Love (that plays homage to The Beatles), every production could include anything from people being shot out of cannons to Ferris wheels that spit fireworks. { SOURCE: Hindustan Times } ------------------------------------------------------- Michael Jackson Diamond Celebration in Las Vegas! {Aug.09.2018} ------------------------------------------------------- Hosted by The Estate of Michael Jackson and Sony Music in honor of the King of Pop’s very special birthday, guests are invited to DAYLIGHT Beach Club following a performance of the critically acclaimed Michael Jackson ONE show at Mandalay Bay. The venue will be filled with experiential activations inspired by Michael Jackson’s iconic short films. Sway Calloway of “Sway in the Morning” will emcee the night which will feature a surprise superstar performance, a guest DJ set by Mark Ronson, house DJs and more. WHERE: Mandalay Bay Resort and Casino 3950 Las Vegas Blvd. South Las Vegas, NV 89119 WHEN: Wednesday, Aug. 29, Michael Jackson’s Birthday Michael Jackson Diamond Birthday Celebration, Red Carpet and superstar performances at DAYLIGHT Beach Club at Mandalay Bay (Red carpet closes at 10pm; party continues until 1am) WHO: o) PARIS JACKSON, Ambassador, The Elizabeth Taylor AIDS Foundation o) PRINCE JACKSON o) JACKIE JACKSON o) MARLON JACKSON o) TITO JACKSON o) SWAY CALLOWAY, Sway in the Morning o) DAVID ARQUETTE, Ambassador, The Elizabeth Taylor AIDS Foundation o) MARK RONSON o) GABRIELLE UNION o) and MORE With a hit Vegas show, a Broadway play in the works, a huge Drake track on which Michael is the featured vocalist, a limited edition sneaker from one of the world’s top luxury designers, a critically acclaimed Michael Jackson-inspired exhibit at the National video views, Michael Jackson is as hot as ever. We honor his excellence, achievement and compassion with this birthday celebration. Michael used his extraordinary popularity, influence, time, energy money and heart to make the world a better place. For this year’s very special Diamond Birthday Celebration, the Estate has decided to honor Michael’s well-known desire to help disadvantaged people around the world by joining forces with The Elizabeth Taylor AIDS Foundation to bring accessible and free health care to those living in southern rural Malawi. Paris Jackson and Prince Jackson will accept the 2018 Elizabeth Taylor Legacy Award for Humanitarian Service awarded to their father Michael Jackson posthumously. Elizabeth Taylor used to say, “What is a genius? What is a megastar? Michael Jackson, that’s all!” { SOURCE: Broadway World } ------------------------------------------------------- LFW finale to give first glimpse of BAZZAR {Aug.10.2018} ------------------------------------------------------- Lakme Fashion Week Winter/Festive 2018’s finale will be bigger this time with Cirque du Soleil performing their never seen before act “Bazzar” at the fashion extravaganza. The theme of the finale this year is ‘Shades of Diva’ and ace fashion designer Monisha Jaisingh will be presenting her collection inspired by the same. “Cirque du Soleil of course needs no introduction and it’s really exciting to have them perform at the Lakme Absolute Grand Finale. I’m looking forward to the vibrant and stunning act from ‘Bazzar’ which will be performed at the finale,” Monisha said in a statement. “Bazzar” costume designer James Lovie said their act resonates well with LFW’s finale theme and they are looking forward to perform at the gala. “As the history of Cirque du Soleil is rooted in street performance, my inspiration for Cirque du Soleil ‘Bazzar’ costume was coming from the works of contemporary 20th century artistes, conceptual architectural clothing, and street style. I am thrilled to share Cirque du Soleil unicity with the Lakme Fashion Week audience,” Lavoie said. Talking about the show, Ashwath Swaminathan, Head of Innovations, Lakme said their aim has always been to give their audiences a new experience and they are looking forward to Cirque du Soleil’s debut act in India. “We have always aimed at making the Finale very special for it to leave a mark in the minds of the audience. This season we are happy to take this a notch up with Cirque du Soleil performing their beautiful act which promises to enthrall the audience with their artistry whilst resonating well with the season’s theme,” he said. Lakme Fashion Week Winter/Festive 2018 is scheduled to happen from August 22 to 26. { SOURCE: The Week India } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- Discovery The Magic, Love, And Queerness Behind VOLTA {Jul.25.2018} ------------------------------------------------------- There is beauty in art and gymnastics. From watching a man fly in the air while hanging from a lamp, to watching bikers soar several feet above your head, or watching a woman stand on the shoulders of a unicyclist. Every sight is stunning, impressive, and little scary. The circus is known for giving customers many of these daring feats and bringing a smile to their faces. Even further, Cirque du Soleil has become a world-renowned circus for doing all that and so much more. I recently had the pleasure of watching Cirque's newest show, titled Volta, as it visited the Greater Philadelphia area. The story centers around a young man named Waz who joins a game show. Being disgusted with himself and what makes him different, Waz joins the show in search of fame and acceptance. That contest then starts him on a journey of self-discovery, self-acceptance, and true freedom. As if that message wasn't relevant to Instinct alone, it seems there's also a fun and capable group of LGBTQ people who work behind the scenes. I was honored with the opportunity to interview two gay couples who work full-time within the touring company about circus life, love behind the curtain, and spreading joy while walking around the world. "When the show first starts, sometimes it's hard to see, 'What is this show going to be?' But it was definitely exciting, especially for Volta, because the concept is so different from a lot of Cirque shows that has gone before it. It's very fresh," said Ariel Layug, the Kitchen Manager working for Volta. Volta currently hires about a hundred and twenty-six people full-time to tour around with the performance. As a member of the kitchen staff, Layug has to feed all of them. "It was also just nice to have a different group of people. This show is a bit younger, so they have a different mentality," he added. It's that different mentality that's found all the way to the heart of the show. With Volta's message of finding freedom and self-acceptance seeping its way to the audience and the staff. This is something that Customer Service Team Leader Francisco Nava Gomez recognizes in both the show and himself. "Coming from a Hispanic culture and background, I felt like I was trapped throughout my whole teenage years and all that. I wasn't being myself," Gomez noted. "After I started joining the circus, I started realizing who I am. What I like about this show, it's telling you it's ok to be yourself. I think that's what my whole career has been with the show and the company itself. I realized who I am and it's ok to be who I am." Both Layug and Gomez were the first in their respective couples to join the circus life and Cirque du Soleil. For Gomez, it was due to the need for a job while in college, which led to a lifetime career. As for Layug, it was a fortuitous opportunity that sprung out of befriending a few Cirque employees. "All of a sudden, I think, two of their chefs quit at the same time," he told me. "And they said, 'Hey, you should apply,' and I thought, 'You know what? Could be interesting.'" As for the other halves of these two relationships, Layug's husband, VIP Experience Team Lead Edonn Lerias, joined Cirque after meeting Layug through a mutual friend. As things got more serious between the two, Lerias decided to travel with Layug and eventually transitioned from his hotel job to the circus life. As for Gomez's boyfriend Joseph Swearingen, who's the assistant head usher, he joined shortly after graduating college and now says he can't imagine leaving. "It was really lovely to see the environment because it's literally just bringing people joy," he explained. "That's your whole job, make sure they have a good experience. I really enjoy it… So, I just kept doing it and it's become something that I don't see myself ever leaving. It's become such a part of my life now." Social interaction is very important to each man's job within Cirque du Soleil. Gomez, Swearingen, and Lerias all have jobs that involve customer service and hospitality. Each one makes it their mission to get engaged with the customers and bring smiles to their faces. "And that's one of the things I like about this job. Yes, I have office work where I'm sitting at a desk, but I also have a chance to walk around. Talk to guests, talk to our cirquedors (part-time/local workers), and then just engage," said Gomez before later adding, "After a while, it doesn't become a job, it just becomes a place that you're at, and you're trying to make someone happy." Swearingen agreed and added, "A lot of them come here and they're lost, or they're maybe not having the best day, or they're frustrated, or they've dealt with a lot, or it's hot outside. But, when they leave it's like, you see all of that vanish and you see