======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 19, NUMBER 2 February 2019 ISSUE #181 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Although there've been plenty of other announcements since we last spoke - Messi10 and Cirque's acquisition of "The Works Entertainment" (both announcements you can read in our news section), there've been a lot of blurbs about the new Alegría this month. And note it's no longer "The Return of an Icon" but "In a New Light." First, we begin with a small "debut" at Gala Célébration 2019. During the broadcast we got our first glimpse of the White Singer's dress, as well as costumes for the Nymphs, who also perform a captivating hand-to-hand act in the show. See those here: http://www.cirquefascination.com/?p=12270. Next, after presenting during Célébration 2019, Cirque proudly un- veiled the revisited full version of Vai Vedrai, the first musical excerpt from the new soundtrack. Jean-Phi Gonclaves, renowned for his work as Musical Director on the Série Hommage, the Cirque du Soleil tribute series presented in Trois-Rivières, arranged and produced Vai Vedrai, composed by René Dupéré. This adaptation of the Alegría score will immerse audiences in the show's new world. "Vai Vedrai, is the story of a mother inviting her child to leave the nest and discover the wonderful folly of the world. There exists a touching combination between the music and the lyrics which is just as meaningful today" mentions Jean-Phi Goncalves, the show's musical director. "The challenge is to update the song's arrangement by taking it apart and putting it back together differently." It bears mentioning that the soundtrack of the original Alegría show remains one of Cirque du Soleil's most popular albums and that its theme song was nominated for a Grammy Award in 1995. On January 14th, digital download and streaming providers offered up Vai Vedrai. The complete soundtrack will be available on April 25th. o) See more images from the gala here: http://www.cirquefascination.com/?p=12321 o) Get a behind-the-scenes look at the new recording: https://cirk.me/VaiVedrai-BTS. Then, on January 26th, Jean-Guy Legault, director of the new Alegría, shared his vision for the show and how Alegría's timeless message of resilience inspired its reinvention in a video that you can see here: https://www.facebook.com/Alegria/videos/285952828758720/ Within the video the new Fleur is front and center, what could be the show's new set/stage (in concept artwork), and what appears to be the show's acrobatic skeleton. Here's what I saw in the video with regards to the acts and songs... ACT 1 – Opening (Song: "Vazoulé") – Acro Bars (Song: "Kalandero") – Scene "A Fools Court" (Song: "Milonga") – Double Crossed Wheel (Song: "Ibis") – Scene: "Confusion" – Duo Trapeze (Song: "Querer") – Scene: Fool's Party/The Big Feast? – Hula Hoops (Lev) (No Song Listed) – Snowstorm (Song: "Mirko") – INTERMISSION ACT 2 – Scene: Fleur in the Snow – Straps (Song: "Alegria") – Clowns (Mocking the Aristocracy) – Power Track (Songs: "Irna" & "Valsapena") – Scene: Fall of the Fool – Fire Knife: A New Arising (No Song Listed) – Tableau en Blanc (Song: "Vai Vedrai") – Net Setup (No Song Listed) – High Bars (Song: "Valsapena") – Finale (No Song Listed) If this is indeed what the new Alegría will look like come April, fans are in for quite a shock. Stay tuned! Okay, so let's go! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.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 * "Big Top Academy Stars Talk Circus" By: Kim Campbell for Circus Talk News * "Jamie Sullivan's Journey to JOYÀ" By: Ashley Sutherland-Winch for TheaterArtLife * Jean David's Quel Cirque, Part 2 of 12: "The Appointment" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- LUZIA Celebrates 1,000th Performance! {Jan.13.2019} ------------------------------------------------------- On Saturday, January 12th, Cirque du Soleil's Luzia celebrated it's 1,000th performance. Congratulations! Check out the cake created to celebrate the milestone: http://www.cirquefascination.com/?p=12282 And see a video in celebration of the show's 1000th performance https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/348772912569835/ ------------------------------------------------------- X: The Land of Fantasy Launches August 10, 2019! {Jan.24.2019} ------------------------------------------------------- CIRQUE DU SOLEIL TO OPEN FIRST RESIDENT IN SHOW IN CHINA IN COLLABORATION WITH HANGZHOU XINTIANDI GROUP X: THE LAND OF FANTASY WILL OPEN AUGUST 10, 2019 On October 23, 2018, Cirque du Soleil announced its first resident show in China in partnership with Chinese real estate leader Hangzhou Xintiandi Group called X: The Land of Fantasy. Set to open AUGUST 10, 2019 in the heart of the Xintiandi CAZ, in Hangzhou, this new resident show will be presented in an unprecedented state-of-the art theatre offering an immersive experience that no other audience has ever experienced elsewhere in the world. "With today’s announcement, we are now solidly and permanently establishing ourselves in China, with a resident show that was specially created for Chinese audiences. Our partnership with XTD enabled us to create a unique-in-the-world entertainment experience and we want to thank them for their precious collaboration", expressed Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group. "XTD is honored to bring this technological adventure to Hangzhou and host, for the very first time, a Cirque du Soleil resident show in China. As the developer of Xintiandi Central Activity Zone, where the theater is located, we are confident this unique entertainment offering will solidify Hangzhou’s position as one of the most important tourist destinations in China. The show reinforces the city’s very rich cultural offering and emphasizes its status as an international destination for tourism", said Chairman Liu Wendong of Hangzhou Xintiandi Group. Built to host nearly 1,500 spectators, the show theatre is divided in two sets of intimate revolving bleachers, placing the audience at the very center of the story and allowing two viewing experiences. This unique 360-degree perspective opens a new world of creative possibilities to tell the story and provides a truly captivating experience for the spectators who follow the action from their seats. The theater also features a massive 100m-wide main stage, divided in panels individually controlled to create any configuration imaginable, allowing the setting to shape-shift as the story unfolds. A combination of 3D props, video mapping, and trap doors from which acrobats seem to 'disappear' inside landscapes and return when you least expect it, will allow for artists to perform gravity-defying acrobatic acts; all of which are designed to disorient the senses. Tickets for X: The Land of Fantasy)are now on sale here: https://en.damai.cn/event/tickets_167814/ ABOUT X: THE LAND OF FANTASY X: The Land of Fantasy is an epic and thrilling quest to reunite two ancient kingdoms, Petra (an underground world in the west) and Aria (an aerial palace in the east), torn apart centuries ago. Harmony disrupted by a broken seal depicting a ‘yin-yang’ crest of a Dragon and Phoenix. The captivating legend is guided by The Watcher, a wise elder whose mechanical box unleashes the story. One that begins with two innocent infants, each left on the doorstep of the opposing kingdom’s palace. They both grow to emerge as the hero and heroine who challenge dangers and fight seemingly invincible forces, in the name of good for all. Inspired by a rich storyline, multi-dimensional characters, and surreal universes, X: The Land of Fantasy is an incredible immersive experience. Driven by high-energy action and acrobatics, rich symbolism, beautiful poetry and artistry, history is told through two perspectives: Petra and Aria, through the Hero and Heroine. Two sides of one story, two cultures discovering each other. No detail is spared to immerse deeper inside the story and create a surge of adventure for the whole family, each scene more powerful than the next. THE CREATIVE TEAM o) Charles Joron – Executive Producer o) Michel Rioux – Project Director o) Neilson Vignola – Director of Creation o) Hugo Bélanger – Writer and Director o) Du Wei – Composer and Musical Director o) Carl Fillion – Set and Props Designer o) Carlos Navarrete & Fred Caron – Video Designers o) Jérôme Le Baut – Acrobatic Performance Designer o) Ewen Seagel – Acrobatic Equipment and Rigging Designer o) Marie-Chantal Vaillancourt – Costume Designer o) Étienne Boucher – Lighting Designer o) Luc Langevin & Stéphane Bourgoin – Magic & illusion Designers o) Phenix Lin – Choreographer o) Jacques Boucher – Sound Designer o) Karen Yiu – Make up Designer { SOURCE: Cirque du Soleil } ------------------------------------------------------- Cirque Withdrew From China Show as Tensions Mounted {Jan.25.2019} ------------------------------------------------------- As diplomatic relations grew tenser between Canada and China last month, one of Canada's most recognizable entertainment companies withdrew from a prominent Chinese television program. Cirque du Soleil on Dec. 10 ended negotiations to feature in CCTV's Spring Festival Gala, one of the world's most-watched TV shows, spokeswoman Stephanie Morissette said. The decision was due to a lack of agreement on contract terms as the February gala grew closer, and was unrelated to the political situation, she said. "We were really disappointed to withdraw, because this gala is a great marketing opportunity," Morissette said. "Unfortunately, in order to deliver a performance reflecting what Cirque du Soleil is capable of, it wasn't possible." The arrest of Huawei Technologies Co. Chief Financial Officer Meng Wanzhou — and China's subsequent detention of two Canadian nationals — has prompted an acute diplomatic feud between Ottawa and Beijing, with each side accusing the other of arbitrary law enforcement. Meng was arrested in Vancouver on Dec. 1, while the two Canadians were detained in China on Dec. 10, the same day as the Cirque's withdrawal. Cirque du Soleil Entertainment Group has been banking on its China expansion to boost ticket sales under guidance from Chinese minority owner Fosun International Ltd. Its first permanent mainland show is set to start in Hangzhou this year. The news was first reported by Radio Canada, the French-language branch of the state broadcaster. { SOURCE: Bloomberg } ------------------------------------------------------- #MessiCirque is "Messi10: El Juego Cambió" {Jan.29.2019} ------------------------------------------------------- FOOTBALL LEGEND LEO MESSI TEAMS UP WITH CIRQUE DU SOLEIL AND POPART MUSIC FOR MESSI10: EL JUEGO CAMBIÓ PREMIERE WILL TAKE PLACE IN BARCELONA ON OCTOBER 10, 2019 INTERNATIONAL TOUR WILL LAUNCH IN 2020 On October 10, 2018, Argentinean football player and FC Barcelona star Leo Messi, Cirque du Soleil Entertainment Group, and PopArt Music announced a partnership for the creation of a brand-new show to be launched in 2019. Created by Cirque du Soleil, the show would draw its inspiration from the incredible talent and accomplishments of the football legend, who embodies the unique spirit and values of his sport. After paying homage to some of entertainment's greatest artists, such as The Beatles, Michael Jackson and Soda Stereo, Cirque du Soleil would leap into the passionate world of football, celebrating Messi's legacy in Cirque du Soleil's signature way. Today, Cirque du Soleil announces #MessiCirque as "Messi10"! ABOUT THE SHOW Messi 10, an amazing and inspiring experience for the fans, will use acrobatics to represent the athletics, devotion and overcoming that unite football world with cirque's, celebrating the best football of our time. Messi 10 tells the story of a young man with the tireless ambition to overcome any obstacle to become the best "number 10" in the world. The show explores all the elements of its success to create a universe in which greatness is reached every time one falls and rises in the path of the impossible. A cast of 46 artists will guide the audience and fans on a breathtaking 90' minute adrenaline rush that combines a dazzling physical performance with an unthinkable poetic surprise, and a vibrant soundtrack as a backdrop. The show Première will take place at Parc del Fòrum in Barcelona on October 10th, 2019, being the only city in Spain where it will be presented. Later a world tour will begin in 2020. "It feels both crazy and incredible that Cirque du Soleil will create a show based on my life, my passion, my sport", expressed Leo Messi. "Cirque du Soleil is a family favorite of ours. I have no doubt this show will amaze