======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 4 April 2019 ISSUE #183 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * CIRQUE HOLDS ALEGRÍA PRESS CONFERENCE * * * On April 10th, Cirque du Soleil unveiled the first three acts of the upcoming revival of Alegría: In A New Light, to perform under a blue- and-white Big Top at the Old Port of Montreal from April 18th. Beloved by fans around the world, iconic Alegría is reinterpreted in a renewed version to share its timeless story once more. The classic power struggle of old meets new is reinterpreted for today’s cultural pulse. Led by an intangible wind of change, an emerging movement strives to shake the established order, instilling hope and renewal to bring light to a world in perfect harmony. Alegría energizes the audience with a joyful spirit for a brighter and more inspiring tomorrow. Following the mysterious disappearance of the king, Mr. Fleur pictures himself as the legitimate heir to the throne and clumsily tries to impose his authority. Shaking the foundations of the old order, The Bronx spring forth from the street. Fiery and full of energy, they try vigorously to defy the established order. Together, The Bronx will shake the pillars of power, lighting the spark that will trigger changes in the very heart of the kingdom. They offer a glimmer of hope in a world of gloom. The three acrobatic numbers Cirque du Soleil unveiled were the Double Crossed Wheel (to a remix of the song "Kalandéro", previously used for the Shoulder-Pole act, Tightrope, Juggling, and Slackwire), Synchro Trapeze (to the song "Querer", previously used during the setup for High Bar), and Fast Track (to a remix of "Irna" and "Valsapena", the act's original songs.) SEE HIGHLIGHTS FROM THE PRESS CONFERENCE HERE: LINK /// https://youtu.be/qj5T7woFBJI SEE THE FULL VERSION ORIGINALLY STREAMED ON FACEBOOK: LINK /// https://www.facebook.com/CirqueduSoleil/videos/338520133465539/ * * * CIRQUE/MGM RESORTS DOWNSIZE; SHUFFLE STAFF * * * Cirque du Soleil is performing some acrobatics away from the theater, so says the Las Vegas Review-Journal: On March 25, 2019, the company reorganized — and downsized — its management operations for its five residency productions on the Las Vegas Strip that are in partnership with MGM Resorts International (“Mystere” at Treasure Island being the exception). What the new business model means, in short, is Cirque shows will no longer employ a single head of department for each of its shows. Instead, multiple productions will be under the direction of one department head. Also, Cirque will continue to oversee all artistic operations (such as managers, artists and coaches), along with picking up the lighting, staging, maintenance and any mechanically related staffers, who were previously employed by MGM Resorts. The heads of department who have been let go have been offered severance packages. Several long-standing employees have lost their positions. Word of the realignment surfaced March 16th and many reportedly were caught off-guard by the news; one was reportedly so upset as to have been led by security from an MGM Resorts property. The new system should be in place by mid-April. MGM Resorts International officials are not specifying how many positions were lost in the changeover. Cirque officials sent requests for clarification and confirmation to MGM Resorts, which in turn essentially explained that this is how major entertainment companies operate. “MGM is working with Cirque du Soleil to reorganize backstage operations at Las Vegas shows to align with how Cirque du Soleil shows are structured throughout the world,” MGM Resorts spokesman Brian Ahern said in a statement. “This is part of our long-standing work together to continually improve show operations and focus on creating unforgettable experiences for guests and audiences. All shows and performances will continue as usual.” * * * NEW RENDERINGS OF VIDANTA'S "THE PARKS" * * * What started out as the Cirque du Soleil Theme Park project in Puerto Vallarta in 2014, stalled in more recent years as Cirque du Soleil came under new ownership, The Goddard Group fell from grace, and construction fell further behind. Last we heard, Vidanta took full control over the project – now named “The Parks” – to complete the first phase but without Cirque du Soleil involvement. Today, new renderings of what is now being deemed the Final Version of “The Parks” were released... whether Cirque du Soleil is still attached to the project is a matter of conjecture, but we do note that unlike in past releases, the Cirque du Soleil logo is NOT on these renderings. So while Cirque du Soleil may no longer be attached to this project, the results are still breathtaking! Check out those renderings here: http://www.cirquefascination.com/?p=12476 * * * LUZIA HEADED TO EUROPE IN 2020 * * * And while Mexico is fresh in our minds... Cirque du Soleil is bringing Luzia, described as “a waking dream of Mexico”, to the Royal Albert Hall for its European debut. Among the performers is Londoner Shelli Epstein, 25, who was inspired to join when she saw a Cirque show aged 13. She said: “I had always dreamed of going to the Olympics with Team GB and was a member of a few gymnastics clubs. Then my parents took me to a Cirque show at the Royal Albert Hall. I knew at that point that this is what I wanted to do. So I will be coming full circle when the show comes to London.” Ms Epstein plays the Running Woman, inspired by the Tarahumaras, a Mexican tribe known for their long-distance barefoot running. She is part human, part monarch butterfly and acts as a guide for the audience. Luzia, marking Cirque du Soleil's return to London for the 30th year running, opens at the Royal Albert Hall from January 12, 2020. Tickets go on sale from Friday, April 12th at royalalberthall.com. * * * 45 DEGREES MUSINGS * * * The 5th chapter of Cirque du Soleil's Tribute Series, in celebration of the music of Les Cowboys Fringants (the popular and critically- acclaimed Quebec band who has rocked the French-speaking world for two decades), finally receives a name - JOYEUX CALVAIRE. This series is presented exclusively at the Cogeco Amphitheater in Trois-Rivières beginning July 17th. The Monte-Carlo Summer Sporting Festival is hosting Cirque du Soleil's exclusive performance for the second time from August 15th to 19th at the Salle des Etoiles. Whether it's the same production as last years' remains to be seen. Cirque du Soleil will also be in Malta for three consecutive years between November and January, according to Malta's Tourism Minister. A show tailor- made for the Mediterranean Conference Centre is in development, with the acrobat troupe putting on one performance a day during its time in Malta. The troupe will have between 28 and 30 acrobats. And according to the Astana times: Kazakhstan signed a memorandum of cooperation to hold the 2020 Internationale Tourismus-Börse (ITB) Eurasia exhibition that's held every September. Kazakh Tourism also reached an agreement to host REFLEKT in the country for a second time following its performances at EXPO 2017. * * * POLSTAR's 2018 YEAR END FIGURES * * * The global landscape of live entertainment in 2018 includes some of the biggest names in the business, both old and new, and remarkable box office feats. The collective gross for global ticket sales from the Top 100 Worldwide Tours is $5,640,735,434. That’s slightly down on last year’s final year-end gross of $5.653 billion, but 2017 also saw a 15.8% jump compared to 2016. So, this year’s final gross could arguably be called a correction – still higher than the 2016 gross but down slightly from 2017. The number of sold tickets also dropped in 2018 compared with 2017 when the 66.7 million sold ticket count was 10% higher than the 2016 total. In 2018, total tickets from the Top 100 reached 59,811,438, an 11.1% decrease from last year. Ticket prices, however, were higher in 2018 on average. In 2017, the average ticket price was $84.63, yet 2018's average iss $94.31, an 11.9 percent increase. So, how did Cirque do in 2018? Before I get to the chart, let me also add that 2018 was a year of change at Pollstar regarding the way they present the box office data. A new time period was introduced for determining the 2018 chart year. In 2017 and previous years, the calendar year was used for year-end charts with estimated totals added from late fourth-quarter events. In 2018, they changed the eligibility time period from the calendar year to a late-November closing date and discontinued accepting estimates for non-reported events. Thus, the 2018 charts comprise data from performances that occurred Nov. 23, 2017 through Nov. 21, 2018 - and they only counted actual box office results from shows that have already occurred. With that in mind below is Cirque's chart for 2018 with 2017's chart below that for reference. As you look over the numbers, keep in mind that TORUK and KURIOS are not on the 2018 list. KURIOS was (and is) in Japan; box office reporting on KURIOS was not available. But TORUK I have no excuses for... it's possible it didn't reach the top 100. Either way... we see a 32.3% reduction in grosses and 34% reduction in number of tickets sold in 2018 vs. 2017. World Gross Show AVG Tix AVG Tix Total AVG Cities Rank in Mil Title Price Sold Tix Sold Gross / Shows -------------------------------------------------------------------- 32 $52.1 Totem $82.39 19,179 632,879 $1,580,069 33/289 40 $40.3 Luzia $88.30 13,438 456,875 $1,186,511 34/279 44 $38.7 Crystal $58.85 19,348 657,831 $1,138,449 34/249 49 $36.6 Ovo $69.72 15,445 525,113 $1,076,810 34/262 69 $25.1 Volta $82.78 12,110 302,756 $1,002,483 25/191 79 $23.0 Kooza $95.23 11,481 241,092 $1,093,255 21/176 83 $22.0 Amaluna $91.60 13,318 239,728 $1,219,999 18/163 84 $21.8 Corteo $63.48 14,320 343,683 $ 908,976 24/156 -- $12.4 Sep7imo $397.96 5,212 31,271 $2,074,124 6/42 -------------------------------------------------------------------- $272.0 Million Gross 3,431,228 Tickets Sold 2018 World Gross Show AVG Tix AVG Tix Total AVG Cities Rank in Mil Title Price Sold Tix Sold Gross / Shows -------------------------------------------------------------------- 