this transformation of finding happiness and finding relaxation and peace, and that transformation's real. It's lovely to see it." As for Lerias, who works over at the VIP Lounge, he surmises that his job is much like the hotel work he used to do back in his hometown of San Francisco. "Hospitality. Hotels. It's similar to that, except they're not spending the night here," he laughed. As for the VIP Experience, customers get a lot with the increased price point. From premium seats, to an open bar, to a menu of hors d'oeuvres and desserts, to a VIP suite with private bathrooms, and a gift bag. Meanwhile, Layug works in the kitchen. Though, his work is still fairly social thanks to the need for staying in touch with the wants and needs of the performers and staff. As he explained: "We only cater for cast and crew. In a way, they are my VIPs. When you're traveling with the show, you don't have a house where you have a pantry with stuff to cook for yourself. You don't have your favorite restaurant, your favorite café. And so, we have to provide a lot of that." He then added: "This is our family home, so a part of that also includes wanting to feel like you're at home. Wanting your mom's Bolognese, or lasagna, or pizza, Nutella, or whatever it is. There's somethings that sometimes seem not very significant, but it's really significant for people. So, we try to provide them as much of that as possible. Because, people have a lot to worry about. They have a show that they can put all their effort in. They shouldn't have to worry about, 'Where's my next meal coming from?'" As Layug touched on, touring with Cirque du Soleil means spending a lot of time away from your "home." Thankfully for these couples, they have someone that they can spend that time with. "It was a lot of adjustment, because living in San Francisco, I only traveled for maybe two weeks at a time," Lerias explained, "Since you're going to be gone and staying in every city for two months, you have to pack accordingly. You're basically living off the suitcase." "Luckily, we're the same size," he later joked with Layug sitting beside him. "So it doubles the size of our wardrobe." As for Francisco Nava Gomez and Joseph Swearingen, they're thankful to have a confidant and companion through it all. "There are some times we do get stressed. One thing that helps is having him around," said Gomez. "You have someone to vent to, if there is something stressful going on. Someone that you can get feedback from. Yes, it's biased, but also helps you clarify things that are happening." The couple also have someone that they can walk around the world with and enjoy the many cities in which they visit. "One of the great things about this job too is we do have Monday's off, but also sometimes we don't start until fairly late in the day during the week," Swearingen explained. "So, we have a good amount of the morning to explore as well. So even during the week, we can spend a nice morning just walking around here and to the trails. Things like that. We're planning on camping and hiking some of the local trails." Between the found family embedded in the touring circus and the love shared between each couple, it seems that Cirque du Soleil's company is living out the message shared in Volta. Coming full circle, the circus life and that message has then inspired the couples. "I actually came out on tour," shared Gomez. "I was in another show, I realized, 'Ok, I know who I am. I'm hiding it from everyone, but you know what? I see everyone around here. Everybody is free. Nobody cares if you're gay, bi, or straight, or anything. Black, white. We're a family and everybody cares about you." As for Layug and Lerias, they too were inspired by the circus and how it has reflected on their earlier lives. "The journey that the show takes is a little bit relatable to me," Layug said. "I was born in the Philippines and I grew up until my mid- teens in there. And it's still a very conservative mentality about homosexuality. I used to hide it. I used to be ashamed of it. And then I moved to Australia… I had to go through a very similar journey of, 'What does it mean to just accept yourself? No matter what color you have? What sexuality you have? Where you come from? What status in life you have?' So, for me at least, that's how I relate to the show." Edonn Lerias added that his San Francisco life was a stark contrast to the childhood of his husband. He even remembered how he bought his first gay magazine, Instinct Magazine, when he was a teenager. "What he thought of the culture of the Philippines and how he grew up in Australia, I took those all for granted," Lerias remarked, "I never thought about it until I met him. That other people do live like that. Where they have to suppress certain things." With that in mind, it's important to celebrate self-acceptance and the freedom to be you. Each one of these men expressed to me that everyone has the right to be free and to live their best and truest lives. If you need a little reminder to do so, and if you want to see a fantastic show, check out Cirque du Soleil's Volta whenever it comes to a city near you. But most importantly, make sure to live out your lives as freely as Volta, Francisco Nava Gomez, Joseph Swearingen, Ariel Layug, and Edonn Lerias are urging you to do. "There's a lot of message, from our show, that lets people know that even in some rural part of the United States where you're feeling like you don't belong," expressed Lerias, "Its ok for you to find your free." { SOURCE: Instinct Magazine } ------------------------------------------------------- David Resnick: 'I like to feel a little fear' {Aug.02.2018} ------------------------------------------------------- The Cirque du Soleil circus troupe - which will return to Charlotte next week, for the first time in five years - has long been known for its gravity-defying acrobatics and daredevil stunts. And as you're watching, you may wonder (especially knowing that Cirque acrobat Yann Arnaud died following a fall during a March performance of "Volta" in Tampa): Do the performers have any fear? "In some shows where you do the same act and it becomes very routine, you can get complacent," says competitive gymnast-turned-Cirque performer David Resnick. "I like to feel a little fear before I go out because it keeps you focused. I haven't had a show in 'Corteo' where I haven't had a fear before I go out. We all know to trust our gut and if we need more training, but there's something about doing it live. It's the fear I've had my whole life as a gymnast." The Canadian theatrical group's latest arena production - "Corteo," which is derived from the Italian word "cortege" and described as "a festive parade imagined by a clown" - will be performed seven times at uptown's Spectrum Center between Wednesday and the following Sunday. Originally conceived as a big-top show, it was altered to fit arenas in 2017, adding a suspended pole and hula hoop to its baroque bouncing beds, teeter boards, floating chandeliers and tournik (which marries horizontal bars and circus arts). Directed by Daniele Finzi Pasca, "Corteo" premiered in Montreal in April 2005 and became a tour that has been visited 64 cities in 19 countries. Resnick - who joined Cirque du Soleil in 2012 after performing on cruise ships and in shows in Nevada - is just one of the 51 acrobats, musicians, singers and actors in its international cast. After spending years performing while wearing ornate costume and makeup with Cirque's "Totem" show, Resnick now plays someone closer to himself on stage. "I was shy (early on), he says. "When I was a monkey, frog or Crystal Man, it was a character to play. When it's just you and your self- confidence, I felt like I was weak. The opportunity to do something new and progress is why I made the change." "You need to keep progressing and pushing." His challenge of late has been maintaining his professional focus despite personal tragedy: He recently took some time off from performing while coping with the loss of a close personal friend. But coming back, Resnick says, has been cathartic, and he adds that "Corteo's" story - which sees a clown named Mauro picturing his own funeral taking place in a carnival atmosphere, watched over by quietly caring angels - is even more relatable than ever. "It's a procession of his life in the old-school, gypsy circus, with his brothers and lovers and the different people he'd been out (on the road) with," Resnick says. "When Mauro rides away at the end of the show, he's riding off into heaven. I'd never cried on stage before, but in that moment, I was crying in front of the crowd trying not to let the mascara run down my face." That human quality in "Corteo," he says, is what sets it apart from other shows. "It touches your heart. It's the only show where we get to be ourselves on stage," Resnick says. "We have guidelines - I'm a young boy and a gentleman - but you're allowed to express how you're feeling on stage." { SOURCE: Charlotte Observer } ------------------------------------------------------- Show Reel of the Week: Alanna Baker {Aug.04.2018} ------------------------------------------------------- Q. Give us your elevator pitch of who you are, what you do and what your skill set is? My name is Alanna Baker, I'm an energetic, fun and lively woman, who's focused, determined, motivated and goal