people as their shows always do." Get tickets here: https://www.messicirque.com/en/tickets.php INTERACTIVE EXERIENCE: MESSI 10 CHALLENGE For fans around the world who dream of feeling Messi just for one day, there will be an additional attraction, the Messi 10 Challenge. Football is childhood, school, family, friends and passion. Leo is football synonym, it's the key to the game. He is the player that we all fans want in our team, whom we want to imitate. Being Messi for one day is the dream of all who are passionate about football. In addition to celebrating his talent and legacy, the show will provide fans with an unforgettable experience. Messi 10 Challenge is an additional attraction for the whole family to enjoy. The challenge will be developed in a space beside the arena of the show, which will open its doors 3 hours before the begging of the show. Messi's fans will be able to participate in different contests in order to score as many points as possible. They will be able to simulate Messi's dribbles, emulate his free kicks, answer questions about his career, talk live with an interactive Messi, and be part of the most memorable moments of his career thanks to VR glasses. Once all the contests finish, the competitor with the highest score will be prized as the "Messi of the Day" and will be able to participate during the show in an interactive way. WHO IS MESSI? Messi joined Barcelona as a 13-year-old, with the Catalan club luring him from Argentina with the promise of paying to help treat a growth hormone disorder. He has since gone on to become the club's most decorated player, winning over 30 trophies, as well as being named the World Player of the Year on five occasions. Now 31 and Barca's all- time top goal scorer with 563 goals, he is closing on his 650th appearance for the club, with only Xavi Hernandez (767) and Andres Iniesta (674) having made more. The captain of the Argentina national team is also putting his name to a theme park in China, which is due to open in 2020. "We are thrilled to be working with such a living legend. As a world leader of live entertainment, Cirque du Soleil Entertainment Group is becoming the go-to creator of original content and experiences for the world's top brands," says Jonathan Tétrault, President and Chief Operating Officer at Cirque du Soleil. "We are convinced that bringing Messi's legacy to life on stage will touch audiences and speak to all football fans. Together with PopArt Music and Sony Music, we have the chance to transcend the sport and present it in a totally new form to inspire the world." "It is an honor for PopArt Music to work on a new project with Cirque du Soleil and Leo Messi. I have no doubt that the creation quality of Cirque du Soleil will be able to artistically translate the unparalleled talent that Messi displays in each match, with the incredible music from the artists of Sony Music, directed by my talented friend Afo Verde." says Sergio Lavié, co-founder at PopArt Music. "I am sure that this show will break all records, in the same way that Messi does in football." "Leo Messi inspires the world with his outstanding talent not only in every game he plays but also with his deeply human qualities. It is an honor for us at Sony Music to team up with the prestigious Cirque du Soleil and PopArt Music on this fantastic project. We strongly believe that this show will be enjoyed by sports and art lovers all over the world." – Afo Verde, Chairman & CEO Sony Music Latin Iberia. { SOURCE: Cirque du Soleil } ------------------------------------------------------- Leo Messi Joins Residente On Stage at Messi10 Event {Feb.01.2019} ------------------------------------------------------- Residente beckoned a reluctant Leo Messi to the makeshift stage at a private party at Barcelona's Camp Nou stadium Thursday night (Jan. 31), held to celebrate the upcoming Cirque du Soleil show based on the story of the superstar football player's spectacular life on the pitch. Messi didn't dance, though, urged on by teammate Luis Suarez, he did jump up and down. Whispering to an amused Residente (a.k.a. René Perez), he made a request: Calle 13's song "Por Ti." Flanked by his wife, Antonella Roccuzzo, and a discreet bodyguard, Messi tapped on a Puerto Rican pandereta drum painted with his own image that was presented to him by members of the band. Residente was the only musical performer at the unveiling event for Cirque du Soleil's "Messi10," where a promotional video was shown in which Messi was compared to a rock star. Before conscious rapper and singer Residente opened his short set with Calle 13's "Atrévate-Te- Te," a Cirque contortionist did her routine to a song by Rosalía, who, like Residente, is a Sony Music artist. Sony is the label partner for Messi10 by Cirque du Soleil. José Manuel Pinto, a former Barça player who has been described as Messi's "best mate," has signed on as a musical producer for the show, which will be directed by Cirque veteran Mukhtar Omar Sharif Mukhtar. Pinto, who makes music under the name Pinto Wahín, scored a Billboard chart hit with "La Habana" a collaboration with Cuban reggaeton artist El Taiger that was featured on the Fate and The Furious soundtrack. He said on Thursday night that he is about to release a solo album on Sony Music Latin. Wahín told Billboard that he is writing music for the Cirque show, and that audiences could expect to hear a "combination of classic songs and new compositions." Sony Music Latin/Iberia Chairman Afo Verde, who was also at the party, said at a press conference earlier this week that the show's recorded soundtrack (there will be no live musicians) will include "songs that have been special in Leo's life and things that are heard in the stadiums, whose atmosphere we want to reproduce." Verde also promised "great historical songs that are being adapted for the show by their creators." While Wahín said it is premature to talk about artists who may collaborate on the Messi10 soundtrack, the show could logically present opportunities for other Sony Latin artists, and a contingent of artists signed to Sony Spain and Sony Music Latin were in Barcelona for the party. They included Puerto Rican singer Pedro Capó, hip hop artist C. Tangana, members of the Spanish pop-rock group Estopa, Goya winning singer-songwriter Leiva and Argentine artist Axel. The crowd of about 200 people also included representatives from PopArt Music, the Argentine concert promoter behind Cirque's "Se7ptimo Día," the recently staged show that was based on the story of the band Soda Stereo, which is co-producing Messi10 with Cirque. Messi10 is set to premiere at Barcelona's Parc del Forum Oct. 10, in a 3000-capacity tent designed to look like a soccer field (Messi himself will not be in the show). Barça fans are sure to snatch up tickets as soon as they go on sale next week. Subsequent dates for the show's international tour are to be announced. { SOURCE: Billboard } ------------------------------------------------------- Cirque Acquires "The Works Entertainment" {Feb.06.2019} ------------------------------------------------------- Cirque du Soleil Entertainment Group announces today the acquisition of The Works Entertainment, the world-class creative and production company known for The Illusionists franchise and other variety shows. The addition of their well-known brands to Cirque du Soleil Entertainment Group's portfolio allows the global leader in live entertainment to continue its diversification of content offering and consolidate its presence in soft-seat theatres. This transaction represents the third acquisition for Cirque du Soleil Entertainment Group in recent years, after acquiring Blue Man Group in 2017 and VStar Entertainment Group in 2018. This acquisition confirms the company's leading position in the industry and testifies of its expansion from a company solely centered on circus arts to a live entertainment creator, producer and promoter. "The play for us is magic," said Daniel Lamarre, the president and chief executive of Cirque du Soleil. He said Cirque became interested in The Works because of the similarity in the performance and business models of the two companies. "Like us, they have no stars," Mr. Lamarre said. "The show is the star, and they’re constantly using different magicians. The fact that they’re not focused on stars gives you scalability." "This transaction is a perfect example of how our group is diversifying through acquisitions, while always investing in our core activities," said Daniel Lamarre, president and CEO of Cirque du Soleil Entertainment Group. "The Works productions have natural affinities with our own, in that they are high-quality universal live experiences that appeal to different audiences from different cultures around the world without having to adapt the show to each market. Magic, a genre of live entertainment that The Works has successfully mastered through their hugely successful Illusionists franchise, has been performed for centuries and continues to enjoy a steadfast popularity among audiences worldwide. I'm honoured to have their creative minds and theatrical expertise join our ranks." Established by Creative Producer Simon Painter and Executive Producer Tim Lawson, The Works Entertainment creates, produces and presents first-class entertainment since 2012. The Works Entertainment has a proven track record in mid-size theatrical productions with live magic shows like The Illusionists, and content developed from the big screen like Now You See Me Live. The Works' portfolio also includes circus arts shows like Circus 1903 – The Golden Age of Circus, cabaret-style shows and musical theatre productions. "As we were reflecting on our company's future, we were looking for the next big step to fulfill our wildest dreams," said Simon Painter, creative producer and co-founder of The Works Entertainment. "Joining the team of the company that completely revolutionized circus arts and is now leading the live entertainment industry is a true honor for us. Cirque du Soleil's global touring expertise as well as large-scale production insights will undeniably fuel our desired future growth in addition to giving us access to new creative resources that we could ever wish for. When the first journalist interviewed me about the Illusionists back in 2011, I said, 'I want to do for magic what Cirque du Soleil has done for circus,' and now here we are." Cirque du Soleil Entertainment Group purchased The Works Entertainment from owners Simon Painter, Tim Lawson and Kilburn Live. This acquisition was financed using a portion of a new US$120 million unsecured credit facility made available by the Fonds de Solidarité FTQ and the Caisse de dépôt et placement du Québec. About The Works Entertainment Established by Simon Painter and Tim Lawson, The Works Entertainment is a world-class leader in theatrical productions and large-scale attractions. TWE's productions have consistently smashed box office records, been seen worldwide and have included performances in prestigious venues such as the Sydney Opera House in Australia, the Shaftesbury Theatre in London and the Palace Theatre on Broadway, New York. With a global network of affiliates and an office in the heart of Los Angeles, The Works Entertainment is perfectly situated to offer exceptional quality, ground breaking creativity and first-class execution. { SOURCE: PR Newswire } ------------------------------------------------------- More on "The Jump" for Las Vegas {Feb.07.2019} ------------------------------------------------------- In addition to the announcement that Cirque du Soleil Entertainment Group was acquiring "The Works Entertainment", Lamare also said that a seventh Cirque du Soleil show was in pre-production in Las Vegas, this one for the Luxor Hotel. He said the yet-to-be named show is "inspired by the movie industry," including special effects and stunt men and women. "We're hopefully creating a new category of show," he said. Today, a little more detail and comments emerge about what will replace Mindfreak Live at The Luxor (via the Las Vegas Review- Journal): Cirque President Daniel Lamarre says the company has no plans to develop a new magic production on the Strip in this new partnership. Instead, the company is focused on the new extreme-sports show at Luxor replacing "Mindfreak Live." "That show is our priority now," Lamarre said in a phone chat Wednesday morning. "My one-liner about that show is it's the first live-action thriller by Cirque du Soleil. We're developing something for the younger crowd, different from anything we have done in the past." Plans are for the production to be announced by the end of March, with previews