26 $61.8 Kurios $80.66 15,324 766,179 $1,236,000 50/411 28 $60.1 Luzia $84.89 14,448 707,975 $1,226,531 49/403 29 $60.0 Toruk $79.38 24,393 756,191 $1,936,367 31/169 35 $54.2 Ovo $72.52 16,986 747,380 $1,231,818 44/308 41 $48.2 Amaluna $79.97 15,848 602,239 $1,267,336 38/290 47 $41.8 Varekai $61.99 16,458 674,764 $1,020,282 41/282 50 $39.7 Kooza $85.41 12,232 464,816 $1,044,737 38/293 59 $35.9 Volta $74.66 16,042 481,274 $1,197,760 30/246 -------------------------------------------------------------------- $401.7 Million Gross 5,200,818 Tickets Sold 2017 * * * SHOW MILESTONES * * * Last, but certainly not least, a number of shows reached important milestones since our last issue "went to print", or will celebrate in the month of April. These are... o) The Beatles LOVE celebrated its 6,000th performance in March. The company released a little video to celebrate the milestone, which you can see here: https://www.facebook.com/TheBeatlesLOVE/ videos/2149773928434753/ o) On March 25th, Mystère celebrated its 12,000th performance. Check out Mystère's awesome teeterboard performance at the Vegas Golden Knights versus Winnipeg Jets game: https://www.facebook.com/ CirqueduSoleil/videos/2069834859800376/ o) On April 2nd, the BAZZAR cast and crew celebrated their 100th performance. Since premiering, BAZZAR has traveled more than 16,000km and it has been seen by over 100,000 people of 4 different cities, in 3 different countries! o) And on April 17th, JOYA will celebrate its 1,500th performance. Congratulations! Okay, that'll do it. 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 * Jean David's Quel Cirque, Part 4 of 12: "O, Canada!" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- Cirque Pours Talent into One Night for One Drop {Mar.07.2019} ------------------------------------------------------- It’s one of theater’s greatest ironies: Talented performers train for a lifetime to score a coveted role … only to find themselves doing the same act over and over again. But since 2013, Cirque du Soleil has offered a fresh creative outlet to its cast and crew: Design and perform in an annual one-off show that benefits the One Drop Foundation. Over the course of seven performances, the event has raised $35 million dollars to help provide vulnerable communities with access to clean water. This year’s performance is directed by the team that helped re-imagine Mystère and The Beatles Love—André Kasten and Leah Moyer. Think of One Night for One Drop as an all-star variety show. There will be performances by Blue Man Group, three compositions by Academy Award- winning composer Hans Zimmer and a variety of cascading delights. Kasten and Moyer created a loose theme around the evening’s performance, telling the story of an “Everyman” going on a journey of enlightenment. “We wanted to bridge the gap between the audience and the people going through this, to speak about relevant topics around us so they can relate to humanity,” Kasten says. The Everyman will witness “natural beauty, humanity, love and loss, technology and destruction [until] it starts to feel overwhelming for him.” The Everyman encounters a 7-year-old girl, who represents One Drop, and she helps him realize that it all starts with one drop of kindness, according to the directors’ vision. Of course, this narrative is staged through the lens of Cirque du Soleil, so expect it to be more abstract than literal. Michael Duffy, who played the lead mad scientist role in Zarkana, will play Everyman. “To be in this theater is just an honor,” Duff says. To embody Everyman, Duffy will use physical acting, dance and more. “My favorite zone to be in is when utilizing as many different talents as possible.” Another highlight: Choreographer Alexander Ekman will brings his take on Swan Lake, which he staged in Norway, to the O Theater stage. At a recent rehearsal, Ekman was enchanted by the theater’s moving stage, which converts seamlessly from swimming pool to shallows to dry land. “I love water,” says Ekman, who was born in Stockholm, Sweden. He says that rhythm and water are two major sources of inspiration. He chatted as his dancers moved and splashed in unison. Their actions were somehow both liquid and rhythmic. “It’s so fun to be here. It’s so cool to have this stage. It makes me want to make another water piece.” Ekman especially loves the opportunity to share his passion for a good cause. “When you work with charity [there is] a beautiful mindset that comes with it. Everyone is working for free. It’s very beautiful.” { SOURCE: Las Vegas Weekly } ------------------------------------------------------- One Night For One Drop – In Pictures {Mar.12.2019} ------------------------------------------------------- This past weekend the Cirque du Soleil shows went dark as the performance company pulled together their teams of dancers, contortionists and creative staff for a one-off performance, One Night for One Drop, Imagined by Cirque du Soleil. Soundtracked by Hans Zimmer the show mixed the drama and humor of a Cirque show utilizing the watery backdrop of their “O” theater. All this effort was for the One Night for One Drop charity event. The One Drop mission statement is to not only bring sustainable access to water and sanitation, but also bring together an artistic injection of understanding healthy practices in the way with the communities interact with water around the world. The charity created by Cirque du Soleil founder Guy Laliberté was now in its 7th year and combined $1.1 million though pledges, auctions, and donations. $798,000 of the final sum was raised through a live auction of 6 items. The top prizes included a McLaren 570S Spider, part of an exclusive limited unique six car collection, sold for $310,000, while a one of a kind Audemars Piguet in platinum and blue alligator went for an easy $220,000. Other items included travel experiences to St Tropez, Turks & Caicos and a voyage on the residential Yacht The World. Of the travel items the most fascinating was a safari to Tanzania that was accessorized with a bronze sculpture by Richard MacDonald. After 3 years of involvement model Constance Jablonski took on a deeper role this year as Chair of the auction. “For all the donors 100% of money goes to the charity. They help women who are the most touched by the difficulties of the water. They have to walk for miles to get the water every day and 2 billion people don’t have access to safe water and that is traumatic and awful to know,” Jablonski reasoned with a crucial sense of concern. After the awe inspiring performance guests were led to an afterparty by the Bellagio pool that was a glittering addition to the evening’s surreal blend of society, glamor, charity, and Cirque magic. CHECK OUT IMAGES FROM ONE NIGHT FOR ONE DROP HERE: http://www.cirquefascination.com/?p=12419 Text by: BJ Panda Bear Photos by: Erik Kabik { SOURCE: Flaunt } ------------------------------------------------------- Inside One Night for One Drop 2019 {Mar.15.2019} ------------------------------------------------------- How do you raise $1,117,155 in one night to support water initiatives in vulnerable communities? By auctioning off six precious and bespoke items, including a McLaren 570S Spider, a limited-edition Audemars Piguet timepiece and a voyage on the largest private residential yacht on the planet. A total of 1,800 guests witnessed this fundraising frenzy March 8 at the seventh annual One Night for One Drop, Imagined by Cirque du Soleil event sponsored by Colgate and MGM Resorts. The 90-minute show and auction took over the O Theater at Bellagio Resort & Casino in Las Vegas. The beneficiary, nonprofit One Drop foundation, provides access to safe water and sanitation around the globe, founded by Cirque du Soleil creator Guy Laliberte. Network television audiences will get to see One Night for One Drop when it debuts on CBS at 8 p.m. March 16, hosted by Entertainment Tonight’s Kevin Frazier and figure skater Tara Lipinksi. This splashy affair — quite literally, thanks to the aquatic flare of the O Theater — was written and directed by André Kasten and Leah Moyer, who choreographed Cirque shows such as Mystere and The Beatles LOVE. It featured a 90-minute acrobatic spectacle set to the music of Academy Award-winning, world-renowned score composer Hans Zimmer, who performed three arrangements live, including a specially adapted piece from Interstellar. Drawing inspiration from the principles of human connection, friendship, beauty, nature, love and loss, main character Everyman goes through a journey of enlightenment. While there are both pivotal moments and tumultuous times along the journey, his counterpart, Drop, personifies that the power of change begins within. In addition to Zimmer and singer Czarina Russell, the performance and party was attended by director and producer Nigel Lythgoe, host of CBS’ The Talk Eve, star of Second Wives Club Shiva Safai, General Hospital actress Lisa LoCicero and star poker player Daniel Negreanu. Las Vegas headliners from up and down the Strip came to join their Cirque du Soleil counterparts, including Marie Osmond, Xavier Mortimer, Tape Face, Carrot Top, Blue Man Group and castmembers from Absinthe, Magic Mike Live, Opium and Chippendales, among others. The creative team began working on the production more than six months ago to include Las Vegas headliners Blue Man Group and choreography created by Alexander Ekman and Andrew Winghart, as well as Keone and Mari from World of Dance. Prior to the entertainment, the six-lot live auction brought in $808,000, thanks to two prestigious pieces that were specifically created as one-of-one for the event — a bespoke McLaren 570S Spider by McLaren Special Operations, part of the 1 of 6 Racing Through the Ages collection, which raised $310,000. Going for $220,000 was a one-of-a- kind Audemars Piguet Royal Oak Selfwinding Chronograph timepiece, crafted in 950-platinum with a deep purple Grande Tapisserie patterned dial and platinum bracelet with an additional blue alligator strap. One Drop is a production of Active International and Addressable Media with executive producers Neal Weinberg and Omar