driven. I'm an acrobat and gymnast who used to compete for Great Britain and I'm now currently working for Cirque du Soleil's touring show OVO as an acrobatic character, with a back up aerial act. Since being with Cirque du Soleil I've had the chance to grow and develop my range of skills as an artist, which include: Acrobatic gymnastics, Cerceau/Aerial hoop/Lyra, Cordelisse/Rope, Character work, and Climbing wall. Q. What is your ideal role? I'd love to be a character with a solo act. I love to be on stage and I love the adrenaline I get from performing my solo act. Put them both together and I'll be pushing boundaries every day! Q. Name your top 5 credits? Acrobatic gymnastics, WP Senior European champion 2011 Acrobatic gymnastics, WP Senior Bronze world medalist 2012 Became a WBFF bikini fitness pro in 2017 Been in Cirque du Soleil for over 5 years Q. What should TheatreArtLife readers know about you? I started out in Cirque as a troupe act, in acrobatics gymnastics, where my background is from. I then started to learn the acrobatic character role, then transitioning over. I then set myself another goal of a solo act and ended up being given the back up act for that too a couple of years down the line. As well as a circus artist I'm a competing bikini fitness girl. Q. Where do you find inspiration? From within and those around me. I surround myself with like-minded individuals which allows us to feed off each other. Q. What motivates you to continue performing/creating? To me as an artist you should never stop growing. When things start to become boring then you've stopped becoming an artist. You should be feeling uncomfortable every day and pushing those boundaries always aiming for new heights. Creating something new, something different, something unique. Creating yourself as an artist! Q. How do we follow you on social media and contact you? Instagram - https://www.instagram.com/alannabaker/ Facebook - https://www.facebook.com/alannabaker.92 { SOURCE: TheaterArtLife } ------------------------------------------------------- Meet BAZZAR’s Rajesh Mudki – Mallakhamb Artist {Aug.05.2018} ------------------------------------------------------- Rajesh Mudki, a Mallakhamb champion from Santacruz, is the only Indian in Cirque du Soleil’s new show Bazzar, which will premiere in Mumbai in November. Rajesh Mudki folds and unfolds his body like a piece of origami. Defying gravity, Mudki, supported only by his feet, extends horizontally like a flag from an eightfoot wooden pole; or bends his body into an L-shape, around the pole; or stands tall, like a ship’s lookout, again supported only by his feet. He even hangs upside down, arms spread out like a soaring eagle. What Mudki is demonstrating are different Mallakhamb positions. For those who don’t know, Mallakhamb is a mix of wrestling and yoga moves performed on a standing wooden pole, a hanging wooden pole, or on hanging ropes. It requires core strength, flexibility, power, agility, full body co-ordination and creativity. The discipline originated in Maharashtra. The first mention of it dates back to the 12th century, and it was revived in the 19th century by Balambhattadada Deodhar, the teacher of Peshwa Bajirao II. The pole is supposed to represent the opponent. “The exercises we do are completely different from gymnastics on other apparatus because they are wrestling moves,” Mudki says. When Canadian entertainment company Cirque du Soleil, the world’s largest theatrical producer, premieres its latest creation, Bazzar, in Mumbai in November, Mudki will be performing a four-hand-a-half minute Mallakhamb routine. He is the only Indian in the show and he has waited 12 years for this opportunity. “You work so hard to achieve your goal and then one day all of a sudden ..,” he says. “Cirque du Soleil is such a big company. For me, I just wanted to work with them and get that experience.” An aerial choreographer and Mallakhamb evangelist, Mudki first applied to Cirque du Soleil in 2006. He’d seen videos of their performances while researching aerial choreography routines on YouTube. The company responded, but only to say they had never heard of Mallakhamb. Still, they said they would keep him in mind. But after four years of waiting, Mudki figured they didn’t need him. He focused on building his choreography career, working on movies such as Dhoom 3, and musicals such as Disney’s Beauty and the Beast. He also cofounded Mallakhamb India, a website that promotes the discipline. Then, last November, while he was performing in a show in London called La Soiree, the email he had given up on, unexpectedly arrived. Cirque du Soleil was looking for Mudki and his fellow Mallakhamb exponent, Rajesh Amrale. The Cirque du Soleil routine was supposed to include both Mudki and Amrale, but a week after they joined the company in Montreal in June, tests showed that Amrale had a torn ligament in his right knee that would take eight to 10 months to heal, so he was sent back to Mumbai. Mirror met Mudki last Saturday evening at the Sane Guruji Vidhya Mandir in Santacruz, where he trains and teaches Mallakhamb. He is back in India after rehearsing in Montreal. Wearing a sleeveless t- shirt and shorts, he looks younger than his 34 years and sports a well-groomed beard. His body has the chiselled look of a professional swimmer, or a wrestler, but he has never used weights. “Mallakhamb is like an [exercise] equipment. What you do on Mallakhamb is enough to build your muscles,” he says. The pole is made of Sheesham wood and is also called Mallakhamb. Castor oil is used, either on the pole or the gymnast’s body, to reduce friction on the skin and as a disinfectant. That evening, a group of roughly 20 children were being put through their gymnastics paces in a rectangular hall. The sound of feet hitting mat reverberated through the air. Mudki, who grew up in a chawl in Santacruz, was introduced to Mallakhamb as an eight-year-old by Yashwant Satam, a coach who is also one of the co-founders of Mallakhamb India. “Slowly, slowly I started feeling more interested in Mallakhamb. I started going for competitions, started winning medals,” Mudki says.” In 2006, having won a number of state and national competitions through the years, he was awarded the Shiv Chhatrapati Award, Maharashtra’s highest sporting honour. With nothing left to achieve competitively, Mudki chose to focus on promoting Mallakhamb both within and outside the country, as few knew anything about the discipline that is, as he puts it, “an authentic Indian sport”. “That time, even the [National] Federation and [State] association were struggling to make it popular, to attract students and get more states to participate in Mallakhamb championships.” he says. So a small group of Mallakhamb performers in Mumbai got together and came up with the idea of creating a website. That was the beginning of Mallakhamb India, and they soon began receiving emails from production houses and festivals asking for more information. “Back then, we didn’t know about the entertainment side and the artist’s life. We started giving them answers and they started inviting us [to perform].” Their big break came in 2009 when Mudki and Amrale competed in a reality TV competiton. Mudki chose the rope version of Mallakhamb while Amrale chose the pole. “We went separately so if one of us got eliminated, the other could still go ahead,” Mudki says. He reached the semi-final while Amrale went all the way to the final. “It was a kind of fame for us. All of a sudden, so many people started asking us to perform. That’s where the journey started, actually.” The reality TV show led to their first performance outside the country in Germany. It was called Franko Dragone’s India Circus Tour, and was directed by Franco Dragone, who was a Cirque du Soleil director from 1985 to 1998. Various members of Mallakhamb India have since travelled across the world, from Australia, where they performed for the 2018 Commonwealth Games, to Georgia, where they competed in Georgia’s Got Talent. In 2010, an unexpected email led to his appearing on the Ellen Degeneres Show in the United States. “I didn’t know about Ellen Degeneres. I thought it was spam and thought let me not reply or my account will be hacked,” he says with a full-bodied laugh. A few days later, he was talking to his friend Sharanya and mentioned the email. “She was like, ‘What did you say? Are you kidding? You got an email from Ellen Degeneres!’” When he asked her who or what Ellen Degeneres was, Sharanya told him she hosted one of the biggest TV talk shows in America and that he should “reply to her right now.” So he did. And they wound up flying him to the United States for a one-day performance. Cirque du Soleil represents the crowning moment of his artistic career. His contract with them lasts until December 31, 2019, but if the show is a hit, it could be extended. He claims he has already learned a lot about putting on a big production, from the use of technology to creating characters to safety. “They do everything possible so that you are comfortable performing,” he says. Mudki says he was encouraged to create his own persona for Bazzar. He was given a few acting classes to help understand how to think about his character on stage. Mudki spent about a month mulling over the kind of image he wanted to project. “When I started practicing everyone, including the