opening in October. As to reports that the show will be called "Jump," Lamarre said that title was being used "in-house," but the new show would have a different name. "People will be totally excited when they see the final concept," he added. { SOURCE: Las Vegas Review-Journal } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- Meet Pablo & Patrick, BAZZAR teeterboarders {Jan.11.2019} ------------------------------------------------------- After an aerial somersault, an acrobat lands perfectly on the teeterboard and raises his arm with a Shah Rukh Khan flourish. Take a closer look, he's out of breath. When the lights come on during the intermission, the Delhi smog hangs heavy inside the tent. This is not surprising, considering Cirque du Soleil's Bazzar has set up show in Aerocity, Delhi. A week after the first Delhi performance, Pablo Volarcher, a French teeterboarder travelling with the troupe to India, waits in the Big Top with a face mask on. He removes it only when the conversation starts. His girlfriend, he says, is at the doctor's because of her asthma attack. Patrick Schuhmann, a German acrobat and Pablo's partner, says the pollution affected their performance initially, before the air purifiers were brought in. "If it gets difficult to breathe, and you make a mistake, it has a snowball effect." Their show in Mumbai was definitely easier, they agree. They've been touring for nearly two months now with Bazzar, which debuted in India instead of Montreal. The theatrical company from Canada, with an annual revenue of nearly Rs 6,000 crore, has brought the circus into the politically correct world. Minus animals, plus state-of-the-art special effects, props and stories and themes. Touring shows, such as the one currently in India, are smaller than resident ones. Popular Las Vegas shows such as The Beatles LOVE or O are spectaculars at par with Broadway fare. But Bazzar is an exceptionally small act, with a troupe of about 30 artistes and minimal automation or special effects. It is almost underwhelming. On the plus side, the attention is entirely on the tricks of the athletes rather than on the effects or on the theme. OUT OF BREATH It's true that the air quality in Delhi has made the job of Bazzar's teeterboarding trio more difficult. But better air quality does not make their job easy. Since the time of great showman P T Barnum, teeterboarders, like most circus acrobats, have pulled it off by the skin of their teeth. What looks effortless during the performance is actually precarious. Watching a practice video on Instagram can make you breathless with apprehension. Acrobats leap off what looks like a playground seesaw and jump higher and higher, adding multiple flips. When one lands, the other is flung up and they switch places in the middle of all of that. Patrick says, "Teeterboarding never gets stable." Patrick started his career with Cirque do Soleil but has participated in avant garde European performances before returning to the company. "There is 10 percent luck involved. If we are suddenly a meter higher, it changes everything – the rotation, the dynamic. Up in the air, you have about 1.8 second to adjust and react," he adds. The trio is constantly shouting calls at each other for adjustments. The person on the ground often rushes to stabilise the others who land. They depend on each other for their safety. In fact, getting it right is critical for that very reason. "If I make a mistake in my own trick, it's okay. But if it affects my partners, that can upset me for the whole day," says Pablo. THE MARGIN FOR ERROR Sound more stressful than an investment banking job? "There's no time for stress, you can't question yourself," says Slava Hahunou, the Russian teeterboarder who joins us later. Patrick agrees that it somehow comes together under the spotlight. "The fact that we are in crazy costumes, make up, music, lights, the ambience, the audience, all of it covers mistakes." And then Pablo laughs and says with finality, "We don't make mistakes." When the teeterboarders get philosophical, all three agree on one thing. Their profession is about finding that balance between adrenaline and calm. Calm? When you have to land exactly on the edge of a seesaw after a high-jump? "There has to be a balance. Too calm, is bad, too nervous, bad," says Slava. But seriously, what if something does go wrong? All three are silent. It's clear that they don't really think of that as an option. In March 2018, a Cirque du Soleil aerialist Yann Arnaud fell during a performance in Florida and died at the hospital later, according to media reports. Sarah Guyard-Guillot, a French acrobat, fell to her death in 2013 during Kà in Las Vegas. The existential question over the cost of entertainment continues to apply to every form of circus – be it traditional Jumbo fare we grew up with or these contemporary acts. INDIA WANTS CIRCUS Whatever the pain of pulling it off, the Delhi audience laps up the acts. Every motion draws a thunderous applause. Slava, who has been with Cirque du Soleil for a decade now, says there was a show for underprivileged children in Bombay. "We've never had an audience that squealed and shouted more," he says. That this particular show is basic has not affected its popularity. Patrick thinks that too many special effects, in fact, take the magic away. "There is a wolf-pack simplicity when the focus in on the human factor," he says. Bazzar has integrated two Mallakhamb athletes into its routine. And they have the loudest cheer from the audience. It's hard to walk away from Bazzar without wondering if the Indian circus can be resurrected with a focus on upgrading the resources for athletes. After all, the fundamentals remain the same – trapeze, tightrope, roller-skating, etc. Given Bazzar has been running to packed house, it's clear that India is starved for circus, the national drama on news channels notwithstanding. CIRCUS COMMUNITY A TV crew is shooting an interview with the Mallakhamb artistes. When it's the turn of another acrobat to go in front of the camera the Mallakhamb practitioner removes his jacket and gives it to his colleague. It brings to mind the camaraderie of a travelling troupe and life before the lights turn on. But it's time to perish the romantic stereotypes we've learned from Mera Naam Joker. Cirque du Soleil employees do not live behind the tent. They have been put up at hotels. They don't run away to join the circus and train with those already on the troupe. There are specialised circus schools in Canada and Russia. They are hired for acts and get to go back to their families for months between performances. They can also bring their families to any of the innumerable countries they travel to. Most importantly, it is a financially stable career. "Especially if you work with this company," says Patrick, who intends to start a circus-themed bar when he retires. What will Slava do after he retires? "Teeterboarding," he quips. { SOURCE: Telegraph India } ------------------------------------------------------- Meet BAZZAR Hair Aerialist Samantha Pitard {Jan.12.2019} ------------------------------------------------------ Pitard, 27, is a hair aerialist at Cirque du Soleil BAZZAR, showing in Delhi till January 20. Less than five years ago, her specialised hair- hang act nearly cost her her life, when she plunged 30 feet to the ground with seven other acrobats while performing for the Ringling Bros. and Barnum & Bailey circus. Q. Can you tell us about your act at Cirque du Soleil? My act is Hairceau, which is a combination of hair-hang (yes, I am actually hanging by my hair!) and aerial hoop. It is an original concept that I came up with around two years ago, while trying to create something new and unique with hair-hang. I am super grateful to be performing this new act with Cirque du Soleil, which has been my goal since I started creating it! In Cirque du Soleil BAZZAR, my performance is part of the final act, when the celebration breaks [out] in a grande finale of dazzling acrobatics: Icarian duo, Hula Hoop, and Hairceau. Q. How did you decide to become an artist at the circus? I fell in love with aerial arts at a summer camp when I was 14, and never stopped!I love that in any Cirque du Soleil show, we are not just doing our act but we are also a character and we have a lot of other little parts in the show. In BAZZAR, I have absolutely loved developing my character; I gave her the name Salamandra. Q. What is your practice regime like? As artists, we perform around ten shows a week, which makes our routine extremely hectic. In order to maintain a balance for a healthy lifestyle, we are provided with fitness training and are taught breathing exercises. One month before the première, we start training and rehearsing for our shows. Q. How has it been performing in India? There is nothing more exciting than performing for an audience that has never before experienced Cirque du Soleil. There is a very special energy in this first. { SOURCE: The Week } ------------------------------------------------------- Priscilia Le Foll: "Every Millisecond in Life Counts" {Jan.14.2019} ------------------------------------------------------- Despite suffering from thyroid cancer last year (2017), the French Cirque du Soleil touring show singer Priscilia Le Foll still enchants thousands of spectators with her voice every day. Having defeated the disease, her voice is now even stronger than before. Read another amazing story full of courage. Growing up, she was a tom-boy, preferring to play with the boys rather than girls. "I was always climbing trees and skating," says the thirty-six-year-old brunette of her childhood in Nîmes, in the south of France. "Many things interested me, and I think I was pretty good at sport, but when I was fourteen I fell totally in love with singing," says the singer, full of energy and optimism. The career-launching moment for her singing was a performance at a talent contest. Her friends had entered her without telling her. "I was always singing and my friends would say that I should try doing with it. I had never thought about singing professionally, but my friends were serious. The contest would be the first time I was going to stand on stage. I had terrible stage fright. I clearly remember that," she says. But her performance was a success and the jury advised Priscilia to continue singing, saying that she had a beautiful gift. On completing school, she chose not to continue with her studies. Instead, she wanted to sing professionally and perform with an orchestra. "I listened to pop stars such as Mariah Carey and Céline Dion – a massive influence for me. I liked the way she sang and the way she truly lived the moment on stage. She always has a very generous and convincing persona. However, I was more eclectic than that. I also love rock bands, like DEEP PURPLE and LED ZEPPELIN," adds Priscilia as she sums up her music tastes. WHEN THE DREAM IS FOLLOWED BY A NIGHTMARE The singer says she never wanted to be famous. Being a star, doing interviews and filling the front pages of tabloids was not a major motivation for her. All in all, she just wanted to be happy on stage: "Every day I can sing is a wonderful day for me. I love travelling, drawing on other artists for inspiration and sharing the stage with them. I love the costumes and visuals, but also our show's message, which is focused on solidarity, perseverance and the importance of nature. I feel there's a strong parallel with my remission." Joining Cirque du Soleil® was a dream come true for her. In 2017, she was diagnosed with thyroid cancer. "That was terrible news. It hit me hard, just as it does anyone who has ever had to hear this diagnosis. At first, I was afraid I was going to die, and right after that, I feared I might never sing again," she explains as she remembers the most difficult moments of her life. Less than three weeks after her cancer diagnosis, she underwent successfully surgery to remove the whole tumour. But there was still a long way to go. A NEW BEGINNING FULL OF COURAGE When the anaesthesia wore off and she came to, the doctors told her she was not allowed to speak. The severe inflammation meant she couldn't use her vocal cords for three months. There is still a risk of partially losing her voice forever. "Only after that I could start talking, very slowly, but it was really terrible. I sounded like a robot and didn't recognise my own voice. I was very afraid I'd never be able to sing again," she says. At the time, Priscilia would swing between hope and absolute despair. She couldn't imagine life without singing, which would also spell the end of her hard-earned career. So she devoted all her