Zabian; supervising producers Adam Hertzog and Patrick McManus; and produced and directed by Adam Hertzog and Tore Livia. { SOURCE: The Hollywood Reporter } ------------------------------------------------------- The Intersection of Technology and Live Entertainment {Mar.20.2019} ------------------------------------------------------- Do you remember seeing your first live circus performance? Or maybe it wasn’t even a circus —it could have been a concert, comedy show or stage play. Nothing can replace the immersive experience of attending a live show in person. Over the past 20 years, technology has transformed entertainment and changed our expectations of what live shows can offer. This evolving fusion of streaming technology and live performance is the future of entertainment. TECHNOLOGY IN LIVE ENTERTAINMENT Live entertainment traditionally combines multiple artistic mediums to draw the audience into the show. Automated technology has become one of these mediums, the newest innovation in interactive experiences. One of the world’s leading live entertainment businesses, Cirque du Soleil are constantly using technology in and around their shows. Amaluna has fully programmed keyboards accompany live vocalists, digital soundboards edit instrument voicing, stage lighting is timed, and hydraulics lift massive props. Digital technology can even take the place of stagehands with automated follow-spots. Now, there are corporate events, like Cirque du Soleil’s EPIC, that give exclusive workshops and a behind-the-scenes look at how themes like technology help to unify and elevate the show to new levels. ADAPTING TO SOCIETAL EXPECTATIONS For generations, circuses recalled ring masters, bizarre characters, and animals as the primary performers. In 1984 the world got its first glimpse of the future of the circus. Two former street performers from Canada, Guy Laliberté and Gilles Ste-Croix, founded Cirque du Soleil (“Circus of the Sun” in Baie-Saint Paul). The show included jugglers, musicians, fire breathers and dancers – but not a single animal. For the first time, people saw a brilliant human-focused circus. The extravaganza included colorful costumes, original music and magical lighting, all crafted by local experts and artisans. By 1990, digital technology – especially incredible light shows – were already par for the course. Cirque du Soleil had solidified itself as an international phenomenon. Laliberté chose the name Cirque du Soleil because “the sun symbolizes youth, energy and strength.” These three themes are now the primary focus of modern entertainment. DIVERSITY FUELS EVOLUTION It’s important to keep in mind that, at any time in history, theater and entertainment have reflected current societal norms and the issues of the day. The themes of unity and diversity have brought people together time and time again over the past two decades. As the world becomes more connected through cell phones and internet technology, it is more important than ever to remain timeless while always evolving. Eclectic, all-inclusive shows with diverse casts such as Cirque du Soleil’s Amaluna have universal appeal. Such shows transcend cultural norms and embrace the direction this new, united world is moving towards – the perfect place to foster meaningful business relationships that stimulate the imagination and drive creativity. Cirque du Soleil allows you to learn from its experts through interactive workshops and conversations. THE EMOTIONAL ASPECT OF ENTERTAINMENT With the advent of modern technology and more scientific methods, audience surveys and serious research have become increasingly important for maintaining profit margins. Cirque du Soleil hired the Lab of Misfits, a team of neuroscientists, technologists and artists, to find out why people liked their performances so much. When asked about the purpose of the study, Kristina Heney, Cirque du Soleil’s Chief Marketing and Experience Officer explained, “Fans and critics alike have been calling our shows ‘awe-inspiring’ for more than 30 years now, and yet when we asked fans as marketers, ‘How do you feel? How do we connect with you?’ they were not able to explain it.” Beau Lotto, Lab of Misfits director, Beau Lotto, Lab of Misfits Director said that they were interested in understanding what about their performances managed to elicit a feeling of awe in the audience. He explained that it begins with a sense of surprise that quickly leads to a sense of wonder at the unexpected. Lotto added, “You want to know. You have a desire to understand the source of that surprise. Awe then goes further and says, ‘I want to know, but in order to know, I’m going to have to shift my reference frame. It’s impossible. I can’t figure out how that bit works.’” Their research findings indicated that during moments of awe, audience members didn’t focus on looking at things and just took in everything around them instead. Imaginative thought and memory increased. The performance inspired daydreaming and creative visions. THE ADVENT OF INNOVATION AND AUTOMATION Today’s audiences expect to be awed by spectacular live performances. They also want personal involvement in the show. Interactive corporate packages, such as escape rooms and murder mysteries, invites the audience to become participants and performers themselves. Amaluna’s corporate packages bring groups into the Big Top for an up-close look at the show. With EPIC, audiences gain access to innovative and immersive experiences, exploring how Cirque du Soleil implements technology, art, and make-up to create a world class stage performance. These experiences act as gateways to form a new understanding of leadership and teamwork. Technology and innovation have changed the way we shop, eat, live and access entertainment. Cirque du Soleil remains ahead of the curve with larger-than-life shows that harness the power of technology. Are you ready for the entertainment experience of a lifetime? Inspire them with Amaluna’s Hennessy Black VIP Experience or an exclusive peak behind the curtains with EPIC. { SOURCE: USA Today } ------------------------------------------------------- A Peek Into The LUZIA VIP experience {Mar.21.2019} ------------------------------------------------------- Have you wondered about the VIP experience at Cirque du Soleil’s “Luzia”? Dreaming about how “the other half” lives? Here’s a look at what’s happening in the private tent reserved for those who purchase a VIP ticket to the colorful show under the big top at Florida Mall. The location: The VIP experience takes place in an exclusive tent. It has a couple of bars and its own souvenir stand to reduce time spent waiting in line. There are high-top tables, along with stools and couches. And don’t underestimate the appeal of line-free VIP restrooms, a row of high-class port-a-potties. The VIP tent opens an hour before showtime and is available during intermission, as well. The food: Before the show, hors d’oeuvres are available from a shrimp- taco station (delicious). Other treats, such as skewers of meat and vegetables, are delivered by waiters. Intermission is dessert time — Nutella crepes and a banana mousse that is a gussied-up version of the comfort-food staple banana pudding, complete with vanilla cookie. Also, it is a circus after all — so there is a popcorn machine available. The bags even say it’s “VIP popcorn” so you don’t forget your status. The drink: The VIP experience is sponsored by Hennessy, and its Hennessy Black cognac is the featured ingredient in a couple of specialty cocktails. I tried one infused with maple syrup – like breakfast with a kick. There’s also a variety of other alcoholic beverages, including beer and wine, up to Champagne Nicolas Feuillatte. The souvenirs: VIP guests wear a special lanyard, but also receive a goodie bag to take home at the night. When I visited, a “Luzia” souvenir tote bag contained the glossy program detailing the show and a pair of “Luzia”-branded stemless wine glasses, or juice glasses if used at breakfast. (Unless you’re going for the Hennessy cocktail to jumpstart your day.) The cost: $255-$265 per adult, depending on the night. The cost includes the best seats in the tent – front and center. The details: “Luzia” runs through April 21 at Florida Mall, 8001 S. Orange Blossom Trail, Orlando. For more information, VIP tickets or regular tickets, which start at $49, go to cirquedusoleil.com/luzia. { SOURCE: The Orlando Sentinel } ------------------------------------------------------- Voices Of Success: Mitch Garber {Mar.21.2019} ------------------------------------------------------- Mitch Garber, chairman of the live entertainment company Cirque du Soleil, talks to Forbes Asia about constant evolvement and what great leaders must be equipped with. In this edition of “Voices of Success” interview series, Garber, who is also a private equity investor talks about identifying a company’s strengths and building synergy to add incremental growth. Cirque du Soleil is one of the largest live entertainment businesses in the world. 