director, used to say that it is so spiritual, it is so pure. And I thought, what I can be that gives that spiritual energy to the show?” He came up with the character of Mr No, a spiritual being who balances the energy in the show. “So for four-and-a-half minutes, what I am doing is showing my strength as a powerful individual on stage, which gives a spiritual power to all the other characters so they can go through their journeys.” He quickly adds, “You have to see the show to understand it fully.” Mudki makes it clear that he could not have accomplished so much without the support of everyone in Mallakhamb India. And as someone devoted to spreading the gospel of Mallakhamb, he is aware of the responsibility of representing it on an international platform, especially since he will be sharing the stage with a dozen other disciplines. Bazzar had a soft launch in Montreal, and Mudki says his performances were well received, with audience members coming up to him after the show to ask questions about Mallakhamb. “Honestly, they loved it. I am just waiting to see how India and Indians respond to my act,“ he says. “I am little nervous.” { SOURCE: Mumbai Mirror, India Times } ======================================================================= 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 Bazzar: Mumbai, IN -- Nov 14, 2018 to TBA New Dehli, IN -- TBA Koozå: Changsha, CN -- Jun 29, 2018 to Aug 19, 2018 Seoul, SK -- Nov 3, 2018 to Dec 30, 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 19, 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: 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: Mar del Plata, AR -- Aug 3, 2018 to Aug 10, 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: 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: 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, 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 --------------------------------------------------- *) ALEGRIA REUNION SERIES Alegría has brought laughter and wonder to over 14 million spectators in more than 255 cities across the globe from 1994 to 2013. Beloved by fans around the world, the iconic Alegría is coming back on tour in the Big Top. Meet some of the show's previous artists to share their timeless stories. TUNE IN WEEKLY to learn more about each of their experiences touring with Alegría. o) EPISODE 1 - Elena Lev {Aug.03} Meet Elena Lev as she explains her journey on #Alegria. She was a Hula Hoops Artist on the show from 1994 to 2001. LINK /// < https://youtu.be/v5-JsnoJsUg > *) MUSIC VIDEO w/LYRICS 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 > o) 'O' - "Gamelan" {Jul.10} Massayah yontala Masséyah yo-onta-ala (x 3) Massayah yontala Masséyah yo-onta-ala bé Sobéya tonya kotonya lé Sobéya sobéya lé Kobara ma na tou mala Ah a na nindé é Sobéya tonya kotonya lé Sobéya sobéya lé Tou mala tounya anani dé Ko-bé-na tirma né Tounya Sobéya tonya kotonya lé Sobéya sobéya lé Kobara ma na tou mala Ah a na nindé é Massayah yontala Masséyah yo-onta-ala Massayah yontala Masséyah yo-onta-ala bé Massayah yontala Masséyah yo-onta-ala Sobé koda doncé Komé glonima ya koudo to na Sobé koda doncé Komé glonima sou ké, a ko lé Sobé koda doncé Komé souégo doya nimon to na Sobé koda doncé Komé glonima ya né- djah Massayah yontala Masséyah yo-onta-ala bé Massayah yontala Masséyah yo-onta-ala Sobé koda doncé Komé glonima ya koudo to na Sobé koda doncé Komé glonima sou ké, a ko lé Sobé koda doncé Komé souégo doya nimon to na Sobé koda doncé Komé glonima ya né- djah (bis) LINK /// < https://youtu.be/leDgBH2zc70 > o) KOOZA - "Hum Jaisa Na Dekha" {Jul.24} Hum nay kaha kay dil behelaane ka Ek hi tareeka... haan Zindagi say hkelenge... hum haan Muskuraake hum Mudkay bhi naa dekhenge Man main aag Hum jaisa tum nay na dekha Tootay naa Baazuon main katilay dum Tootay naa Badalon ko choo lain hum Aasman ko pi lay hum Baazuon main katilay dum Tootay na Tootay na Baazuon main katilay dum Tootay na Tootay na Hum jaisa na dekha Tootay na Hum jaisa Hum jaisa na dekha Tootay na Hum jaisa na dekha Tootay na Hum jaisa Hum jaisa na dekha LINK /// < https://youtu.be/59l-nYoNgvc > o) Amaluna - "Burn Me Up" {Jul.31} I'm not a liar A dirty liar I'm not a liar I'm your desire I'm gonna burn you up I'm gonna drive you down If you're a liar A better liar If you're a liar You are the fire You're gonna burn me up You're gonna drive me down You're gonna burn me up You're gonna drive me down You're gonna burn me up You're gonna drive me down I'm not a liar A dirty liar I'm not a liar I'm your desire I'm not a liar A dirty liar I'm not a liar I'm your desire If you're a liar A better liar You're just a player You are the fire You're gonna burn me up You're gonna drive me down You're gonna burn me up You're gonna drive me down We are the fire We are the fire LINK /// < https://youtu.be/R8Yay0MHJqM > --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- *) CIRQUECAST is BACK for SEASON TWO! CirqueCast is a Vodcast (that's video podcast) for Cirque fans by Cirque fans – featuring artist interviews, Cirque headlines, and the inside scoop to your favorite Cirque du Soleil shows! Join your hosts José Pérez (TheChapiteau), Richard "Richasi" Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and new addition Max Olson, as we bring you a behind-the-scenes look into Cirque du Soleil, complete with discussions and the latest Cirque news. o) SEASON 2 EPISODE 4 - ALEGRIA, PARAMOUR & BAZZAR Discussion July 29, 2018 In with the old, in with the new! On this episode of CirqueCast, we discuss the return of ALEGRIA and PARAMOUR, as well as the newest Cirque du Soleil show BAZZAR! Also, don't miss the possible name of the Cirque du Soleil show replacing Criss Angel Mindfreak Live at the Luxor Hotel and Casino in Las Vegas! LINK /// < https://youtu.be/7zryTq24owY > *) OTHER CIRQUE VIDEOS o) NEW Official 2018 Trailers: LOVE: < https://youtu.be/hIJZAfyRlD4 > LUZIA: < https://youtu.be/qQeqrig6Z5E> KA: < https://youtu.be/8mQDPffWmSA > KURIOS: < https://youtu.be/YVEW7JI3aJw > ZUMANITY: < https://youtu.be/5MOEhAfmId8 > O: < https://youtu.be/VMdhydd01QY > o) Luzia Artists show off their Soccer skills LINK /// < https://youtu.be/WL_Jtql7YuY > o) TOTEM Music Video: "Terre-Mère" LINK /// < https://youtu.be/U_rEkJ1mmJg > o) Ask Cirque about A Choreographers' Showcase! LINK /// < https://youtu.be/EFvToa9tZkU > o) BAZZAR Big Top Raising Time Lapse LINK /// < https://youtu.be/ZReI47o2l0s > o) What Happens When VOLTA Meets the Honeybees in NY? LINK /// < https://youtu.be/OrMDcP7Nc6A > o) MAC Influencers MAKEUP Meetup Challenge at Cirque HQ LINK /// < https://youtu.be/YJbJhpj9y4s > o) LUZIA Music Video: "Los Mosquitos" LINK /// < https://youtu.be/GvOBoixDChQ > o) Cyr Wheel in La Nouba LINK /// < https://youtu.be/T9UQtkB2dE0 > o) CORTEO: Exploring Nashville LINK /// < https://www.facebook.com/Corteo/videos/10155581496806179/ > o) OVO: in Sochi LINK /// < https://www.facebook.com/OVO/videos/10156822268264614/ > o) OVO: in Sochi LINK /// < https://www.facebook.com/OVO/videos/10156838613244614/ > o) AMALUNA: Unicycle LINK /// < https://www.facebook.com/Amaluna/videos/2001538713240751/ > o) AMALUNA: Meet the Artists! LINK /// < https://www.facebook.com/Amaluna/videos/2001553196572636/ > o) AMALUNA: THe Valkryies LINK /// < https://www.facebook.com/Amaluna/videos/2019160978145191/ > o) AMALUNA: Meet the Riggers LINK /// < https://www.facebook.com/Amaluna/videos/2019180844809871/ > o) TOTEM: Adapting an Act LINK /// < https://www.youtube.com/watch?v=-a50PGTzaK8 > o) VOLTA: Singing the National Anthem (Philadelphia Phillies) LINK /// < https://www.facebook.com/VOLTA/videos/508081566290341/ > LINK /// < https://www.facebook.com/VOLTA/videos/508211769610654/ > o) Septimo Dia: Warming Up LINK /// < https://www.facebook.com/sodacirque7d/videos/1951734534866098/ > o) 4U2C (CRYSTAL): LINK /// < https://www.facebook.com/4u2c.creation/posts/836446896559532 > o) 4U2C (OVO): LINK /// < https://www.facebook.com/4u2c.creation/posts/823251914545697 > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "We're Off and Running - A Series of Classic Critiques" Part 16 of 16: Varekai, Part 3 (2005-2006) By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "We're Off and Running - A Series of Classic Critiques" Part 16 of 16: Varekai, Part 3 (2005-2006) 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 final installment, we finish up by looking at Varekai's last months in North America. # # # CIRQUE GOES TO NEW HEIGHTS IN VAREKAI By: Everett Evans | Houston Chronicle January 6, 2005 Icarus falls to earth in a magical forest, encounters gypsy wanderers and marvelous creatures and learns to survive in a new environment. That's the premise of Varekai, the fourth of Cirque du Soleil's elaborate, new-style circus extravaganzas to reach Houston (following Quidam, Dralion and Alegría). Varekai opens tonight in the company's trademark blue-and-gold Grand Chapiteau, the state-of-the-art big top set up at Reliant Park. During the past 20 years, the Montreal-based company has grown from a cluster of intrepid street performers to a billion-dollar, globe- spanning enterprise with 10 shows currently in production - touring attractions such as Varekai and permanently installed shows such as O and Mystère (in Las Vegas) and La Nouba (in Orlando). In the process, Cirque du Soleil has developed its own brand of spectacle melding circus arts, avant-garde