remaining energy to working towards complete recovery. After three long months, Priscilia could finally start from the very beginning again. "I felt like a little child learning to walk. I was entirely incapable of using my vocal cords," she remembers. Thanks to her vocal coach, speech therapist, kinesiologist and her own determination, she achieved the near-impossible. Not only did she return to her original singing strength, she was able to gain a wider vocal range in the process. With daily technical exercises and different therapies, she returned to the stage four months after the surgery to slowly integrate into the Cirque du Soleil touring show in New Zealand, a country she had dreamt of visiting. DON'T LET NONSENSE BOTHER YOU Today, Priscilia reflects on her fight with cancer with respect, humbleness and gratitude. Overcoming the disease has been a win-win situation for her. "I believe cancer has changed my life. I am enjoying every millisecond of it today and definitely don't fret over insignificant nonsense," she says with a smile. She has stopped planning her life and decided to live for the present, day to day. She relies o her intuition and momentary mood. But there's one small dream she still has. One day, she would like to combine the two loves of her life. "I used to figure-skate when I was young and recently started training on ice again. I'd like to skate and sing in one show, now that would be something!" Beyond all that, she doesn't rule out the possibility of opening a small restaurant one day, where all her friends and family would gather. If there's a lesson this challenge brought her, it's that you never know what tomorrow will bring… so you must make the best of every day and keep moving forwards! { SOURCE: Skoda Storyboard } ------------------------------------------------------- "Aleksei Goloborodko, the World's Most Flexible Man" {Feb.06.2019} ------------------------------------------------------- The 24-year-old contortionist talks extreme stretching, meal planning, and his advice for aspiring circus performers everywhere. On the spectrum of human flexibility, 24-year-old Aleksei Goloborodko lies somewhere between "world-class contortionist" and "literally made of pipe cleaners." Originally from Tula, Russia, the Bronze Clown winner—the circus world's equivalent of the Oscars—is currently crisscrossing the globe (and his body) on tour with Cirque du Soleil's pAroduction of Luzia. We asked the most flexible man in the world to share with us the details of his training regimen; the dietary restrictions imposed by chronic bendiness; and his advice for anyone else who aspires to take the coolest Instagram photos imaginable. Q. How did you get started with Cirque? Cirque du Soleil first discovered me at an audition in Moscow when I was 8. I auditioned again for them at 17; they called me two years later to join the creation of Luzia. My mom took me to a circus show when I was 4, and afterwards I told her I wanted to join the circus. She brought me to a circus studio where I met my coach. After testing me with exercises, he said he would make me a contortionist. It didn't matter for me which discipline I would do; I just wanted to be in the circus. It's my lifestyle, and I love it, and I just do it. I started when I was 4 years old, and since then I haven't stopped. It's not like I'm forcing myself to do something. My body loves it. Q. What's your typical day like? I wake up around 9:30 A.M. and stretch for 10 to 15 minutes before I make myself breakfast. Breakfast can be oatmeal or a sandwich and hot tea—basic stuff. Then I relax for, like, 40 minutes. I can read a book or play video games. Then I start stretching and training for the rest of my show routine. I don't really have dietary restrictions. I can eat anything: cake, an apple, chocolate, fruit, soup. I eat at least five meals a day, but my rule is that I eat small portions more often. I can't eat a lot at once, or I'll have issues with contorting. My discipline consists of many sub-disciplines: the base is contortion, with sub-disciplines such as hand-balance, ballet, modern dance, wushu, martial arts, and more. My morning training takes an hour and a half. Then I relax for about 20 minutes, and eat something like an apple or small bowl of fruit, before heading to the circus. There, I put my makeup on and train for a couple of hours. I do some cardio, and stretch, and do handstands. I take a break for about an hour in the middle. After a show, I come home and something before I go to bed, do a little more stretching, and then finally fall asleep. Q. I saw that you are a NASM-certified trainer and behavior change specialist. Why did you choose to get those certifications, and how do you use them? I wanted to improve my English, and I thought taking a course would be the best way. I did the personal trainer certification to find out more about the human body. The behavioral change course was interesting to get to know how our mind works, too. Q. Is there a particular order or regimen to your stretching? No, but during the course of the day I need to stretch my entire body— each part of it. So of course, it is structured in that way, but it also depends on when it happens. For example, mornings are the most difficult time for stretches, but I still have to do it because my body asks me to stretch. Developing my routine was a joint effort between me, the choreographer—Sylvia Gertru'dix Gonza'lez—and her assistant. We would film me, and we then decide, like, "Okay, this movement looks great and we'll keep it," or "This movement doesn't look very good, so we'll save it for a backup movement, if we need one." Q. Do you have a favorite stretch? There's no such thing for me. It doesn't matter what it is, I just love stretching. Q. How does it feel when you're in these crazy positions? Does it feel uncomfortable or tight or anything like that? No, it doesn't feel tight. It always feels pretty good because I take between 40 and 45 minutes to warm up before I go on stage. The warm-up consists of pretty basic stuff—I do cardio for five minutes, and then begin with slight movements. They are not extreme, they are very small, but get bigger after that. I haven't ever been injured, because my rule is to always do the warm-up first, then stretch, and then practice. Q. Do you have any advice for people who want to become contortionists? If you want to be a professional contortionist, the younger you are, the better it goes. If you try to begin when you're 16 or 18, you can start, but you're not going to be an extreme contortionist. You will achieve some results, and they can be really good if you work hard! But it's not going to be extreme. ======================================================================= 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: Dallas, TX -- Jan 23, 2019 to Mar 3, 2019 Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019 Los Angeles, CA -- Apr 25, 2019 to May 26, 2019 Bazzar: Abu Dhabi, UAE -- Mar 6, 2019 to Mar 16, 2019 Muscat, Oman -- Mar 28, 2019 to Apr 6, 2019 Koozå: Auckland, NZ -- Feb 15, 2019 to Mar 17, 2019 Valencia, ES -- May 30, 2019 to Jun 30, 2019 Gijon, ES -- Jul 31, 2019 to Aug 18, 2019 Malaga, ES -- Sep 13, 2019 to Sep 29, 2019 Madrid, ES -- Oct 24, 2019 to Nov 24, 2019 Kurios: Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019 Sendai, JP -- Apr 19, 2019 to May 29, 2019 Singapore, SG -- Jul 5, 2019 to Jul 21, 2019 Luzia: Houston, TX -- Jan 11, 2019 to Feb 24, 2019 Orlando, FL -- Mar 8, 2019 to Apr 21, 2019 New York City, NY -- May 3, 2019 to Jun 9, 2019 Hartford, CT -- Jun 19, 2019 to Jul 7, 2019 Totem: London, UK -- Jan 12, 2019 to Feb 26, 2019 Vienna, AT -- Mar 9, 2019 to Apr 22, 2019 Geneva, CH -- May 9, 2019 to Jun 2, 2019 Gran Canaria, ES -- Jul 5, 2019 to Sep 1, 2019 Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020 VOLTA: San Francisco, CA -- Nov 15, 2018 to Feb 3, 2019 San Jose, CA -- Feb 13, 2019 to Mar 24, 2019 San Diego, CA -- Apr 3, 2019 to May 5, 2019 Chicago, IL -- May 18, 2019 to Jul 6, 2019 Denver, CO -- Jul 19, 2019 to Aug 25, 2019 Atlanta, GA -- Sep 13, 2019 to Nov 30, 2019 Washington, DC -- TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ TORUK - The First Flight: 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 Lyon, FR -- Feb 20, 2019 to Feb 24 2019 Bratislava, SK -- Feb 28, 2019 to Mar 3, 2019 Krakow, PL -- Mar 6, 2019 to Mar 10, 2019 Antwerp, BE -- Mar 13, 2019 to Mar 17, 2019 Paris, FR -- Apr 4, 2019 to Apr 14, 2019 Moscow, RU -- Apr 19, 2019 to May 5, 2019 St. Petersburg, RU -- May 8, 2019 to May 12, 2019 Helsinki, FI -- May 15, 2019 to May 19, 2019 Vilnius, LT -- May 22, 2019 to May 26, 2019 Prague, CZ -- May 29, 2018 to Jun 2, 2019 Munich, DE -- Jun 5, 2019 to Jun 9, 2019 Zurich, CH -- Jun 12, 2019 to Jun 16, 2019 Manchester, UK -- Jun 20, 2019 to Jun 23, 2019 London, UK -- Jun 26, 2019 to Jun 30, 2019 OVO: Belo Horizonte, BR -- Mar 7, 2019 to Mar 17, 2019 Rio de Janeiro, BR -- Mar 21, 2019 to Mar 31, 2019 Brasília, BR -- Apr 5, 2019 to Apr 13, 2019 São Paulo, BR -- Apr 19, 2019 to May 12, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Milwaukee, WI -- Jan 30, 2019 to Feb 3, 2019 Regina, SK -- Feb 7, 2019 to Feb 10, 2019 Edmonton, AB -- Feb 13, 2019 to Feb 17, 2019 West Valley City, UT -- Mar 7, 2019 to Mar 10, 2019 Ontario, CA -- Mar 13, 2019 to Mar 17, 2019 Bakersfield, CA -- Mar 20, 2019 to Mar 24, 2019 Sacramento, CA -- Mar 27, 2019 to Mar 31, 2019 Stockton, CA -- Apr 3, 2019 to Apr 7, 2019 Everett, WA -- Apr 10, 2019 to Apr 14, 2019 Duluth, MN -- Apr 19, 2019 to Apr 21, 2019 Omaha, NE -- Apr 24, 2019 to Apr 28, 2019 Madison, WI -- May 1, 2019 to May 5, 2019 Peoria, IL -- May 8, 2019 to May 12, 2019 Grand Rapids, MI -- May 15, 2019 to May 19, 2019 Saginaw, MI -- May 22, 2019 to May 26, 2019 Frisco, TX -- Jun 13, 2019 to Jun 16, 2019 Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019 Allentown, PA -- Jun 26, 2019 to Jun 30, 2019 Kingston, ON -- Jul 3, 2019 to Jul 7, 2019 Erie, PA -- Jul 10, 2019 to Jul 14, 2019 Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019 Manchester, NH -- Aug 1, 2019 to Aug 4, 2019 Portland, ME -- Aug 7, 2019 to Aug 11, 2019 Moncton, NB -- Aug 14, 2019 to Aug 18, 2019 Saint John, NB -- Aug 21, 2019 to Aug 25, 2019 Halifax, NS -- Aug 28, 2019 to Sep 1, 2019 CORTEO: Memphis, TN -- Jan 31, 2019 to Feb 3, 2019 Raleigh, NC -- Feb 7, 2019 to Feb 10, 2019 Bossier City, LA -- Feb 14, 2019 to Feb 17, 2019 Cedar Park, TX -- Feb 20, 2019 to Feb 24, 2019 Portland, OR -- Mar 14, 2019 to Mar 17, 2019 Reno, NV -- Mar 21, 2019 to Mar 24, 2019 Inglewood, CA -- Mar 27, 2019 to Mar 31, 2019 Tucson, AZ -- Apr 3, 2019 to Apr 7, 2019 Rio Rancho, NM -- Apr 11, 2019 to Apr 14, 2019 Topeka, KS -- Apr 18, 2019 to Apr 21, 2019 St. Louis, MO -- Apr 24, 2019 to Apr 28, 2019 Cedar Rapids, IA -- May 1, 2019 to May 5, 2019 Dayton, OH -- May 8, 2019 to May 12, 2019 Windsor, ON -- May 15, 2019 to May 19, 2019 Hamilton, ON -- May 22, 2019 to May 26, 2019 London, ON -- Jun 13, 2019 to Jun 16, 2019 Boston, MA -- Jun 19, 2019 to Jun 30, 2019 Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019 Estero, FL -- Jul 17, 2019 to Jul 21, 2019 Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019 Turin, IT -- Sep 26, 2019 to Sep 29, 2019 Bologna, IT -- Oct 10, 2019 to Oct 13, 2019 Pesario, IT -- Oct 17, 2019 to Oct 20, 2019 Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019 Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019 Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019 Graz, AT -- Nov 13, 2019 to Nov 17, 2019 Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019 Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019 Granada, ES -- Jan 15, 2020 to Jan 19, 2020 Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020 Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020 Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020 Seville, ES -- Feb 12, 2020 to Feb 16, 2020 Messi10: Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019 --------------------------------- 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 *) Single Show Dates | 7:00 p.m. Only o) Friday, Feb. 15, 2019 o) Tuesday, Feb. 19, 2019 o) Friday, May 31, 2019 o) Sunday, June 9, 2019 o) Friday, June 14, 2019 o) Sunday, June 23, 2019 *) 2019 Dark Dates: o) January 5 thru 16, 2019 o) February 3, 2019 o) March 13, 2019 o) May 18 thru 22, 2019 o) August 20 thru 21, 2019 o) September 21 thru 25, 2019 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm *) Single Show Dates | 7:00 pm Only o) Tuesday, Jan 8, 2019 o) Monday, Apr 22, 2019 o) Tuesday, May 21, 2019 o) Tuesday, Jun 25, 2019 o) Tuesday, Nov 5, 2019 *) 2019 Dark Dates: o) 9:30 PM Performance