11 million tickets a year, over a billion dollars of tickets. Today owned by TPG, Fosun, The Caisse De Dépôt pension fund in Quebec, and myself, and a number of private individuals in management. After we bought the Cirque du Soleil, we realized what we really are is a live entertainment logistics company. And so we went and bought Blue Man Group, we went and bought Vstar, a children’s live entertainment touring group. And so we’re applying our expertise in live entertainment and live touring and logistics to companies that we’re buying to add incremental EBITDA and synergy to the Cirque du Soleil’s core business because we need to move. We need to move forward. So always evolving, whether you call it pivoting or evolving, technology will play a role, and just the general economy will play a role. The Canadian businessman also shares his most memorable moment when an unexpected rejection ultimately led to an outsized profit, which you can see in the video below: CHECK OUT THE VIDEO HERE: http://www.cirquefascination.com/?p=12460 { SOURCE: Forbes Asia } ------------------------------------------------------- Cirque’s IHQ Achieves Fitwel Certification in Quebec {Mar.22.2019} ------------------------------------------------------- The Center for Active Design (CfAD) has announced that the Cirque du Soleil Entertainment Group (CDSEG) international headquarters, located in Montreal, Quebec, received a Fitwel 2 Star Rating (out of 3 Star rating system), recognizing the building’s ability to support the physical, mental, and social health of its 1,500 employees. CDSEG’s Montreal headquarters is the first Quebec based building to receive such honors and the 12th in Canada. Fitwel is the leading global health certification, evaluating evidence-based strategies in buildings that support human health. “We’re proud to figure among Canadian leaders in this field but most importantly, to lead the way in Quebec. The health and well-being of our employees is a top priority and this certification reminds us how a well-designed work environment can impact both health and productivity,” said Lyne Lamothe, CDSEG’s Chief Talent Officer. “Fitwel certification confirms that we have a real impact on our employee’s wellness on a daily basis, whether it's through our meditation room, the use of our gardens to supply our cafeteria or even the building’s luminosity.” Joanna Frank, President & CEO of the Center for Active Design said: “We commend CDSEG for their Fitwel certification, which further advances Canada’s leadership in the healthy building movement as Fitwel’s second largest market. We are also proud to announce that CDSEG is the first entertainment company globally to prioritize employee health and well-being through Fitwel.” Fitwel is a cost-effective, high-impact certification system promoting positive impacts on building occupant health and productivity through improvements to design and operational policies. Fitwel provides 3rd party certification against a baseline of evidence-based criteria that define a health promoting environment. In office environments, the expected improvements in employee wellness may result in lower health care costs, lower rates of absenteeism, and increased revenue from enhanced worker performance. Fitwel responds to the growing demand for recognition of healthier buildings and workplaces, serving as a market differentiator to retain and attract future employees. The Fitwel certification is the second major certification recognizing CDSEG’s International Headquarters efficient design. The building was officially certified BOMA BESt Level 3 in 2014. In 2017, BOMA Canada and CfAD partnered to align the two certification systems, representing a comprehensive, high-impact approach to meeting both health and sustainability goals within buildings across North America. CDSEG’s certification recognizes our superior environmental and energy management practices, contributing to a healthy workplace and a marked reduction of our ecological footprint. Fitwel and the Center for Active Design Named one of Fast Company’s 2017 Top 10 Most Innovative Companies in Social Good, Fitwel is the world’s leading certification system that optimizes buildings to support health. Generated by expert analysis of over 3,000 academic research studies, Fitwel is implementing a vision for a healthier future where all buildings and communities are enhanced to strengthen health and wellbeing. Fitwel was created by the U.S. Centers for Disease Control and Prevention, with the Center for Active Design, a global not-for-profit organization selected as the licensed operator of Fitwel in 2016, with the mandate to expand Fitwel globally to the private sector. { SOURCE: Cirque du Soleil } ------------------------------------------------------- MSC Cruises Expands Partnership with Cirque du Soleil {Mar.26.2019} ------------------------------------------------------- This past weekend MSC Cruises marked a major milestone as part of its partnership with Cirque du Soleil. Both companies celebrated the 1,000th performance of the exclusive Cirque du Soleil at Sea shows on board MSC Meraviglia, which first launched in June 2017. On Sunday night, show artists, technical crew and MSC Meraviglia crew members celebrated the milestone with a cake cutting ceremony in the ships’ Carousel Lounge, the first ever lounge designed to meet the needs of Cirque du Soleil at Sea artists, equipped with the latest technology and special rigging, including a 360-degree rotating stage. The artists perform two shows in MSC Meraviglia’s Carousel Lounge: Viaggio: The story of a passionate and eccentric artist who hears the call of his Faceless Muse. Mysterious and seductive, she beckons him into the vivid world of his unbridled imagination to complete his masterpiece. With each stroke of his paintbrush, the Painter reveals the details of his grandiose tableau. Electrifying colors fill the space with intriguing motifs and rich textures. Majestic acts transform the theater into a living canvas. Sonor: This show takes guests on an auditory adventure with dancers, acrobats and characters, all moving to the rhythm. It conjures a world of unique sensations, astonishing sounds, bold music and immersive projections and culminates in a grand finale for the senses. The two original shows were produced especially for MSC Cruises by Cirque du Soleil as part of the long-term partnership that first started in 2013. As part of the partnership, a total of eight original shows will be produced exclusively for MSC Cruises guests on its Meraviglia generation ships. MSC Meraviglia, the first of the Meraviglia generation, also will bring her Cirque du Soleil at Sea shows to North America upon arrival for the first time in October 2018. Before homeporting in Miami, the ship will sail three sailings embarking from New York. The first two sailings with visit Canada and New England and the third will journey through the Caribbean before ending in Miami, where she will then sail seven-night Caribbean cruises. Itineraries include: Oct. 8, 2019: A 10-night sailing embarking from New York City sailing to destinations in Canada, including Sydney, Nova Scotia; Corner Brook, Newfoundland; Charlottetown, Prince Edward Island; and Quebec City, Québec. Prices start at $1,229 per person for a balcony stateroom. Oct. 18, 2019: A 10-night sailing embarking from New York City and sailing to Bar Harbor, Maine; St. John, New Brunswick; Halifax, Nova Scotia; Sydney, Nova Scotia; Portland, Maine; and Boston. Prices start at $1,169 per person for a balcony stateroom. Oct. 28, 2019: A 13-night sailing embarking from New York City and sailing to Philipsburg, St. Maarten; Fort de France, Martinique; Bridgetown, Barbados; Saint George, Grenada; Willemstad, Curaçao; Willemstad, Curaçao; Ocean Cay MSC Marine Reserve; and ending in Miami, Florida. Prices start at $1,559 per person for a balcony stateroom. This month MSC Cruises also launched its latest flagship and MSC Meraviglia’s sister ship, MSC Bellissima, complete with two exclusive Cirque du Soleil shows: Syma and Varelia. Every element of each show is unique, from the concept and storyline, characters, costumes and make-up to music, staging and sound effects. Each show offers a true multisensory experience that will leave guests spellbound. Syma: Sail beyond Imagination takes you on the epic journey of a young sailor, brimming with imagination. On this bold expedition, he braves the elements, plunges into troubled waters and discovers the mysterious island of his dreams, populated by surreal, and colorful creatures. We all carry our own imaginary island inside of us, so what are you waiting for? Syma awaits. Immersive video images, an original set design, bioluminescent lighting and acrobatic feats make Syma an unforgettable show. Varelia: Love in Full Color puts a futuristic twist on a traditional medieval tale. It traces the arduous course of an unconventional courtship between a princess with distinctive violet skin and a charming hero who is blind. Their budding romance is thwarted by a villain who, in a fit of madness, kidnaps the royal. With the help of his friends, the brave young hero formulates a plan to rescue his beloved. Delight in the acrobatic feats, the laser show and the unique set design of this futuristic medieval tale. Work is already well under way for the next two original shows to debut on MSC Grandiosa, launching in November this year and another two new shows for MSC Virtuosa, launching in October 2020. Cirque du Soleil at Sea is a pre-booked experience for guests with competitive rates and can be booked in advance or while on board during the cruise if availability allows. Guests can either book to enjoy a three-course menu served before the show ($39) or sip on a specialty cocktail ($17) and enjoy the pre-show that begins 30 minutes before the start of the Cirque du Soleil at Sea performance. { SOURCE: Insider Travel Report } ------------------------------------------------------- Cirque Acquires Bob's Lawn Care for $10.4 Million {Apr.01.2019} ------------------------------------------------------- On April 1, 2019, Cirque du Soleil announced its intent to purchase Bob’s Lawn Care of Kenosha, Wisconsin for $10.4 million in cash. This will mark the company’s fourth major acquisition in recent years, following Blue Man Group in 2017 and VStar Entertainment and The Works Entertainment in 2018. “Bob’s Lawn Care is well known in the Kenosha market for its innovative use of gardening pros singing pop songs while pushing lawn mowers,” said Daniel Lamarre, president and CEO of Cirque du Soleil Entertainment Group. “We believe this unique gardening entertainment enterprise will help take Cirque du Soleil and its affiliated companies to the next level.” “I’m very excited about joining the Cirque du Soleil group of companies,” said Robert Potenkis, founder of Bob’s Lawn Care. “The opportunities for lateral synergy are boundless and I look forward to integrating the fine art of pop singing and lawn mowing into new Cirque productions coming to China and Dubai and the new Cirque du Soleil resort under construction in Mexico.” { SOURCE: In Park Magazine } ------------------------------------------------------- Using Digital Transformation for Procurement Efficiency {Apr.03.2019} ------------------------------------------------------- With her team of costumes and operational buyers, Fulya Oguz reveals to Business Chief how Cirque du Soleil manages unique procurement on its digital transformation journey. “What we do is very unique,” reveals Fulya Oguz Operational Procurement Manager, Supply Chain at Cirque du Soleil. “On a day-to- day basis I might be talking with an operational buyer about a lift that will pull up a 25-ton tent in one corner of the world, and then move on to discussing the lingerie required for our Zumanity show.” The Canadian entertainment company was established in Montreal, Quebec, in 1984. In the past 35 years the business has expanded on a global-scale, having offered shows to more than – 200mn viewers globally across 450 cities. Due to the colorful nature of the performances, the procurement team is often required to source non-conventional products in order to achieve the high-quality productions promised in its reputation. “Our goal is to invoke imagination, provoke fantasies, and evoke emotions. In order to enable that we buy extremely specialized and unique, custom-made products,” says Fulya. Fulya manages the operational procurement team within the company’s supply chain operations, which focuses on strategic sourcing, travel management, customs and logistics. “My team consists of project managers and operational buyers that specialize in different commodities. Essentially, my team supports all the Cirque units, including studios, buildings, IT, touring shows, production and of course costumes workshops,” she states. Her mandate is to ensure all internal business units are supported with solid contracts, efficient procurement processes, and good risk management. For Cirque du Soleil, efficiency is important in ensuring all the customer-facing aspects of the company function perfectly. “Operationally we have to be efficient and we have to be on time,” Fulya explains. The live shows require reliable equipment and bold sets and costumes, and without efficiency from the procurement team these may not be readily available. Innovation is a key driving force behind functions. With growth influencing operations, the team is introducing new technologies to manage procurement and ensure vital efficiency. “As our President Daniel Lamarre has said ‘At Cirque du Soleil we don’t talk about diversity, we live it every day with different nationalities influencing our growth.’ I think it is very important as we’re a worldwide company and our global presence has increased considerably over the years. And, of course, this growth influences and impacts all of its business units and their operations. So, everything we do we have to do it even more efficiently and effectively,” explains Fulya. With growing demand, the team is focusing on introducing new, creative solutions: “It’s a creativity-driven business. We try to acquire the best and brightest talent in the field of procurement, while capitalizing on the highest technological advancement and tools available.” In order to introduce new technologies, Cirque du Soleil began by questioning how it conducted business. By addressing what could be eliminated from everyday operations, it could then decide where to start investing. “To support our supply chain transformation, we invested in an e-sourcing cloud platform, shortly followed by an e- procurement cloud platform. The e-sourcing platform was introduced with the intention of streamlining our communications. As a buyer, we receive requests in all forms – from emails to verbal.” Cirque du Soleil has been able to process an increased volume without increasing the team. The cloud has enabled time-efficient operations, allowing Cirque du Soleil to communicate globally and shorten its response time. The team also found that the solutions enabled statistic tracking, analysis and traceability, while connecting different departments. “We can invite different partners within the same tool – it breaks the silos. Everyone can participate,” Fulya continues. Innovation is not the only priority for Fulya, with Cirque du Soleil also ensuring it sources its products in the most sustainable ways. “As a citizen of the world we have to value sustainable methods and watch our footprint. We have to integrate these principles in our procurement practices,” says Fulya. “Today we have performances all over the world and we have to showcase unique products, meaning the fabrics and props we use are not readily available or reachable.” In 2017, the company transported fabrics from France to Canada on the Avontuur sailboat. The successful journey emitted zero carbon as the engineless boat required no fuel. This led to the firm committing to making at least five journeys through this method by 2020 in order to reduce its environmental damage when acquiring its specialized materials. When creating the LUZIA show, the firm used 6,000 litres of water per performance. In order to offset the huge quantities used, Cirque du Soleil would ensure that every liter would be recycled during the duration of a stay in a given city. “When we say sustainability and the environment are very important to Cirque, we really mean it,” Fulya adds. Since joining the company eight years ago, Fulya has helped transform the operational procurement team. As she continues to break the silos and be a part in ensuring the company’s shows are staged on time, the head of the operational department aims to ensure the solutions – allowing this to happen – are implemented across the world. “In regards to technology, we have already decided what we’re going to use and we’re working on it. The next step is making sure the cloud platforms are accessible all over the world,” states Fulya. “That’s an extraordinary responsibility in a magical environment.” { SOURCE: Gigabit Magazine } ------------------------------------------------------- Using Digital Transformation for Procurement Efficiency {Apr.10.2019} ------------------------------------------------------- Cirque du Soleil Entertainment Group (CDSEG) through its innovation lab, Nextasy, and FCAD, Ryerson’s Faculty of Communication and Design have come together to launch The Future of Live Entertainment Lab (FOL!E), dedicated to innovation research in the live entertainment industry. This powerful initiative combines Ryerson University’s strength as Canada’s leader in innovative, career-oriented education, with CDSEG’s expertise as a live entertainment global leader, to create a laboratory that will focus on using technology to enhance human performances, developing methodologies for live audience analytics, and generating deep insights into social and economic paradigms shaping the industry. “We’ve always invested internally to push the boundaries of our own creations and creative minds, but FOL!E is our first official step to open up our research and development initiatives to the outside world. There is no doubt this academic partnership will contribute to pushing the live entertainment industry to the next frontier.” says Diane Quinn, Chief Creation Officer at Cirque du Soleil Entertainment Group. Charles Falzon, Dean of FCAD says, “We are thrilled to have found a partner who has at heart as much as we do, the training of the next generation of live entertainment leaders. FCAD‘s research is at the intersection of technology and creative storytelling and who better to partner with than Cirque du Soleil, the biggest and best Canadian cultural export who has raised the bar of innovation in those fields for the last three decades.” Housed in the Catalyst at FCAD, a new interdisciplinary research hub home to 20 labs and centres, FOL!E will bring together faculty and students from FCAD’s nine creative schools to develop projects in high-interest areas for academic and field-based research. Under the leadership of Louis-Etienne Dubois, faculty member in the School of Creative Industries and newly appointed Director of FOL!E, researchers will also have access to CDSEG’s expertise and audience insights coming from the Group’s facilities worldwide including its international headquarters in Montreal. Through a unique interdisciplinary approach that blends technology and creativity, CDSEG has committed funding and expertise to tackle questions of how the changes in audience preferences, emerging technologies and shifting economic conditions are creating new possibilities for the live entertainment’s industry. FOL!E’s initiatives and findings on the potential social, educational, and commercial impacts will be disseminated through academic conferences, journals, an annual showcase event and through Nextasy’s online platform that shares trends and insights in live entertainment and creative innovation. ABOUT FCAD The Faculty of Communication and Design is the cultural and creative hub at Ryerson University. With its nine prestigious schools in media and creative industries, FCAD’s interdisciplinary innovation and education are shaping the future of the creative industries. ABOUT RYERSON UNIVERSITY Ryerson University is Canada’s leader in innovative, career-oriented education. Urban, culturally diverse and inclusive, it is home to more than 45,300 students, including 2,600 Master’s and PhD students, 3,800 faculty and staff, and nearly 198,000 alumni worldwide. { SOURCE: Cirque du Soleil } ------------------------------------------------------- 10 Artists Coming to Messi10! {Apr.10.2019} ------------------------------------------------------- On this 10th of the month, we have 10 updates for you on our show Messi10 in partnership with Leo Messi… a glimpse of 10 artists who will start training at our Headquarters in Montreal! CHECK OUT THESE ARTISTS HERE: LINK /// http://www.cirquefascination.com/?p=12501 { SOURCE: Cirque du Soleil } ------------------------------------------------------- Discover SYMA and VARELIA from Cirque at SEA {Apr.10.2019} ------------------------------------------------------- Cirque du Soleil at Sea is a unique entertainment concept created by MSC Cruises, the world’s largest privately owned cruise line, and Cirque du Soleil, the world leader in live entertainment. In March 