theater concepts, world music and New Age philosophy. While all Cirque shows have a unique, instantly identifiable visual style, it's important to the creators that each new one have its own distinctive profile. "One of our goals is to make each different from the others," Nicolette Naum says. As Varekai's artistic director, her primary job is to "ensure that the show continues to evolve as it travels, yet does not change too drastically from the initial conception of its premiere run in Montreal (in 2002), while keeping the artists creatively nourished and in proper character." From the two main themes of the Icarus figure and the gypsy camp in the forest, Varekai acquires its mood, which Naum describes as "joyous, colorful and energetic." The show's title is Romany (Gypsy) for "wherever." "From Icarus' achievement, it gains a message of hope," Naum says. "He wanted to fly, and he did it. That shows what humans can achieve when they use their energy creatively. From the forest gypsies, the show gains the theme of survival - for they are always moving to a new place, putting up tents, organizing themselves to survive. Through the show, Icarus witnesses what different members of this family are able to achieve and is inspired by them." That theme reflects the creative team's process. "The initial phase in creating each show," Naum says, "is a time of opening the doors to imagination and creativity. We're always searching for what is new, for different ways to do things. Every idea, every dream is put on the table. After that, the next phase is to bring those dreams to more concrete form, to see if they are feasible (onstage). It's always a close collaboration between the creators and the (performing) artists, to make sure all things are integrated." Crucial to achieving the distinctive look of Varekai are the contributions of set designer Stéphane Roy and costume designer Eiko Ishioka, an Oscar winner for her costumes for Francis Ford Coppola's Bram Stoker's Dracula. "The key element of the set design," Roy says, "is the context of a forest. It's a space for the rituals of the characters, a place where you can be scared or happy, meet monsters and dreamers. It is visually stylish, dreamlike, never realistic. The camp is hidden within the forest, never seen." Roy's solution: a clearing encircled by 40 bamboo poles, 2 inches in diameter, of varying heights up to 40 feet, upon which performers climb and spin. "In the course of the story," Roy says, "the characters build a bridge over the stage area. It looks fragile, like a dangerous structure to move across, but it actually is very solid." The cluster of poles, Roy says, also serves as a "backstage" area from which characters emerge and into which they disappear. "The costumes are working tools, not just something to parade in," says Isabelle Panelli, assistant to Ishioka (who's moved on to other projects and is no longer with Cirque). "They were designed to give continuity to the characters, each with its style and color palette particular to that character." Many Varekai costumes reconfigure the human silhouette with added forms, muscles, paddings, collars and extravagant headdresses. One of the most striking is a figure called the Blue Lezard, something of a marketing trademark for the production. The fact that most are worn by performers negotiating mind-boggling acrobatic, aerial and contortive feats adds to the challenge. "The goal is to add complexity to movement without adding difficulty for the artists," Panelli says. "Movement must be unimpeded, hands and arms free to reach for anything. When standing, the artists must always be able to see their feet in order to gauge their moves. "Because so many of the costumes are unusually large and complicated, it's crucial that they travel properly and are not out-of-shape when they arrive at the next city. We have to re-do them periodically because they wear out. Most of the artists have two of the same costume, one to use while the other is in repair. "There are no wardrobe malfunctions at Cirque!" * * * * * * AUDIENCES ARE FLIPPING FOR VAREKAI'S EXPERT FOOT JUGGLERS By: Marylynne Pitz | Pittzburgh Post-Gazette April 3, 2005 As rambunctious 3-year-old twins, Pedro and Ramon Santos loved it when their 12-year-old brother, Javier, balanced them on the soles of his feet while he lay on his back. What began as child's play in 1988 evolved into a spectacular circus act by the three brothers from Madrid. When Cirque du Soleil's production of "Varekai" opens under the blue and gold tent on Saturday, the trio will show local audiences a foot- juggling act that jumps back 1,000 years in circus history. Using his feet, Javier Santos juggles his younger brothers and sends them spinning into the air to do up to 30 somersaults. During a practice session, Pedro Santos once did 45 flips. "You get to perfection day by day. The best training is performing," Javier Santos said in a telephone interview last month from Austin, Texas. In the Cirque cast, the Santos brothers are not unique. Roni and Stiv Bello, who are from Verona, Italy, also perform foot juggling in "Varekai," which tells the story of a young man who falls to Earth and makes his way through a mythical forest near the base of a volcano. Derived from the Romany Gypsy language, the word "Varekai" means "wherever." (It's pronounced "ver-AY-kie.") On Feb. 15, 2003, the Bello brothers landed in the Guinness Book of World Records when they completed 45 consecutive foot-juggling flips during a performance of "Varekai" in San Jose, Calif. In a recent telephone interview, Roni Bello sounded nonchalant about the achievement. "Performing every night for the audience, that's the main thing. The record is just a moment. The most important thing is to be able to be in shape and not have any injuries," he said. The Bello brothers learned gymnastics in Italy from their father, Luciano, who still coaches them, and performed with their family's company, Circus Medrano. "When we were kids, there were a couple of French guys who did this act. We used to love that act," Roni Bello recalled. The Spanish Santos brothers, meanwhile, are seventh-generation circus performers, but the first in their family to perfect foot juggling, starting in 1993. Throughout circus history, fathers typically juggled sons. Such acts were called Icarian games, deriving their name from Icarus, the figure in Greek mythology who flew on wings made by his father, Daedalus. Other members of the Santos family have been clowns or acrobats, Javier Santos said. "We have done everything except perform with animals," he said, adding that his father, Pedro, has performed on the trapeze, high wire and trampoline and also has done clowning and juggling. But when he realized that his sons' rough-housing might lead to greater opportunities, he began coaching them in foot juggling. Their instruction began with a videotape of the Rios brothers, German circus performers who were considered the best foot jugglers of the 20th century. "My father realized that there was talent, that we were able to create this act. He started to push us a little bit more," Javier Santos recalled. Like any well-trained clown, he can laugh at himself. "We started doing this kind of act because, to be honest, I tried too many other things and I was not good at anything. Maybe if I lay down, I was going to be good at something," Javier Santos said. Initially, he juggled balls and cylinders. "When you juggle with small kids, you cannot use all of your power," he said, adding that he feared he would break his brothers' backs. Foot jugglers lean against a slanted platform called a tranka. To gain traction, Javier Santos wears jazz shoes without the heel. Onstage, he said, "You have to control your emotions. When everyone is nervous or there's too much adrenaline, the first thing that happens is your legs shake." In addition to regular visits to the gym, the Santos brothers do "a lot of Pilates. It's very, very helpful. It helps the lower back." While the brothers have toured Europe with other circuses, this is their first U.S. tour with Cirque du Soleil. In New York City, Javier Santos said, "They didn't scream a lot. They didn't clap a lot. In New York, you go on stage and you really have to work for it." Audiences in Austin, Texas, were more vocal with their appreciation. "Whatever you do, the people scream like crazy. As an entertainer, a performer, you love it. They stand up and scream. My God, I feel like Bon Jovi." Going on tour with Cirque du Soleil is better than with other circuses, Javier Santos said. "They do take care of the artists. They have a really good space for training. It's much more professional than any other circus." But there are trade-offs, too. "It's much more stressful to perform here. In a traditional circus, you do your act and then you relax. In Cirque du Soleil, you do other characters. The responsibility you have is greater. We have to do everything at full power every day." The person charged with seeing to it that Cirque performances stay at a high level is Nicolette Naum, artistic director for "Varekai." Naum understands the pressures on performers because she began her career as a street performer in Canada doing juggling and acrobatics and playing the saxophone and recorder. She was among the group of buskers Guy LaLiberte gathered in 1984 for a Canadian