of January 9 o) 9:30 PM Performance of April 18 o) 9:30 PM Performance of May 22 o) 9:30 PM Performance of June 26 o) 9:30 PM Performance of November 7 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday 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 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 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) PARAMOUR: Stage Theater New Flora Hamburg, Germany Begins April 5th, 2019! One/Two Shows Nightly: o) Monday: Dark o) Tuesday: 6:30pm o) Wednesday: 6:30pm o) Thursday: 8:00pm o) Friday: 8:00pm o) Saturday: 3:30pm & 8:00pm o) Sunday: 2:30pm & 7:00pm ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) GOING FULL CIRQUE A Broadway dancer leaves fame, friends and family behind for the dream of flying as an aerialist with Cirque du Soleil. o) EPISODE 7: Add a Pinch of Emotion {Jan.10} Only two episodes left of Going Full Cirque! Watch as Reed Kelly brings his routine to the Cirque du Soleil studio to prep for his showcase performance. LINK /// https://www.facebook.com/GoingFullCirque/videos/2315659901996136/ *) WE ARE VOLTA o) EPISODE 4: "Food and Fitness" {Jan.07} LINK /// https://www.facebook.com/VOLTA/videos/1017376805114657/ o) EPISODE 5: "Inspirations" {Jan.21} LINK /// https://www.facebook.com/VOLTA/videos/230497431186169/ o) EPISODE 6: "The Magic of Cirque du Soleil" {Feb.04} LINK /// https://www.facebook.com/VOLTA/videos/246287882965841/ --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) Discover the Frozen Playground of CRYSTAL LINK /// https://www.youtube.com/watch?v=XnQDmKeRz4I o) Behind the Scenes of the NEW Cirque Casting Brand Identity LINK /// https://www.youtube.com/watch?v=PiIzR9CUYcw o) Messi10 Teaser LINK /// https://www.youtube.com/watch?v=95iz7ucFcKI o) TORUK Music | "The Toruk" LINK /// https://www.youtube.com/watch?v=v-9vJDy9s8g o) Come into the JOYA Costume Department! LINK /// https://www.youtube.com/watch?v=87QV6X7m3SU o) Candy Crush Makeup LINK /// https://www.youtube.com/watch?v=7FnKm2CCAxQ o) Beauty and Wonder Await Cirque at SEA LINK /// https://www.youtube.com/watch?v=Zodfui8Hdsg o) Flirty Floral Makeup LINK /// https://www.youtube.com/watch?v=dvwxbn-DzwY o) "O" MUSIC VIDEO | "O" LINK /// https://www.youtube.com/watch?v=TzPhseGpL2A o) The Works Entertainment Joins the Family LINK /// https://www.youtube.com/watch?v=PWn5WXB1_6Y o) JOYA - Skipping Rope Performers: What Does it Take? LINK /// https://www.youtube.com/watch?v=R539JRRnxrY o) Messi10: The Game is About to Start LINK /// https://www.youtube.com/watch?v=pJWwr57aILE o) Amaluna Music Video | "Ena Fee Alyne" LINK /// https://www.youtube.com/watch?v=NiRRYoZs0Rg ======================================================================= FASCINATION! FEATURES ======================================================================= o) "Big Top Academy Stars Talk Circus" By: Kim Campbell for Circus Talk News o) "Jamie Sullivan's Journey to JOYÀ" By: Ashley Sutherland-Winch for TheaterArtLife o) Jean David's Quel Cirque, Part 2 of 12: "The Appointment" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ "Big Top Academy Stars Talk Circus" By: Kim Campbell for Circus Talk News ------------------------------------------------------------ Big Top Academy is a new circus-themed show on Discovery Kids Network that premiered October 15th, 2018. Set in a fictitious circus boarding school, it features the exciting lives of eight young acrobats who are dreaming of becoming professional circus artists. It is the brainchild of none other than Cirque Du Soleil Entertainment Group and collaborators Apartment 11 and Discovery Kids, who aims to build its ever increasing audience by showing the thrilling world of circus to the 8 to 14-year-old set. The first season (over 52 episodes) have been filmed already for this huge project. Sending out a simple message (on television) to young people that circus can be more than entertainment–that it can be a lifestyle, a passion, a second family, or a place to mix some of the competitive demands of sports with creativity, the series is in many ways groundbreaking and is sure to inspire a new generation of circus artists. At least, that's what the shows creators and actors hope. While the plot and the timeless tween themes center around belonging and finding oneself, the core of the show is based on the concept of stringent circus arts training as the eight youth arrive with various skill sets and backgrounds and are put to the challenge by their kind headmistress Miss G, their stern athletic director Sir Rayne and their eccentric teacher Ms. Martel. The look and feel of Big Top Academy holds some of the cheese factor of Disney shows geared towards tweens and is somehow heightened by its embracing of traditional and nouveau circus costumes and sets. Each episode cover common experiences among youngsters aiming to find their place in the world, such as competition, separation from family to find one's own identity, looking for balance between work and play, and the struggle to work in a group setting–but they do it in a circus context. Even so, the plot isn't without some fascinating back story sometimes reaching beyond tween drama and visiting the fantastical. One character named Ella (played by the charming Ava Ro) comes from a long line of circus as a member of the Piccolo Family Circus, but she also suffers from diabetes. Another character Nicholas Zolta (played by confident young artist Drew Davis) has to fill his missing daredevil father's shoes– a father who may be communicating to him via coded messages. We had the pleasure of speaking to two key actors and performers Ellowyn Stanton and Krin Haglund about what it is like to be one of the stars in Big Top Academy. Stanton and Haglund are at different points in their circus journeys, Stanton being a middle schooler on track for a big future in performing arts, and Haglund being a seasoned circus professional with two children of her own. Stanton plays one of the students in the show named Phoenix. Her own experience in circus is formidable for a 14-year-old. She has trained atLe PeTiT CiRqUe's studio in Los Angeles for the past four years with Nathalie Yves Gaulthier, whose work with youth in many ways closely parallels the Cirque du Soleil model. Before Stanton was a circus artist, she was a competitive gymnast for six years, which gave her that firm foundation in athleticism Cirque du Soleil often seeks in its artists. Her own life is very different from her character's life, Stanton explains "She's never taken a circus class, let alone a gymnastic lesson! So she never expected to be a circus artist. Everything Phoenix knows, she's picked up on her own by basketball, skateboarding, parkour, etc. So when she gets in to circus school, she has a lot of catching up to do, and she does her best to fit in while remaining true to herself. She learns that the circus embraces people from all walks of life and the things that make her unique – her street smarts, her bluntness, her aversion to everything "fancy" – only helps to make her a well-rounded circus artist." Stanton explains why she made the shift from gymnastics to circus, "I got bored of competing all the time and I wanted to do something more creative. I wanted to find something that included my athleticism as well as my creativity. And that's when I joined the circus." She has yet to hone in on one particular discipline of circus, but favors aerial acts (especially a duo trapeze act she is very fond of), acrobatics and manipulation–a foundation that would surely make her a great cast member in any contemporary show. Regarding her future in circus, Stanton does not rule it out and says she would like to continue her training indefinitely. But what does Stanton have to say about the show and its meaning to kids? " Big Top Academy shows how important it is to work together to help each other learn and grow, as artists and as a people. The message shows that friends are supposed to help lift each other up. This is a great message for the kids watching the show, because at their age, friendship is very important." Another important feature of circus that Stanton gets is how it allows diversity of talent, and she feels that the show highlights that to kids, "Big Top Academy includes kids of all talents and specialties. Everyone in [the show] is so different and unique in their own way. I think this will really help show kids that there is a place for everyone." Stanton's acting colleague, Krin Haglund, who plays the role of kooky teacher Miss Maddy Martel, has a long history of circus as well, and one that scored her more than just a leading role. She came to the show somewhat late in the process in 2017. She decided to audition for it after her run with 7 Fingers show Vice & Vertu was over. As the only professional circus artist in the show, she describes her role onstage and off. "Off stage with Big Top Academy, I am a circus coach and I have worked on artistic direction of clown acts, character acts and performances. I also cast the non-recurring circus artists and poke my nose into the writers room as much as possible. The Big Top Academy writers may not do circus, but they have put a lot of heart, care and sweat into best representing circus in the show." >> I like to think that knowing circus schools are out there, even >> fictions ones like Big Top Academy, would have saved me years of >> indecision. Haglund recognizes the importance of a show like Big Top Academy in the world of children's entertainment. She laments the fact that her own journey to circus was so circuitous, "A TV show like Big Top Academy changes the landscape of children's imagination. I almost didn't have a career in circus because of my own failure to dream. When I was a kid, I wanted to be a ‘trapeze artist when I grow up', but then there were no circus classes in Madison, Wisconsin. My dad rigged a trapeze in the backyard but I still thought circus was something you had to be born into." Haglund found other creative and athletic outlets for her artistic nature, but eventually she circled back to her childhood dream, "By the time I graduated from college and moved to San Francisco, I thought I was too old ever be a professional. I'd basically given up before I even started! Then, the first time I walked into the San Francisco Circus Center and looked up at the trapeze rig, aerial equipment, and people stretching–I started to cry. I'm so grateful to have been working ever since I left Circus Space and I like to think that knowing circus schools are out there, even fictions ones like Big Top Academy, would have saved me years of indecision. And, of course, when I was a girl, I would have been a huge fan of the show." Haglund credits the flexibility inherent in a circus artist's life as the reality which make working in television show as an actor and coach feasible for her, "As a circus artist and director, I'm used to doing many different things on and off stage in order to make the show work. It's the norm for small companies and I thrive on the challenge of variety. As a television actor, you generally do one job. My circus background lead me to want to learn more and be more involved in other aspects of the production. Wearing many hats suits me!" But Haglund says working in a new medium has had its challenges, "Television has definitely been a learning curve. But, I've found the process of how TV is made, and the ways circus is portrayed on screen fascinating. I'm really proud to be part of the first major circus TV series." On IMDB, Big Top Academy is rated 9.5 out of 10. Although it is too soon to predict if the show will be another feather in the cap of Cirque du Soleil, or if it will get lost in the sea of children's entertainment, it seems possible that this new angle on circus will strike a note with the underage population who grew up on America's Got Talent and other reality TV shows. Perhaps it will show them an actual pathway to becoming a performer rather than just the outcome of being a star. Maybe it will lend inspiration to the children with dreams similar to Haglund's, providing a road map rather than uncertainty on how to get from step A to B. At the very least, it may reinvent the concepts of circus for youth, mingling the traditional romance of the traveling family circus with the athletic demands and disciplines of contemporary circus. # # # FASCINATION NOTE: Although 52 episodes have been filmed for the series, only 26 have aired thus far. Don't worry if you've missed seeing them because so have we! And if you've missed seeing these episodes don't fret because so have we! The series is airing on Discovery Kids in Latin America (and airing in Canada) and any online videos are region locked. Be that as it may... here's what the rest of us have missed: 01. "Hanging by a Moment" -- Nicholas Zolta sneaks off to the auditions without his mother's blessing; once there, his father's legacy precedes him; he wonders if he is good enough to get into the school and honor the great Nicholas Zolta Sr., legendary daredevil. 