2019, two brand new Cirque du Soleil at Sea shows, SYMA and VARÉLIA, launched on board MSC Cruises’ new flagship, MSC Bellissima. The leading cruise line has revealed today details of the inspiration and creative process behind these two original new shows along with the exclusive first images of the spectacular performances. Every element of each new Cirque du Soleil at Sea show is unique from the concept and storyline, the characters, the costumes and makeup through to the music, staging and sound effects. The concepts are first developed by the experienced and talented creative team based at Cirque du Soleil’s international headquarters in Montreal, Canada. Following a rigorous casting process and intensive ideation workshops, the shows are then refined and brought to life on board the ship in the custom-built entertainment venue, the Carousel Lounge, designed to meet the specific needs of Cirque du Soleil. The long-term partnership will result in eight original shows that can only be seen on board the Meraviglia class ships. Each ship will offer two brand new contrasting shows to deliver a truly unique and intimate experience for MSC Cruises guests. SYMA is a fantastical odyssey into the heart of an imaginary world, and the search for a mysterious island inhabited by phantasmagorical creatures. The guests on board MSC Bellissima are embarking on a journey of discovery, just like the main character of the show. Immersive video images, an original set design, bioluminescent lighting and acrobatic feats make SYMA an unforgettable show. VARÉLIA is a tale of modern chivalry where love and courage triumph over the greatest divides. A medieval tale with a futuristic twist, VARÉLIA follows a classic story arc in a cartoonesque world which adds a humoristic touch. Audiences will delight in the acrobatic feats, the laser show and the unique set design. CHECK OUT IMAGES OF SYMA AND VARÉLIA HERE LINK /// http://www.cirquefascination.com/?p=12519 With these two new shows, Cirque du Soleil continues to push creative boundaries with the introduction of innovations in staging, makeup, costumes and performances. Some of the highlights include: o) The Underwater Creatures characters in SYMA have ultraviolet iridescent makeup, which, along with parts of their costume, glow under special lights built into the custom-made Carousel Lounge o) The creative team have used video projection mapping for the first time in SYMA to project content onto tangible set elements and props on stage to add yet another visual element to the show. This technology enhances the guest experience by animating static objects and surfaces. o) The finale of VARÉLIA includes a breathtaking roller skating duo spinning at incredibly high speeds while completing complex tricks. This, coupled with an aerial hoop duo, creates a spectacular floor- to-ceiling climax. o) Laser lights are used in VARÉLIA to create a futuristic and changing set design. They convey the theme and atmosphere of the show. With a strong focus on aesthetic principles the lasers create graphic figures and illusions where Cirque du Soleil at Sea artists can thrive. Cirque du Soleil at Sea can be booked in advance at a reduced rate or whilst on board during the cruise for any remaining seats. Guests can either book to enjoy a three-course menu of palate-pleasing dishes served before the show (€35), or sip on a specialty cocktail (€15) and enjoy the pre-show that begins 30 minutes before the start of the Cirque du Soleil at Sea performance. MSC Meraviglia was the first ship to debut the new Cirque du Soleil at Sea concept with the launch of the two shows VIAGGIO and SONOR in June 2017 and recently celebrated the 1,000th performance on board., Work is already underway for the next shows for MSC Grandiosa, that will launch in November 2019. { SOURCE: MSC Cruises } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ------------------------------------------------------- Q&A w/CRYSTAL’s Scott Smith {Mar.07.2019} ------------------------------------------------------- Figure skating and acrobatics are hard enough. Combining the two might sound impossible, but for Scott Smith, it was a perfect fit. “I was a competitive skater for 20 years. In a way I’ve been training for this all of my life,” Smith told the Deseret News. The show he’d been training for is “Crystal,” Cirque du Soleil’s first ever on-ice experience, which incorporates figure skating and advanced acrobatics. “Crystal” will be at West Valley City’s Maverik Center Thursday through Sunday. Smith saw Cirque du Soleil many times in Las Vegas before joining the “Crystal” tour, and was “always inspired by the athleticism and technical skill of all of the shows,” he said. Watching the performers even motivated him to put a trapeze skating act together for the cruise ship he was performing on at the time. But with most of his background in figure skating, he never thought he’d get the opportunity to join Cirque du Soleil. Smith committed to skating at a young age. Like many children, he experimented with different sports as a child but stopped searching once he discovered figure skating. “I just loved skating. I loved the speed of it,” Smith said. “I would just practice for hours and hours and hours on my jumping. When I wasn’t skating, I was practicing my jumping in the yard.” His passion made him perfectly prepared when he saw a Facebook post inviting figure skaters to audition for Cirque du Soleil. He was overjoyed they were going in a direction he was trained in and applied. After the audition, Smith hit the ground running, skating and flipping. Despite decades of experience, it still took a lot of work to prepare. “There were a couple of tricks that I needed to enhance to blend the two worlds together,” he explained. “Some of the tricks that I use in competitive skating I still do in this show as well, but … I do a backflip over a person in this show, which was something new.” Smith studied videos of the performance to learn the choreography and perfect new tricks. He was in the full show within two weeks of joining in November 2017, just as “Crystal” started touring. Being a part of Cirque du Soleil took some getting used to. The scale of the performance was a huge change from the more intimate venue he’d grown used to on the cruise ship — he hadn’t really skated in big arenas in the decade since he’d retired from competitive skating. Beyond the venues, the Cirque du Soleil cast was another big difference. On the cruise ship, Smith had primarily worked with others trained in competitive skating whose stories were similar to his own. “What’s great about this is we all have such different backgrounds and everybody is very skilled in very different ways,” Smith said of Cirque du Soleil’s cast. “We all respect each other for the uniqueness and the skill that each person brings to the show.” These differences don’t get in the way. Smith said if anything, the respect adds to their teamwork. The entire cast and production group gets along well and feels like a team. This connection is especially important, since some of the big acrobatic tricks require a lot of trust in each other. These more daring moments may seem dangerous to the audience, but Smith said every part is carefully planned and practiced to keep the performers safe. “Occasionally there are injuries just because we’re pushing our bodies all the time,” he said. “But everybody here has trained and practiced a lot. We have lots of safety practices. … The training is there so it is safe when we’re doing some of the bigger acrobatic tricks.” One of Smith’s favorite things about touring with “Crystal,” other than performing, is the tour itself. Smith said he’s glad for the opportunity to tour the U.S. He loves seeing friends and fellow skaters he’s trained and worked with in the different cities they visit. “Performing on the cruise ship, you kind of move into a room, so in a way, it feels like you’re doing a stationary show,” Smith explained. “Obviously, you wake up and you’re in a new place each day, but it doesn’t have the same touring feel of living out of a suitcase and going city to city.” Though Smith has enjoyed many cities, he is particularly excited to be in Utah. During his last year of competitive skating, Smith moved to Salt Lake City to train with skater Stephanee Grosscup. After a few years of training with her, he started traveling for shows but came back to Utah in his off-time. “I love Utah,” he said. “I didn’t plan on staying. My plan was to just move here for a year or two, work with Stephanee and then move on. But I ended up really liking it here. Being here in Salt Lake has been the most exciting, to come back here and get to perform this show in front of all the friends and connections that I’ve made while living here.” { SOURCE: Deseret News } ------------------------------------------------------- Erini Tornesaki and Her Dynamic Voice {Mar.11.2019} ------------------------------------------------------- Talented vocalist of jazz and Greek traditional music, Eirini Tornesaki blurs the lines between genres and explores intercultural dialogue through music. Her angelic voice was first heard in public when she performed at her father’s restaurant in Crete at the age of four. Growing up she studied classical piano, music theory and cello, and was a member of the Youth Choir and String Orchestra of the Municipality of Heraklion in Crete. With a natural talent, Eirini completed her Bachelor in Vocal Performance at the British and Irish Institute of Modern Music in England in 2012. The young singer in 2017 was also awarded a full tuition scholarship to complete a Master of Music at the Berklee Global Jazz Institute in Boston, with Danilo Perez and an array of faculty including John Patitucci, Joe Lovano, Terri Lyne Carrington, and George Garzone among others. She notes it was an intensive one year program and a truly unique opportunity for her to study next to the great artists. “As a child I loved Pantelis Thalassinos. As a teenager, I discovered rock music and loved Freddie Mercury and later on, Aretha Franklin, Ella Fitzgerald, and Sarah Vaughan and now I love listening