street fair. The group later evolved into Cirque du Soleil. Naum's job is to keep "Varekai" fresh while staying attuned to the needs of performers. Though based in Montreal, she visits the show regularly while the cast tours the United States. Her job requires the skills of a diplomat, politician, coach and counselor. "If we have to integrate a new artist for the triple trapeze, normal rehearsal time will not suffice," she said during an interview at the Omni William Penn Hotel last month. Now that she no longer performs, Naum said, "One of my greatest satisfactions is to see the evolution of the performers." * * * * * * CIRQUE TROUPE AMAZES WITH ITS AGILITY By: Christopher Rawson | Pittsburgh Post-Gazette April 11, 2005 Pennants flying over a big top, upbeat music, the smell of popcorn and excited crowds -- it sure feels like a circus. And that's just what it calls itself -- Cirque du Soleil, "circus of the sun" -- but it's not the circus of nostalgic memory. There's none of the warm aroma of animals, for example, but instead, the glow of electronics. The yellow big top in the Heinz Field parking lot is cone-shaped, the music is eclectic new age and the stage (no sawdust ring, here) is dressed with the glamour and expertise of a Broadway show blown up to rock concert scale. No, Cirque du Soleil is not your grandparents' circus nor even that of your own recent youth. This is what the circus evolved into, moved indoors and married to futuristic technology by an inspired band of French Canadians, drawing on the ages-old skills of acrobats, jugglers and aerialists, repackaged by wizards of design. It's the dream of a circus, you might say. And the dreamers who created "Varekai," which they say means "wherever" in Romany, the gypsy language, have dreamed of a 35-foot-high jungle of golden bamboo, populated with fabulous creatures who might be the joint creations of myth, fantasy and Dr. Seuss. These human birds, animals and lizards are presided over by the Pan-like Sergiy Marchenko and Mephistophelean Michel-Andre Cardin, with musicians playing accompaniment on Rube Goldberg instruments. Into their center plummets a feathered young man whom the program calls Icarus (Anton Chelnokov). He is sent back aloft in a cocoon to be reborn, and the show seems loosely to be his search for a mate. He finds her in the person of a curvaceous contortionist (Irina Naumenko), and the celebration of their union centers the final festivity of the show. I think it is also she who first appears as a green clad sprite who, after intriguing Icarus, disappears aloft, only to reappear later in spangled, form-fitting white -- which would add metamorphosis to rebirth and journey as the show's prevailing metaphors. But "Varekai" has the good sense to leave those metaphors vague and not burden itself with even as much plot as "Quidam," the previous Cirque show to visit Pittsburgh. Attention to Icarus is sporadic, the better to allow the fabulous beings we meet to demonstrate their colorful mind- and body-bending skills. The accompanying songs and incantations, in whatever language(s) they may be, remain vague enough for us to project specific meanings if we choose. The dominant figure is that of the Pan-like guide, who summons flying spirits and moves the show from one sequence to another. As in a traditional human circus, out of whose skills Cirque weaves its magic, those individual acts are the heart of the matter. Not counting the recurring joking and mystification, there are more than a dozen such acts, and audiences will have their own favorites. For some, the only possible response is to laugh with disbelief and delight at seeing bodies do what I'm quite sure, in the prosaic world where I live, bodies simply cannot do. Perhaps these performers are actually made of rubber, but there are a few routines when rubber would be too stern and it must be butter, at least, to allow them to contort and flow with such supple agility. Of course, there's muscle, too. In some cases, you simply can't make three-dimensional sense of the speedy contortions. Perhaps the performers have had access to some lost, nonsexual Kama Sutra of physical agility. There are also clowns, starting with audience intervention during the warm-up and blossoming in a parody magic act in which the ostentatiously smarmy Steven Bishop is undercut by his awkwardly clunky and gleefully willing assistant, Joanna Holden. He reappears later as a chanson artiste deviled by a wayward spotlight -- an old idea but funny still. The parade of wonders includes a quadruple trapeze act; three young Asians flinging magical ropes; an air-borne hoop act with the fluid Leysan Gayazova; two brothers doing acrobatics in mid-air like Aztec birdmen, sailing out over the audience's heads; a "body skating" troupe, flinging itself about with graceful abandon; fierce Georgian dancers; Octavio Alegria, who juggles balls, Frisbee-like hats and ping-pong balls with every part of his body; and a climactic extravaganza in which giant swings fling bodies through space. I didn't see any nets, just a couple of safety straps. Much of the appeal of the two hours (plus a lengthy intermission) is the costuming, which mixes Amazonian Indian, Eastern European, Ninja and Seuss. The body skaters look like florescent undersea creatures. Much of the time, you don't know where to look, there's so much to wonder at. But perhaps my favorite moment was at the end. After watching these superior beings perform such feats, it was immensely touching to see them doff their imperious attitudes and disguises and appear as normal human beings, touchingly young, happy to please. * * * * * * BREATHAKING VAREKAI IS A SENSORY FEAST By: Matthew J. Palm | Orlando Sentinel December 3, 2005 Every Cirque du Soleil show has that moment. It's when you gasp aloud. Or you realize your heart is racing, or you've forgotten to breathe. In Varekai, the moment comes early. A young man is suspended in midair, entwined in netting. He manages to pull his body upright, as if standing normally. And then he lets go, the netting snaps and he flops 180 degrees, his head plunging toward the stage floor. The netting, connected to a cable attached to the theater ceiling, pulls taut and prevents him from hitting the floor, of course. And then you can breathe again. The young man in question is Icarus. He has fallen, complete with giant feathered wings, into a mystical world deep in a mysterious forest inhabited by amazingly acrobatic creatures. Such is the world of Cirque du Soleil. Varekai is in residence at Tropicana Field in St. Petersburg until Dec. 31, and Thursday's exhilarating opening-night performance demonstrated why the Cirque shows have become an international phenomenon. The mix of ethereal music, exotic costumes, family- friendly humor and, above all, the breathtaking acrobatics creates a spectacle like no other. The bare-bones story of Icarus' adventures in the enchanted woods is just to set the mood. The thrill of the show is being caught up in the action, the feeling that anything might happen when the performers let loose with their flips, spins, twists and twirls. The mystical forest is established effectively right from the start. A thicket of bamboolike trees rises from the stage. Mist swirls and the sounds of crickets, birds and one mighty big mosquito are heard. Performers dressed as iguanas or lizards slither into view, and then in an explosion of colorful costumes, the stage is filled with dancers. The choreography throughout is more sophisticated than that of other Cirque shows, and many of the performers move as though dancing comes naturally to them. As lively and entertaining as the dancing is, though, it's the acrobatics that inspire awe. Anton Chelnokov as Icarus is grace and beauty personified as he uses his netting to climb higher and higher while spinning, turning and dropping. The athletes in the Icarian Games segment of the show pair up so one man can use his legs to propel his partner into a series of twists, rolls and other gyrations, sometimes flinging him across the stage. Badri Esatia, Temur Koridze and Khvicha Tetvadze, all from the Republic of Georgia, perform a Georgian dance full of fiery movements, many on tiptoe, and enough rapid-fire spins to make a whirling dervish dizzy. Andrew Atherton and Kevin Atherton of Great Britain fly through the air at amazing speeds, suspended only by wrist straps as they perform powerful synchronized stunts. Throughout the show, comic relief is provided by two exceptional clowns, Steven Bishop of Australia and Joanna Holden of Great Britain. The two take simple ideas -- a magician's act is ruined by his partner's ineptness, and a singer desperately tries to keep up with a mischievous spotlight -- and turn them into pure magic. Overall, the second half of the show doesn't quite match the energy of the first. A hand-balancing act is too long and doesn't build to a satisfyingly dramatic finish. But these are minor quibbles. In the Romany language of the Gypsies, a program note says, Varekai means "wherever." Wherever is a wondrous place indeed. * * * * * * VAREKAI IS A VISUAL DELIGHT By: Susan L. Rife | Sarasota Herald-Tribune December 6, 2005 A world of fantastical creatures capable of superhuman physical skill and grace lives under the blue-and-yellow Grand Chapiteau in the parking lot at Tropicana Field this month. Appropriate