02. "Common Ground" -- When Nicholas' amulet shows him a mysterious map, he is convinced it must be a message from his father who disappeared years ago. 03. "Lean on Me" -- During their first assignment at Big Top Academy, first-year students are asked to trust in one another; Max and Nicholas are an unlikely pairing but get along well. 04. "Welcome to the Jungle" -- First-year students are assigned spirit animal cards and must use them to create routines. 05. "Fight For It" -- With the Creation showcase just one day away, the students are under more pressure than ever before; April is sure she'll get the coveted spot in the grand finale and competes against Max to secure her position. 06. "Creation" -- The Creation showcase is finally here; Max is confident he'll be the star of the show, but Miss G says his routine lacks artistry, telling him to get some help from Nicholas. 07. "Fake It Till You Make It" -- Nicholas may have been injured during the showcase, but he returns more determined than ever to find out what happened to Sir Rayne while he was a student at Big Top Academy. 08. "Far From the Tree" -- Nicholas and Max dig further into Big Top Academy's mysterious history and uncover secrets that will change everything they once knew about their fathers. 09. "Catch 22" -- Nicholas' injured wrist heals in time for the midterm student showcase auditions; things seem to be lining up, until Nicholas pushes himself too hard during training and learns that ignoring his body's signals is a mistake. 10. "Bad Vibes" -- April is ecstatic that she's been cast as the lead in the upcoming showcase; everything's going her way, until Nicholas and Phoenix's feud threatens to ruin it. 11. "Open Book" -- Phoenix is desperate to rekindle her friendship with Nicholas, so when she discovers that the Secret Book of Circus Secrets might help Nicholas find out more about his father, she sees it as the perfect opportunity to make amends. 12. "Little Lies" -- Nicholas uses his amulet to discover secret text hidden within the Secret Book of Circus Secrets and learns about a mysterious incident from the past involving his father and Sir Rayne. 13. "The Show Must Go On" -- Big Top Academy's midterm student showcase is about to begin, and the students are in crisis. 14. "Brave New World" -- Sir Rayne's appointed headmaster brings new initiatives and rules and forms an elite team for the academy's best. 15. "Balancing Acts" -- With Big Top Academy under Sir Rayne's rule, the pressure to figure out his evil plan is greater than ever; Phoenix joins his elite team in hopes of uncovering the truth and is surprised by what she discovers instead. 16. "The Rebellion" -- Nicholas is ecstatic when the North American Circus School Championships are announced, until he realizes Sir Rayne's team qualified without giving anyone else a chance; to even the scales, Nicholas creates a secret team, the Phenomenal Five. 17. "David vs. Goliath" -- The Phenomenal Five are riding high, until they see Sir Rayne's team's routine; if they want to beat them, they're going to have to up their game; Nicholas will have to pull the whole team together now more than ever. 18. "True Champions" -- It's time for the teams to compete in the qualifiers; Sir Rayne finds out about Max's Olympic training and intervenes right before his big performance; Max feels betrayed, and he's not the only one. 19. "The Weight of the World" -- April realizes that the only way to qualify for the championships is to merge her team with Nicholas' team, which has been renamed the Secret Six after the addition of a new member; she must convince a skeptical Nicholas. 20. "Pie Day" -- Pie Day is an annual tradition during which students throw pies and race through checkpoints around the school; Phoenix tries to distract Max from his issues with Sir Rayne by getting him to join in and have some fun. 21. "The Choice" -- Max feels like there's nothing left for him at Big Top Academy and contemplates leaving for good; Phoenix reminds Max that circus is a family and that his friends need him. 22. "Under Pressure" -- With the North American Circus School Championships approaching, Sir Rayne tells Nicholas he can overcome his fear of heights by using a mysterious invention known as the marble of invincibility. 23. "Catch Me If You Can" -- Since being affected by the marble of invincibility, Nicholas is a whole new person; he's confident, fearless and kind of mean. 24. "We Need to Talk About Nicholas" -- When BTA United team members turn their backs on Nicholas, he goes overboard to prove they need him; Phoenix, Chase and Max wonder about Nicholas' behavior and look for an explanation in the Secret Book of Circus Secrets. 25. "Father of Mine" -- Nicholas is still affected by the marble, and Phoenix and Max have no idea how to make him right again; Rosa arrives for the championships with her mentor. 26. "The Marble and the Violin" -- The North American Circus School Championships are about to begin; now that Nicholas is back to normal, it's time for the students to focus their efforts on stopping Sir Rayne from getting his hands on the Marble of Invincibility. More to come! ------------------------------------------------------------ "Jamie Sullivan's Journey to JOYÀ" By: Ashley Sutherland-Winch for TheaterArtLife ------------------------------------------------------------ In one of the most exotic of places on Earth, the Riviera Maya on the outskirts of Cancun, Mexico, Jamie Sullivan works as the Operations Director for JOYÀ. A joint venture between Cirque du Soleil's 45 DEGREES and luxury resort Vidanta, JOYÀ is Mexico's must-see- spectacular. Jamie began her journey with JOYÀ as the General Stage Manager in 2015 and in a short period of time was promoted to run the entire operation. Jamie joined me on a casual day off Sunday under a luxury cabana to share her journey from growing up in Las Vegas, moving to Mexico to join JOYÀ, and her personal and professional growth along the way. "I was actually on my way to start school as a musical theatre actress after I finished high school," Jamie began. "I was putting myself through college, so I wanted to live at home during my first two years at school to get all of the core classes done. During this time, I was working two jobs and taking 21 credits. When the first play auditions were posted at my community college, I auditioned but unfortunately, was too young compared to the rest of the cast. The director, one of my professors, said that he still wanted me to be involved in the play even though I couldn't be cast. He asked, "Why don't you be an assistant stage manager for the production?" I said,"ok!" "We did the play and then when the next show came along six months later, I asked if I could be the assistant stage manager again. This time, my director told me that I must audition for an acting role. So, I auditioned and he handed me a part, but I didn't want it. I told him that I wanted to participate as a stage manager again. After that, seeing that my interest had changed, my director, who had a link to a Southern Utah University in Cedar City, helped me get a scholarship. I was able to get a degree in Stage Management in 2003 and began to work for the Utah Shakespeare Festival, which is in the top ten for regional theatre in the United States." Jamie worked with the Utah Shakespeare Festival on and off for seven years and upon her return to Las Vegas, she landed a job as an on-call stage manager for Cirque du Soleil's Zumanity in 2007. Shortly after, Jamie was hired as a full-time assistant stage manager (ASM) at Cirque du Soleil's Mystère. "I was an ASM at Mystère for seven years and then promoted from ASM to stage manager. At times, I acted as the interim general stage manager (GSM). From there, I took a leap of faith and applied for the GSM role at JOYÀ. In March 2015, I got the job. In January of 2017, we were doing a restructure at the show and my boss, our show director, recommended that I apply for the role of Operations Director. They decided to take a chance on me and here I am!" JOYÀ, the first Cirque du Soleil resident show in Mexico, combines culinary and performing arts in an intimate theater setting to engage the audience's five senses. Drawing on Mexico's history and heritage, JOYÀ tells the story of an alchemist and his granddaughter embarking on a quest to uncover the secrets of life. Don't miss the opportunity to taste extraordinary dishes and live an unforgettable night exclusively at the Cirque du Soleil Theater at Vidanta Riviera Maya. JOYÀ is a thrilling and whimsical show in which joy, courage and friendship conquer all! Jamie's normal day can vary greatly when she enters the JOYÀ theater between 1:30-2:00 pm each day. However, her stage management training allows her to keep a calm head and roll with changes as they occur. "I'm always available and check my phone just to see if any messages are coming through, but in general the rule is that I give myself at least one hour in the morning to myself. I quickly check my phone where I can see the previews of emails and messages. If nothing seems urgent, I take a cup of coffee and read a book or do whatever personal errands I need to do," she explains. "Then I'll take about one hour in the morning and start returning emails. Sometimes I find it to be more efficient to take time in the quiet and serenity of my own room in my own space without being interrupted. I mostly do that so that once I arrive at the theater, I'm available all the time to take conversations, to take meetings and just be available to hear and listen to everybody and get the vibe of how the day is happening. In general, I will work until 10:30 pm to midnight depending on if it's a one or two show day. Our partners work Monday through Friday so I must navigate that schedule sometimes. I have learned the importance of keeping a work/life balance and taking time away from work," she concludes. As a busy Operations Director on such a large production, Jamie must constantly change direction, pivoting to solve problems and troubleshoot issues with her team. "My best skill is adapting. It's so important as a manager because things change so quickly and you have to adapt and trust everybody to help you make decisions to keep the show going forward. Also, with new team members joining the show, you always have to adapt to different personalities and new situations. If a purchase comes in wrong or if an act has to go into a show that you weren't expecting, you are constantly adapting to new situations," Jamie shares. Managing a staff of over 100 people is a grand task, but Jamie makes time to understand what her staff is navigating on a daily basis. "Connection is important to me. Most people feel comfortable when they come to speak with me and at least know that they are being heard. I will take the time out and even if I am not available, they know that eventually, when I do have the time, that they will have the opportunity to speak with me. I will always follow up as well to make sure that they are doing ok if there was a problem." Cirque du Soleil as a production company is very unique and roles vary greatly from typical Broadway or West End theater. Jamie enlightened us on the differences in roles for stage managers at Cirque du Soleil. "There is only one difference between an ASM and SM at Cirque du Soleil and it involves calling the show. Other than that, on all shows, the stage management department acts as a team. They rely on each other and everyone does all of the work with the tiny difference of calling the show." After a successful tenure working with Cirque du Soleil shows in Las Vegas, Jamie was in line for a GSM position in the Residential Shows Division of the company, but instead Jamie took a leap of faith and decided to move to Mexico. "I was filling into the role of Interim GSM when my GSM was on sabbatical or during unfortunate times of illness. At Cirque du Soleil resident shows, based in Las Vegas, when all of the dominos will fall into place staff wise at shows, it makes things very stable for two, three, or even four years at a time. While this is good for the shows, it makes advancement within the company a challenge when you want to grow. Sometimes, there are just not any openings. Each production has generally identified "General Stage Manager in Waiting" so even when a GSM job posting is listed, there is a good chance that there is already someone who is already prepped and primed to take the role. Like me, at Mystère. So, you hit a point professionally where you are ready to take a chance and it's time to try something new. Plus, I had always wanted to live outside of the United States and this seemed like the perfect opportunity to have the familiarity of a company that I knew and trusted to bridge into and it was also a great opportunity to be recognized outside of Cirque du Soleil Resident Shows Division and have International Headquarters know who I am. Surprisingly, it took leaving the company and working for one of their independent partnerships that helped everyone get to know me and watch me grow." Originally, Jamie's leap of faith to move to Mexico was to take over the role of General Stage Manager but just two years later, she was overseeing the entire production. "When I came to the show three years ago, our previous GSM and I had a two week overlap to train and at the time the project was still quite new. It was a very young show with only one backstage manager and GSM. I learned to call the show in just three days and this included operating a visual art act with a remote control. Then the previous GSM left after training me for nine days. That's how I took over. Our previous GSM had been with the show since the beginning of creation and now, the world was open for me to fix and develop. I now had the opportunity to create the stage management team I wanted to run post creation in operational shows." JOYÀ is unique in the world of Cirque du Soleil affiliated productions since it is a partnership with Vidanta, the luxury resort and 45 DEGREES. "When I started at JOYÀ, the management team had one person at the top, Joël Bergeron who was our show director, technical director and the GSM. We created a pyramid. After running this way for a while, creating many changes and developing our system here, Joël decided to resign from the company to move forward with other projects. He gave a very lengthy resignation of nine months and during this time, our two partners decided that Joël's position would need to be expanded into two positions being Artistic Director and Operations Director. Around this time, I decided to apply for the Operations Director position but I didn't tell anyone and just continued on my merry way," Jamie shares. "The reason I felt qualified for this position was unique to my situation of working here, under the direction of Joël." "He knew that I was capable of taking charge and would continue forward. He would also give me PR events to allow me to take performances to gala on behalf of him and take interviews alone. He was really prepping me and giving me as much knowledge as he could. And like I said, I'm not sure if he knew he was doing it or not, but he definitely was preparing me to take over into this position," she says. In Spring of 2017, Jamie was promoted from the role of GSM at JOYÀ to Operations Director. "It's funny, when I first took the position, I started doing one-on- one meetings with everyone at the show. I asked them what they expect from the Operations Director since it was a brand-new position in the restructure of management. What I gathered from everybody's feedback was that, I get the information and I give the information. I get the information from the partnership and I give the information to everyone working at JOYÀ, in the same respect, I get the information from JOYÀ and give the information to the partner. I bridge the gap. I make sure communication is open and make sure everything is being handled, I serve to monitor that the artistic quality and integrity of what Cirque du Soleil and 45 DEGREES are looking for in the project is happening, that the business side of the partner is being achieved – we are continuing to be profitable, and that we continue to instill Cirque values." Managing operations requires analyzing risk and preparing for emergencies. Cirque du Soleil spends a lot of time preparing its teams for potential emergencies and accidents that can occur during rehearsals and performances including staff becoming certified in CPR, AED use, and emergency preparedness. Levels of emergency preparedness can vary depending on the scale of productions. "I think a show's level of preparedness depends on the length of time that you have to work together. If you have a show that's running permanently and has no chance of closing, then once you're up and running it's the time to prepare for the worst and then rehearse your conditions. You think of the crazy things that could possibly go wrong and create a basic language with your crew. You create contingencies and rehearse because with emergency procedures, no matter how prepared you are, you still must react in the moment." "The more you have a language and a script that you repeat over and over again, the more comfortable you will feel during a real-life scenario. In the case that you can't open a file or in case you can't find the script or in case it's not something you've ever done before, you've had enough practice with each other and comfort with your team. When you rehearse emergency scenarios, you've created an atmosphere that allows you to thrive and to do the proper things. It's really important to do this because in an actual emergency, adrenaline will kick in and put you on edge so preparation takes a little bit of stress away," she continues. Running a long-term production can be an all-encompassing project over the years even on the Mayan Riviera surrounded by great beauty. Jamie seems to be taking the responsibility and growth in stride. "I find inspiration here in Cancun and listening, listening to the staff, and hearing from them personally as to what they're looking for out of this experience. I also seek new podcasts and books about leadership and how to be a better leader, how to be adaptable- not so much self-help, but about looking forward and how to create better organizations. I'm always trying to find the best ways to keep people motivated and realizing that it's not always about the money or about the work, but that sometimes people just need small motivations. For example, during periods where there are a lot of shows, I start a Bingo game. Every night the stage manager will call out a word and that creates the Bingo game. I try to come up with fun ideas that help us to get to know each other," Jamie shares. "I also try to get off of the resort on my weekends as much as possible, to create a healthy work/life balance. I must find time for myself in the mornings. I try taking a couple hours of time out for me, time where I turn my phone off, read a book or connect with my family. You can begin to feel secluded after living on a resort for a long period of time, so you have to search out activities and slowly make friends with people here and there. You make friends through their friends and I'm growing my network that way," she continues. JOYÀ is a long-term production that may continue for many years. Now, as Jamie reaches her eleventh year with Cirque du Soleil, what does 10 or 20 years in the future look like in life and career? "I hope I'm still happy. Whatever I'm doing, as long as I'm happy, that's the most important thing to me. In career, I would like to keep growing in this area. Perhaps I might be a general manager for a sports team or music venue or with a company, arena, or theater. There are many possibilities, especially with the way the entertainment industry is changing with the shows getting bigger and companies getting larger and with more recognition," Jamie says. Self-reflection is very important to Jamie. She has come so far in her career but also continues to grow. If she could share her wisdom with her 18-year-old self, what would she say? "I would encourage my younger self to keep your eyes open and take chances. Soak in as much as you can and educate yourself on everything because you have no idea where your life is going to take you and what it's going to bring you. So just have a goal, but also be open to goals changing." ------------------------------------------------------------ Jean David's Quel Cirque, Part 2 of 12: "The Appointment" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ Today a consultant in creativity and event marketing, Jean David was one of the pioneers of Cirque du Soleil, where he led the marketing department for 15 years (from 1984-1999), introducing the magic of the Grand Chapiteau to the whole world. During his tenure, David distinguished himself through innovative methods by commercializing the Big Top and introducing its magic to other cultures on four continents. A man of vision but also a determined entrepreneur, Jean David acted as Vice President of Entertainment, Sales & Marketing at the WYNN Hotel in Las Vegas before moving to India for 18 months, where he led a pre-feasibility study for the creation of an innovative project: the Mumbai International Creative Center, an international resort centered around the theme of creativity. In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered his views on leadership and revealed the innovative qualities that contributed to Cirque du Soleil's enormous success in marketing, management, creation and exploration. There was only one problem... it was written in his native French. Thankfully, David himself translated and web-published an English-language version of his book and we've collected the relevant Cirque-related chapters for this 12-part series. Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil celebrates its 35th anniversary this year, we thought this would be the perfect year to share these texts with you. So, without further ado, Quel Cirque! # # # 1982. I was working as account executive for a Quebec city advertising agency when I got a call from an old pal Robert Lagueux. He headed the High Heels Club, a non-profit troupe that did street theater on stilts. His group was putting on a festival of street performers in picturesque Baie-Saint-Paul, a charming little town about 60 kilometers from Quebec City and he wanted me to lend a hand. The event had drawn performers from around the world: about fifty of them in all. In between contracts, they were only too glad to earn a few bucks, especially since they could get together and renew old acquaintances. The festival offered free outdoor shows, public workshops on circus arts, as well as parades and indoor shows. As it happened, my three-week vacation coincided with the festival: the Fête foraine de Baie-Saint-Paul. As I also had some organization and logistics experience, I accepted his invitation. So there I was production manager of the event. The work was straight forward enough; it was even fun. I had to see everything ran smoothly, that the artists, technicians, stages and public showed up at the right place and the right time. But participating in a big event takes discipline and that isn't exactly the street performers' forte—they're used to being their own bosses, plying their skills on busy street corners all over the world—they needed someone to instill a little structure and organization. As everyone was looking forward to having a good time, my little job was very pleasant. Mainly young street performers, the festival organizers had a hard time cobbling together an operating budget. For the most part the group consisted of people without a steady job, dropouts, the unemployed, occasional welfare recipients–in short, self-employed workers with little or no credit history. Barely two days after I arrived, the team asked me to make a little contribution to the cause. So I found myself at the bank co-signing a $5,000 loan! There were a few financial glitches, but the event was a huge success because it was entertaining, fun and original. The highlight of the first edition of the entertainers' festival was the closing show. It probably the precursor of the Cirque du Soleil. It was the first time we presented dozens of street artists, buskers and clowns. The result was an unforgettable finale. I acted as floor manager backstage with the artists. The excitement, the energy, the power and intensity generated by the artists together on one big stage created an electricity that was communicated to the audience. Little did we realize what impact that evening would have one day. The Fête foraine de Baie-Saint-Paul was repeated the following two years. I collaborated on the second edition. The work and the conditions were pretty well the same. But this time the festival drew even more street performers and a larger audience. It was