to Esperanza Spalding. I am also always inspired by other traditions from around the world and admire the flamenco singer Estrella Morente. Throughout the years, my taste in music has been changing and I always draw inspiration and influence from a variety of artists” Eirini said. Between 2014-2017, Eirini was the singer of the Cirque Du Soleil show ‘Kurios- Cabinet of Kuriosites’, touring Canada and the USA for three years, performing 1074 shows with them. She also participated in their Virtual Reality short film ‘Inside the box of Kurios’ for the Samsung Gear VR, which won a Day Time Emmy Award in 2016. For Eirini, the “studio is an interesting space where you really feel like your voice is put under a microscope, so it can possibly be stressful. It’s important not to let that affect you and find a way to express yourself freely. I love recording in the studio, and the more I do it, the more comfortable I feel.” Eirini has amazed audiences across the world, performing in Canada, USA, Cuba, Colombia, Panama, United Arab Emirates, Cyprus, Greece, and most other European countries. Not to mention she has also collaborated with many artists including Barry Manilow, James Bay, Nick Pitera, Christos Zotos, George Garzone , Luciana Souza, Classico Latino and Mario Frangoulis, just to name a few. In 2017 she performed the US National Anthem for the Boston Celtics at the Greek Heritage Night, featuring Giannis Antetokounmpo. Recently, Eirini recorded the traditional Greek song from Propontis (Sea of Marmara) ‘Korasion Etragoudage’ in her own style. The song speaks about ‘xenitia’, being in foreign lands far from home. “I discovered this song from the recording of Domna Samiou and it moved me. Since then it has become part of me. I have performed it in many concerts throughout the United States and last year I decided to record it with a new arrangement featuring Palestinian cellist Naseem Alatrash.” “I carry the Greek Culture with me through the study and performance of Greek traditional music,” she added. The talented young artist would like to continue performing as a soloist and also with her Greek traditional music group “Pharos Ensemble” in the future. As for the next 2 years, Eirini has her eyes set on releasing her debut album and a world tour. “I am hoping to keep exploring intercultural dialogue through music and that I can use the power of music to help someone, or convey a message for social change.” { SOURCE: Greek City Times } ------------------------------------------------------- Three Gymnasts from Kooza – From Sport to Stage {Mar.20.2019} ------------------------------------------------------- It’s the classic storybook narrative; a young outcast with a troubled past runs away from home to join the circus in pursuit of a better life. But for former top-level gymnasts Talita De Lima, Ion Ciacla and Denis Pirogov, the fiction is their reality. The trio, from Brazil, Romania and Russia all called time on their sporting careers in search of a more exciting lifestyle and now perform together as teeterboard artists in Cirque du Soleil KOOZA. With massive sacrifices and drastic changes in lifestyle, running away with the circus hasn’t been all smooth sailing. But there are also no regrets. Every night that 29-year-old De Lima steps out on stage to be catapulted from a teeterboard to spin, twirl, and land on the shoulders of a fellow acrobat in front of hundreds of people, she takes a moment to think of the life she left behind. Growing up in an underprivileged neighbourhood in São Paulo, Brazil, De Lima always searched for ways to escape her reality. At the age of five, she was introduced to artistic gymnastics and quickly excelled to the top of the sport, taking out local and national tournaments. She was marked as having plenty of potential in the sport but after nearly 14 years of training and competing as a gymnast, De Lima longed for a change. She grew tired of her routine and was discouraged by the lack of opportunities in Brazil. “The lifestyle in Brazil is very difficult,” De Lima told the Herald. “I wanted to leave and to have more fun. I wanted to see the world.” It wasn’t until De Lima stumbled across a gymnastic friend’s Facebook profile that she dreamt up the crazy fantasy of running away with the circus. “I saw on her Facebook page that she was doing Cirque du Soleil and she looked so happy,” she said. “I thought to myself, I hope one day I can do that. My dream was to be like her someday.” De Lima set her sights on the world-renowned circus and her opportunity finally came in 2008 when Cirque du Soleil held auditions in São Paulo. Out of 30 candidates, only three were chosen to proceed to Cirque du Soleil’s international headquarters in Montreal, and De Lima was one. Leaving her life and family behind, De Lima relocated to Canada in 2009 to begin training and joined KOOZA’s house troupe less than a year later. But although her strong gymnastics background came in handy, De Lima had never trained nor performed in teeterboard. “The only thing the same was knowing how to jump and tuck,” she says. De Lima trained for up to five hours a day in her first year, the dedication required reminded her of what it took to compete in top level gymnastics. Led by an acrobatics coach, De Lima said the physical transition wasn’t as tough as she anticipated. But the mental side was uniquely different. “In gymnastics, we were taught to just think about the competition and try to win,” De Lima says. “But here we think about being an acrobat, artist, dancer, everything. I’ve learnt so many things here. You cannot look sad when there are thousands of people watching you. If you have some personal problems and you put your foot out there you cannot show that to anybody you need to forget everything. When you go through that door you need to forget it all and just be an artist … When I step out on stage, I’m not Talita anymore, I’m a different person, a different character – and I love that.” Over the past 10 years, De Lima has performed in front of thousands of people around the world. Yet the two most important people in her life, her parents, have never had the opportunity to see her live. Her parents always cried when she would leave after a short holiday home in between tours but De Lima said she would always consider leaving São Paulo behind a small sacrifice to the dream she now gets to live. “It’s like I have one family in Brazil and here I have another huge family, my circus family,” De Lima said. “I want to stay here performing as long as I possibly can, I want to be here forever. If I’m not an artist I want to work in another role like coaching because I love this. This is my everything, this is my life.” * * * Even after 16 years of being launched from a teeterboard wearing stilts, high-flyer Ciacla said he still felt nervous before every show. “It’s a big audience compared to when you compete because competing you have maybe hundreds around you and here you have thousands,” he says. “I’m always nervous.” Ciacla, 28, watched his first circus show at the age of six after his parents signed him up for artistic gymnastics classes. Following six years of national level gymnastics, Ciacla began transferring his skills to acrobatics and at just 12-years-old, auditioned and landed his first circus gig. Picking up a professional performer contract in 2003, Ciacla relocated to Las Vegas to perform at Planet Hollywood as part of the teeterboard act before joining the Moscow State Circus Teeterboard in the US, touring all 50 states over a two-year stint with the show. Adjusting to life as a circus performer was challenging at first for Ciacla, who found the lifestyle to be very different from what he was used to as a young athlete. The demands to master his act after joining Cirque du Soleil in 2009 included hours of training every day but the workload wasn’t ever enough to put Ciacla off the fascinating lifestyle of being in the circus. “When I started teeterboard, I was training about four to six hours a day for six to nine months,” he said. “You must be ready and maintain yourself at a higher level. Sport is pretty much the same but you’re only preparing yourself to compete for up to five times a year. But here, you have to maintain this and be ready for it every day.” Ciacla’s act, arguably one of the more dangerous of the teeterboard performers, has once left him concussed on stage and with a few broken bones requiring surgery. But Ciacla, who didn’t consider his risk of injury in the circus much more than being a gymnast, said nothing would ever put him off the job he now considered his life. “It’s definitely a bit more dangerous what I’m doing now, but there is no professional sport without being involved in danger, both are dangerous … it happens. The audience, performing and the energy we have here is what makes it special. I get to live with that every day.” * * * Performing arguably the most dramatic teeterboard jump in the KOOZA show is Pirogov. Catapulted into the air with both legs strapped together to a single stilt, the 39-year-old performs a series of mind- boggling flips before landing perfectly balanced on the stage below. Yet, the trick only took Pirogov a year to master as he drew on the skills he had learnt competing in gymnastics. “The training was similar but much more specific than in sport … circus training was always more fun.” Growing up in a Russian gymnastics school, Pirogov was transferred to the Acrobatic Sports Facility at the age of 14 to specialize as a flyer in the men’s acrobatics group. Pirogov set his sights on a career in the field but even after picking up plenty of medals and awards in the sport he soon realized the limitations of his opportunities at home. Invited to perform in Cirque du Soleil’s Quidam in 1998, was Pirogov’s golden ticket. “The future life after sport being an acrobat in Russia – there aren’t many opportunities,” Pirogov said. “The circus though promised the dream of being paid to perform and travel around the world.” Pirogov toured with different circus groups for ten years after his short stint with Quidam, before another opportunity with Cirque du Soleil came up in 