to the holiday season in its sense of wonder and magic, "Varekai," one of six touring shows by Cirque du Soleil, is neither circus nor drama, but theater in the broadest sense of extravagant performance. Cirque du Soleil, with its roots in European circus and North American street performances, creates a performance within the framework of the myth of Icarus for "Varekai." After a prologue establishing the scene as a primeval paradise in a mountaintop volcanic forest, Icarus, the boy who fashioned wings from feathers and wax and then flew too close to the sun, tumbles into a world of creeping, flying and dancing creatures. Despite the presence of a variety of characters -- a sinewy Anton Chelnokov as Icarus, Sergiy Marchenko as the Guide, the comical Michel-André Cardin as the Skywatcher and beautiful and exotic Irina Naumenko as the Betrothed -- "Varekai" is less the story of what happens after Icarus plunges to earth and more an astonishing two hours of physical flexibility and acrobatic prowess wrapped in whimsical costumes of tentacles, feathers, ruffles, padded appendages and fantastical headdresses. You hardly know where to look as performers soar overhead on aerial straps and trapezes, flip over one another in displays of breathtaking agility, and balance against a forest of 35-foot-tall golden tree trunks filled with other creatures. Among the more amazing feats are the "Icarian Games," in which Stiv and Roni Bello, and Javier, Pedro and Ramon Santos, serve as both catapult and catcher in astonishing human juggling. The show comes to a climax with Russian Swings, in which acrobats are hurled into the air and alight on their partners' crossed wrists or are pitched into canvas nets yards away from their swings. Naumenko, who as the Betrothed wears a costume that hovers somewhere between grasshopper, chameleon and butterfly, returns in a nude-toned bodysuit striped with golden sequins for a hand-balancing act that redefines suppleness. No show with its history in circus would be complete without clowns, which in "Varekai" come in the form of the Skywatcher and of Steven Bishop as a magician hampered by a clumsy and pudgy assistant, Joanna Holden. Bishop returns in the second act in "Ne Me Quitte Pas," in which he warbles in French and scrambles to stay in an elusive spotlight. Cirque du Soleil has a reputation for overt sexuality and a certain creepiness in its shows, but "Varekai" is more overlaid with the sweet innocence of young Icarus and his delight at the world in which he finds himself. * * * * * * CIRQUE'S FANTASTICALLY REAL WORLD SHOWCASES BROTHERS IN MOTION By: Athima Chansanchai | Seattle PI April 27, 2006 It's hard to translate what exactly happens in a Cirque du Soleil show. Publicists use phrases like "a kaleidoscope world imbued with fantastical creatures" and an "adventure both absurd and extraordinary." Absurd and extraordinary. Now, those two words, they could explain a lot about the mind- and body-bending contortions that pulse through "Varekai," a touring Cirque show scheduled for a Seattle-area premiere Thursday at Marymoor Park in Redmond. The first time you see a millennium-old circus act called the Icarian Games, you think your mind is playing tricks on you. They could not possibly be doing what you think they're doing. Must be CGI. But, no, look again and it's right there: Roni Bello, one half of the family act, The Stevens Brothers, is throwing his brother, Stiv, up in the air. With his feet. And Stiv lands on his feet. Or he'll transform into a human seal, going round and round in consecutive flips as Roni lies on his back keeping him in motion with his feet. They hold two Guinness World Records: one for 45 consecutive foot- juggling flips and another for 38 consecutive flips in 30 seconds. As sixth-generation circus performers who've been training and traveling since they were kids, the Bellos' lives mirror what they do: perpetual motion. "Varekai" translates to "wherever" in the language of the Gypsies, "universal wanderers" from which the show draws its inspiration. It's no wonder that Cirque attracts among its performers a fair number of nomads whose only real home is in front of an audience. More than 50 artists representing 14 countries are in "Varekai." Drama and acrobatics. Two more words that describe the kind of fusion that takes place under the yellow-and-blue big top known as the Grand Chapiteau. Traditional circus families like the Bellos perform side by side with recent converts such as Andrew and Kevin Atherton, twins who have made the transition from traditional gymnastics to daredevil artist- aerialists. Cirque is one of those odd amalgamations of tradition and innovative evolution that continues to fascinate, even as it spawns six touring shows and five permanent installations (three in Las Vegas). In a world of CGI fantasia, it's refreshing to find out what can be done for real by live human beings, that we also are capable of the most seemingly impossible feats. "Once we saw it, we knew we'd be hooked," said Andrew Atherton, one half of the 30-year-old pretty-boy Brit twins who catapulted from the world of medalist-class gymnasts to the looser artistic forum that is Cirque. "It was different. It was something we both really wanted to do, this act we dreamed of." In part of the artistic technique that defines Cirque, the brothers were left alone to sort out working as a team for the first time. "They left us and said, 'Go and play' to see what we could come up with," said Kevin. "There were a lot of fights." It took about six months for their new employers to break the mold of the gymnasts, using movement and acting classes, as well as lessons in percussion and singing. Even though they were used to being in the public eye at competitions, the duo found the interaction between performers and audiences through acting in a Tom Stoppard play. In "Varekai," they're Castor and Pollux, the twins of mythology whose intertwined lives are given center stage during the second half of the show. Unlike the Icarus central character who falls into the forest, the twins achieve flight effortlessly. "We have to be so synchronized," Andrew said. "I trust my brother so much," Kevin added. As newcomers to the circus scene, they're adjusting to the life by learning from their more experienced colleagues and living as much like locals as they can in each of their stops in between the eight to 10 shows they do a week. Since "Varekai" debuted in April 2002, they've traveled to 28 cities throughout Canada and the United States. They'd never been to the U.S. before that, and on this tour, Portland and Seattle are among their uncharted territory. Roni and Stiv Bello also were new to the U.S., but not to the circus life. "I don't see myself inside an office," Stiv said. But they are businessmen and teachers of the Icarian Games who have evolved from the circuses of Europe, where their Italian accents don't give away any specific region since they traveled so much as children. "In traditional circuses, you used to live in trailers and all meet together," Roni said. "We do that as our life. For others, it's only an experience," Stiv said. At Cirque, they all live in the same residential hotel, or in a few adjoining hotels depending on the city. Roni said one thing about the act: He never gets bored. "I'm always looking to do something else. The acrobatics are never the same," he said. It's a craft that asks them to continually evolve. As Stiv said, "It's like music that never ends." Brother Roni adds, "Like a piece of jazz." "When you go onstage, you're there for five or six minutes to show the best you've got to the audience," Stiv said. "That's a lot of pressure, and it's dangerous." Despite that, when the lights go up, they're there with smiles on their faces, feet in the air. * * * * * * GO BEHIND THE SCENES OF VAREKAI By: James D. Watts Jr | January 21, 2015 The idea of Cirque du Soleil rose out of the work of a group of Quebec street performers who dreamed of creating a new kind of circus to entertain audiences around the world with shows that demonstrated all the strength, flexibility, daring and humor of which human beings are capable. "Varekai," which premiered in 2002, is the 13th show Cirque du Soleil has created and the fifth to come to Tulsa. Inspired by the Greek myth of Icarus, "Varekai" is the story of a young man who plummets to earth, landing in a forest filled with strange creatures that soar through the air, skate across the ground, dance and tumble about with abandon - and even indulge in acts of pure silliness. Here's a glimpse into the lives and activities of some of the people who make the world of "Varekai" come to life. THE CLOWN It was supposed to be a two-year adventure - setting aside the dentist's drill to run off and join the circus. That was 10 years ago. For the past decade, Steven Bishop has been the principal clown for Cirque du Soleil's "Varekai." Given that this Canadian-born enterprise has as its unofficial credo "We Reinvent the Circus," the role of clown in a Cirque du Soleil production does not involve baggy clothes, red noses and jars of white face paint. In fact, in the world of "Varekai," Bishop and his partner in mischief, Emily Carragher, wear the least amount of makeup of any of the performers. "We're sort of the contrast to the rest of the show," Bishop said. "Varekai" - which means "whatever" in the Romany language - is a fantasia inspired by the Greek myth of Icarus, whose wings of wax and feathers melted when he flew too near the sun. In the Cirque du Soleil telling of this story, Icarus falls not to his death in the seas but into the midst of a strange and magical forest, populated by an array of unusual beings capable of doing extraordinary things. In between the feats of strength, balance and flexibility, along with all manner of aerial acrobatics by performers in elaborate and slinky costumes, Bishop and Carragher will emerge to toy with audience members, attempt one of the spectacularly unsuccessful magic acts to disgrace the stage, and chase after a moment in the spotlight to croon the Jacques Brel ballad "Ne me quitte pas." Bishop is a qualified dental surgeon in his native Australia, "but I was always interested in creative things, especially when I could engage my entire body in the process. And if I could make people laugh, so much the better." He studied theater at the Ecole Jacques Lecoq in Paris and worked with an English-speaking theater company in France. While still practicing dentistry, Bishop was also performing, everything from mime and escapology to stunt work in films like the live-action "Scooby-Doo." When he landed the role in "Varekai," Bishop said: "I know that this was where I wanted to put my artistic life. I'd reached the point in my life where I was only going to do things I was interested in and passionate about, and that would help me evolve as a performer and a person." Bishop started in "Varekai" in 2004, two years after the show had been created. At that time, the show toured as a "Grand Chapiteau," or big- top tent production, which would remain several weeks at one locale. So Bishop decided to bring his wife and four children along with him. "I said it would be a two-year thing," Bishop said, laughing. "We'll keep the dentist chair, just in case, you know. But Cirque du Soleil allowed me to support my family while continuing to perform." When "Varekai" was converted into an arena show (the production that comes to the BOK Center this week), the stresses of weekly touring made Bishop's family arrangements unworkable. Bishop's wife and children moved back to Australia while he continues with the show. The set pieces Bishop does in the show have been a part of "Varekai" from the beginning, but he's been able to develop them in personal ways. But the most important element of the show for Bishop is what is called the "animation," when the two clowns come out prior to the start of the show to interact with the audience. "For a clown, that connection with the audience is imperative," he said. "That's why the animation is so important because it's a way to make that connection instantly. That way, when you finally show up in the context of the show, the audience knows who you are and what they're in for." Bishop even relishes the process of doing the same thing night after night, show after show, in a way that is philosophical. "No other company can offer you the chance to develop and present your art the way Cirque du Soleil does," he said. "The number of shows that you do - it's almost like 'Zen and the Art of Archery,' doing that one thing over and over until you get a sense of understanding that is beyond thought or learning." He paused, then added, "And you get to make people laugh." THE ARTISTIC DIRECTOR "Varekai" began, as did many of the shows created by Cirque du Soleil, in a tent. The Montreal, Quebec-based company would set up a large, big top-style tent, capable of seating about 2,500 people, and present its shows within its canvas confines. The company would remain in one locale for several weeks at a time before striking tents and moving on. Cirque du Soleil continues to perform under the big top - five shows, including the newest, "Kurios: Cabinet of Curiosities," are currently touring in this fashion. It also has what it calls "resident shows," including eight in Las Vegas. Recently, Cirque du Soleil began converting some of its longest running shows to be presented in arenas, the latest of which is "Varekai," opening Wednesday at the BOK Center. And these conversations, said the show's artistic director Fabrice Lemire, "is like creating a completely new show from the ground up. Every aspect of the show has to be redesigned - the set, to begin with." One of the main elements of the "Varekai" set is an enormous catwalk, which looks to be constructed of sticks and branches, that rises from the rear of the stage and extends over it. "We are in a different space every week, and each space is different," said Lemire, who has been overseeing "Varekai" for three years. "To accommodate that, we have two different heights for the catwalk - both of which are higher than the catwalk we used in the big top. "So that means we have to rework the music because the performers need a little more to move along the catwalk," he said. "That requires redesigning the lighting plan, everything. Because the show is 12 years old, we also had to adapt it to the changes in sound technology that are now standard. It was a huge challenge." Lemire began his tenure on "Varekai" right around the time the show was beginning to be transferred to arenas. He began his career with the company in 2008 as dance master for "Zaia," a resident show in Macau, then became artistic director of "Quidam" until taking over "Varekai." Prior to joining Cirque du Soleil, Lemire spent some 20 years as a dancer, choreographer and ballet master, working with such companies as Oregon Ballet and New York City Opera. "I wanted to try the other side, not be the one on stage, but share ideas so people could perhaps make better use of their talents," he said. "Varekai" is one of the more narrative-driven shows in the Cirque du Soleil repertoire, with many of the dazzling acrobatic acts having some bearing on the story. "We have a new performer in the cast, who is taking over the male lead," Lemire said. "He comes from a strong dance background, and it's taking me a lot of work to get him out of his comfort zone, to get him to express something different, something more emotional." THE ACTOR The principal emotion that Rodrigue Proteau has to express in his role as The Guide in "Varekai" is one that he finds difficult to summon outside of the theater. "I was told at the start my character is grumpy," Proteau said. "And that's just not something within me. I really have to work at that." Proteau's face as he said this told a slightly different story - only because his face was already adorned with the multicolored makeup he wears for the role. The makeup gives him a slightly ferocious look quite at odds with his soft, understated speaking voice. The Guide is described as "a wise old man whose mission is to inspire and bring about change" - in the case of "Varekai," that involves guiding the fallen Icarus to an acceptance of what is now his new home. Proteau was a member of the original cast of "Varekai" and had some input into the creation of the character he plays. "I was working as a physical actor - I did dance theater, movies, stuff like that," the Quebec native said. "Cirque du Soleil came to me, wanting me to take over a part in 'Saltimbanco.' But I wasn't comfortable with that. "Then, Dominic Champagne (the writer and director of "Varekai") got in touch with me, saying he was creating this new show and wanted me to be a part of it," Proteau said. Originally, The Guide was going to be as much puppet as actor. "They started out with this head piece and kept adding things, making it more and more elaborate," Proteau said, smiling. "Then, a week before the show was to open, the head of Cirque du Soleil came in, took one look at what I was wearing, and said, 'Cut that!'?" Proteau came up with an alternate headpiece for his character - a helmet with a large light bulb on top. "My original thought was it was something that would plug into the wall," he said, chuckling. "But the technical people just kind of looked at it and shook their heads and said, 'That would be pretty dangerous, Rod.' So they came up with something with batteries." The Guide and his cheerful nemesis, a wild character called the Skywatcher, carry on conversations in a made-up language. "The dialogue is all improvised - exactly what we say changes, although the import, the emotions are the same," Proteau said. "I will toss in words and phrases from Spanish, Italian, Portuguese. We also try to work in some of the slang of a region, if possible. "And since we are part of the story, and don't have a great deal of time on stage," he said, "we have to be very precise. We have to be sure people know exactly what we mean, even though they can't understand what we say." # # # And that's a wrap, my friends! It's been quite a long journey to get from Le Cirque Réinventé to Varekai, but it was well worth it. Though I know quite a bit about Cirque du Soleil, there's always something new to learn, and I can actually say I've learned a few new things about Cirque du Soleil thanks to this series. My hope was that the same was true for you. Until next time! {fin} ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 18, Number 8 (Issue #175) - August 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. { Aug.10.2018 } =======================================================================