an even bigger hit, and there were no financial woes. The Fête foraine de Baie-Saint-Paul launched the young theater troupe on stilts; it opened the door to a world of possibilities and adventure. In 1984, the event served as a reference for an important contract that launched the Cirque du Soleil. That year, the Quebec government wanted to commemorate the 450th anniversary of the arrival in Canada of Jacques Cartier, the first French citizen to set foot on North American soil. The government created the Commissariat général aux célébrations 1534-1984, an organization charged with putting on celebrations, and gave it a budget of about $12 million. Then Quebec show producers were invited to submit projects. The High Heels Club headed by Guy Laliberté and Robert Lagueux, jumped at the opportunity and submitted a project that was quite bold for the time. Our group took the Fête foraine model and turned it into a traveling show. We planned to stage the event in at least 11 towns around Quebec over a three-month period. For each town, we planned an organization (local jobs) in which we invited artists and crafts persons to take part. As much as possible, we integrated everything into the community. I attended some of the meetings to prepare the project. Many people took a dim view of street performers. Gilles Loiselle, the head of the Commisariat général, was sympathetic to our project, but a bunch of buskers, clowns, jugglers, and fire-eaters hardly met the criteria of official culture. At the Quebec Cultural Affairs ministry, with Clément Richard at the helm, our stock wasn't very high. And provincial coffers offered no subsidies for circuses, no money for the performers. Laliberté and Lagueux battled long and hard to convince the authorities they could trust a band of longhaired street performers, who were unemployed, with no official status, and worse still very young. Fortunately, Quebec prime minister René Lévesque took up our cause with the skeptics. He considered our proposal innovative and his interest never wavered. It's thanks to his intervention that the project finally took shape. At the time, I was self-employed, offering my services as a communications freelancer. I also did volunteer work in community radio. I was having fun. The previous fall, I had traveled to Paris with the Office franco-québécois pour la jeunesse for a three-week workshop on French advertising. And I was amazed at what I learned. Of course, the big French agencies hosting us had spared no effort to impress their North American cousins. That fall, when I returned to Quebec, it was quite a letdown to find myself operating within the constraints of the advertising agency. I decided to drop everything. All too often, my work as an advertising executive had led me into contradictions, choosing between what clients wanted me to do and what I believed should be done; I'd had enough. In the spring of 1984, when the project got government approval, Guy Laliberté and Robert Lagueux offered to take me on as tour manager. I had just turned the big 30 and I thought it was about time I did something with my life... At any rate, the project was exciting and it was a magnificent opportunity to do something that had never been done. So, I accepted the offer. But, no sooner was I hired than I got fired! I was the first employee to get the sack at Cirque du Soleil. The contract that I signed in April said I was supposed to start in June. Meanwhile, my friends hired Guy St-Amour, a "brilliant young" technical operations manager with vast event production experience. His first move was to refuse to work with me. He didn't know me, he'd never even set eyes on me, but he convinced my "friends" that I lacked the experience for an event of this scope. At any rate, the work called for two people. And he just happened to know a couple of excellent stage managers and he preferred to work with them; my bosses "agreed." One morning, Guy Laliberté summoned me to his office and told me that he'd given the new technical director full authority. The last thing my "friends" wanted to do was to upset him. And just like that, they thanked me for my services. I was stunned, devastated. I'd been looking forward to the adventure, getting involved, spending a few months on the road with new friends. Besides, I had just declined a speaking engagement at the 3rdFestival de la radio FM, in La Rochelle, France. But their decision was final; there was no appeal. So, there I was with my first severance pay. At least it allowed me to fly to France just in time to give my talk. A few weeks later, when I got back from Europe, Robert Lagueux contacted me to let me know that things weren't going well. During Cirque du Soleil's rehearsals in Sainte-Thérèse, a town north of Montreal, a violent storm had severely damaged the big top. The weight of the accumulated water had bent the masts, rendering the whole installation unusable. Nevertheless, the tour had got underway as scheduled in Gaspé. The show was performed in an improvised venue, a tent that the troupe had borrowed from the federal government, much to the displeasure of provincial government representatives. Lodging and logistics were a nightmare. A revolt was brewing in the troupe. To make matters worse, the stage managers hired to replace me had jumped ship during the night and St-Amour had fallen ill. Not a pretty picture! Robert pleaded with me to come back. They would rehire me on the spot. But I set my conditions: clear contract terms, a pay raise; I left nothing out. I was rehired; what's more, I had carte blanche. The situation was completely reversed; it was even more than I had expected. A few days later, I flew from Quebec City to Baie-Comeau, the next stop on the tour. My "mandate" mainly consisted of seeing that the organization respected its engagements to the government. Failure to do so would render the contract null and void and the entire operation would be at risk. From a technical standpoint, the shipyard in Rimouski manufacturing new masts for us promised they'd be ready when we visited the town three weeks later. Until we could use our big top again, we'd have to make do with whatever arenas we could rent. The situation was far from ideal, but, at least, we'd find shelter and the show could go on. Clearly, there was a distinct lack of organization! I had to deal with strong willed personalities from diverse backgrounds. There were egos as huge as a big-top. To find out what was going on and get to know the employees, I interviewed every one of them. I assessed their experience, the skills they brought to the table, their job description. Above all, I listened to them. I picked their brains to find what was wrong and what should be done immediately to make things better. After a few days, I had met all 40 members of the little company, and I had a good idea what had to be done. The employees needed support and reassurance in carrying out their tasks. Things needed to be clarified for everyone. Someone had to take charge of the operation. I scrutinized the job descriptions and proposed some team changes. There followed a brief period of considerable reflection! The troupe was drawn from many nationalities. Inevitably, there were significant cultural differences among the group's leadership. Soon their diametrically opposed points of view and widely differing attitudes emerged about some issues: after all, street performers march to the beat of their own drum. But one thing was crystal clear: this youthful management team needed to do the job as administrators and entrepreneurs. We had commitments: nothing and nobody in the world could stand in the way. Rimouski—On the pier, a significant event in Cirque du Soleil's first tour occurred. The replacement masts were delivered. Compared with the original delicate Italian structures, which had collapsed, these were enormous. The whole technical team was present. The new masts were placed on the ground and the canvas of the big top was in position. Everything was ready. We were about to proceed when our assembly foreman, Swiss big- top expert Gérard Bétant brought things to a halt. The new structure was too heavy, he claimed. It was a little weak; it could collapse. People could get hurt. So here was the expert in charge of assembling the big top suddenly refusing to do it. But the shipyard engineer from Québec, standing beside him, would have none of it. He scoffed at the danger. The new structure would be ten times as solid as the original masts, he said. But the technicians were nervous. You could see the tension etched on their faces. After all, they had hoisted the tent only once since the tour began and that had been a fiasco. And the expert we'd hired didn't want anything to do with the new masts. Then technical director Guy St-Amour rushed in, declaring that he sided with the assembly foreman. He and his men wouldn't touch the structure. We had to find an alternative—some arena or other. Things were getting worse by the minute! The engineer from Quebec couldn't believe it; neither could I. St-Amour vanish as quickly as he'd come! The poor chap had stomach cramps and had to go and rest in his room, leaving me to solve the problem. Guy Laliberté was there and, like me, he seemed not a little upset. We had a commitment with the government and the big top represented a substantial portion of our budget. Not being able to use the big top for shows would be an obstacle that could endanger subsequent contract payments. Failure was not an option. So, I put my faith in the engineer. After all, he was the expert who had built the masts. I told Gérard Bétant in front of everyone that he was relieved of his functions, that I no longer needed him and I asked him to leave the premises! I also simply told the others I was going to see to it personally that the big top was assembled and that to do so, I just needed a few volunteers. No more bickering! Seeing my attitude, the whole group backed me and with the engineer advising us, we got down to work. We toiled away to the end of the day and enjoyed every minute of it. Finally the big top was up, magnificent, incredibly strong and solid, good for the whole tour. Early in the evening, when St-Amour showed up, his stomach did back flips when he saw we'd mounted the big top. Like everyone else, he could see how robust the installation was, so he agreed to work on it. A little later, government representatives dropped by and were delighted to see that the masts had been delivered on time. The big top was in place and everything was running smoothly. The Cirque du Soleil project was finally shaping up as planned, and the first show under the big tent had a magical effect on the whole company. The objective had been fulfilled. The team spirit was extraordinary and everything was running like a charm! Ex-Tent Master Gérard Bétant was reassigned: as a chief usher, he was perfect... Now, we could all contribute to the best of our abilities and I could sense a feeling of camaraderie infusing the team. Assembling and dismounting the tent was still a mighty task, but our pride and sense of accomplishment more than compensated for our efforts. As the tour traveled from town to town things got better and better. The whole operation was a huge success. I felt my job was done and I actually thought about leaving the troupe then. We were performing before sold- out audiences explained in part by the ticket prices: $2 for adults and $1 for children. The show met with unanimous audience approval; the public loved it. After every performance, many spectators were so moved by the experience that they were crying as they left the big top. One of the significant aspects of the tour was the media response. We were met with enormous acclaim in the press. The show and the entire operation earned full-page reports in the big dailies and wide coverage in the electronic media. The media even quoted spectators who said that they were delighted to see that the government was finally investing their money wisely. What more could we ask for? The first tour was a real market study. No doubt about it, there was a demand for the product. And the extremely positive results encouraged us to pursue the adventure and define new objectives. I agreed to get even more involved in the project. It was the start of a new career! Are you looking for new challenges? { To Be Continued... } ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 2 (Issue #181) - February 2019 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2019 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. { Feb.09.2019 } =======================================================================