2011. “I love Cirque du Soleil so it was nice to come back after being part of it in 1998,” he said. “I was excited to come back. It was my dream to come to Cirque du Soleil because it’s something different to any other traditional circus I’ve been part of. I feel something special inside when I go out on that stage, I feel the adrenaline and it gives me energy.” * * * When sitting in the audience of Cirque du Soleil KOOZA, it’s easy to forget about everything that happens behind the scenes. Stepping out on stage to perform up to two shows a night with often just one day of rest a week, the reality of running away with the circus is far from the glamorous fantasy depicted in storybooks and Disney movies. It takes years of hard work, dedication and sacrifice – three things De Lima, Ciacla and Pirogov know all too well. But for the three inspiring artists, performing on stage is never something they will take for granted. “Everything about being part of the circus is a dream,” De Lima said. “I’m living my dream. Dreams do come true.” { SOURCE: New Zealand Herald } ------------------------------------------------------- Meet Victor Salazar, Volta BMX Rider {Apr.05.2019} ------------------------------------------------------- Two years ago, San Diego BMX cyclist Victor Salazar went off to join the circus. This week, he came home. Salazar, 26, is one of five professional BMX riders performing in “Volta,” Cirque du Soleil’s action sports-inspired tent show that opened Wednesday and continues through May 5 at the Del Mar Fairgrounds. “Volta” features a cast of more than 40 international acrobats, skaters, slackline walkers, aerialists, parkour athletes, clowns, dancers, singers and musicians. But it’s the BMX riders who star in the show’s finale, performing high-flying stunts on steep polycarbonate ramps and vertical platforms just feet away from the surrounding audience. Salazar said audiences in the 2,500-seat tent are usually surprised to be so close to five riders performing intricate maneuvers together in such a confined space. “It can be nerve-wracking for people because they don’t expect such an intimate experience,” he said. “There’s a lot of adrenaline pumping and high-flying action. What they may be used to seeing on TV is nothing like what they’re going to see in the tent.” Salazar was invited to Montreal in 2017, when the Canadian circus theater company began developing a new show that would combine traditional circus performers with urban, street and parkour athletes. The Mission Valley resident said he enjoyed the experience of working in the tent show environment so much that he signed on as a permanent member of the Volta BMX team. Since Volta’s launch in mid-2017, it has toured continuously through Canada and the U.S. with four-to five-week stops in each region. It’s now finishing up a winter-long tour of California. From Del Mar, it will next move to Chicago for a two-month run. In the transfer time between each city, Salazar has flown home to San Diego to visit his girlfriend, his family and friends. So he’s thrilled to back in his hometown this month, for more reasons than one. “It’s a huge accomplishment for me to be here with Cirque du Soleil to show everyone who supported me along the way where I’m at in my journey,” he said. “A lot of the time I was hurt or I didn’t do my best or I was down and out. But I never let that get me down. I’ve always been pushing. It’s a big weight off my shoulders to show people that this is what I have to offer and this is what we want to bring.” Salazar, who grew up in Huntington Beach, said he fell in love with BMX cycling when he saw his first race at age 3. While he enjoyed winning races, he quickly realized he was more interested in doing aerial tricks than finishing in first place. When he was 13, a BMX stunt team performed a motivationally themed show at his middle school and their message of positivity stuck with him. “They said if you have dreams and goals in life, no matter what they are, pursue them and go for it,” he said. At 16, he turned pro and at 18 he became a touring athlete, traveling with BMX teams all over the world. In 2013, he won third place in a FISE World Series contest in France. He has performed in NBA and NFL halftime shows and has appeared in several national TV commercials. One of his best friends, and sometimes competitors, on the touring circuit was AJ Anaya of Denver, Colo. Anaya was among the first BMX riders to be recruited to Montreal to develop Volta. He convinced Salazar to join him there. The all-ages show tells the wordless story of Waz, a fame-seeking game-show contestant who becomes disillusioned with life and goes in search of a new identity, which he finds among a community of supportive, free-spirited athletes led by the BMX riders. Because Volta was the first show Cirque du Soleil shaped around action sports, these athletes had a major part in crafting their acts. Steven Ross, senior publicist for Volta, said the BMX riders requested less rigid costumes for better flexibility and the arc of the see-through ramps they ride at the corners of the stage were built to their specifications. Salazar said performing in the dark tent with moving stage lights on see-through ramps can be challenging and confusing, so white strips of reflective tape line the edges of the heavy plastic ramps so the riders don’t miss a landing. The show is not without its dangers. In December, a member of the BMX team was injured in a fall during a performance in San Francisco. And last spring an aerialist died after a fall during a Tampa show. Ross said Cirque du Soleil treats all of its performers like professional sports athletes. They travel with coaches and medical staff who perform regular health evaluations and rotate out performers for a rest whenever necessary. Salazar said he stays in peak form by working out in the gym six days a week and practicing for at least two hours each day on his bike — which is purple with chrome plating for show-goers looking to identify him during performances. The Volta tour schedule is now booked through September, with several more cities planned after that. Salazar said he plans to stay with the show indefinitely. “I don’t see myself going anywhere. I’m here to stay,” he said. “It’s been an awesome ride.” { SOURCE: San Diego Union-Tribune } ======================================================================= 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 ------------------------------------ Alegría-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: Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019 Los Angeles, CA -- Apr 25, 2019 to May 26, 2019 Livingston, NJ -- Jun 12, 2019 to Jul 14, 2019 Oaks, PA -- Jul 24, 2019 to Aug 25, 2019 Bazzar: Doha, QA -- Apr 25, 2019 to May 4, 2019 Koozå: 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: Sendai, JP -- Apr 19, 2019 to May 29, 2019 Singapore, SG -- Jul 5, 2019 to Jul 21, 2019 Sydney, AU -- Oct 2, 2019 to Oct 27, 2019 Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020 Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020 Adelaide, AU -- TBA Perth, AU -- TBA Luzia: 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 Calgary, AB -- Aug 16, 2019 to Sep 15, 2019 London, UK -- Jan 12, 2020 to Feb 16, 2020 Totem: Vienna, AT -- Mar 9, 2019 to Apr 22, 2019 Geneva, CH -- May 9, 2019 to Jun 16, 2019 Gran Canaria, ES -- Jul 5, 2019 to Sep 1, 2019 The Hague, NL -- Oct 11, 2019 to Nov 10, 2019 Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020 VOLTA: San Diego, CA -- Apr 3, 2019 to May 5, 2019 Chicago, IL -- May 18, 2019 to Jul 6, 2019 Washington, DC -- Jul 26, 2019 to Sep 8, 2019 Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020 Los Angeles, CA -- Jan 17, 2020 to Mar 8, 2020 Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ TORUK - The First Flight: 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: Brasília, BR -- Apr 5, 2019 to Apr 13, 2019 São Paulo, BR -- Apr 19, 2019 to May 12, 2019 Asuncion, PY -- May 31, 2019 to Jun 8, 2019 Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019 Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 Indianapolis, IN -- Jul 24, 2019 to Jul 28, 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 Moscow, RU -- Nov 22, 2019 to Dec 8, 2019 Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019 Kazan, RU — Dec 19, 2019 to Dec 22, 2019 CORTEO: 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 Columbia, SC -- Jul 10, 2019 to Jul 14, 2019 Estero, FL -- Jul 17, 2019 to Jul 21, 2019 Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019 San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019 Denver, CO -- Aug 15, 2019 to Aug 22, 2019 Turin, IT -- Sep 26, 2019 to Sep 29, 2019 Milan, IT -- Oct 3, 2019 to Oct 6, 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 Brussels, BE -- Nov 21, 2019 to Nov 24, 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 Antwerp, BE -- Mar 13, 2020 to Mar 22, 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, May 31, 2019 o) Sunday, June 9, 2019 o) Friday, June 14, 2019 o) Sunday, June 23, 2019 *) 2019 Dark Dates: 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) 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 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 --------------------------------------------------- *) FINDING HOME Ever wonder what our artists from VOLTA, LUZIA and Amaluna dream about having in a home? In this exclusive series in which we partnered up with realtor.com, each episode depicts the concept of home for our touring artists, who share moments of bliss with their brothers and sisters across their Cirque du Soleil journey. The series makes parallels with Cirque du Soleil shows, acts and artists from VOLTA, Amaluna and LUZIA and to the attributes of home by Realtor.com. o) EPISODE 0: "Trailer" {Apr.01} LINK /// https://www.youtube.com/watch?v=PYrSiHSZbYI o) EPISODE 1: "Jenn's Story" {Apr.01} Jennifer Marcus, baton twirling artist on VOLTA, loves to perform in front of an audience on stage or at home. Find out more about her ideal home. LINK /// https://www.youtube.com/watch?v=wRiISZCQ_oo o) EPISODE 2: "Nelson's Story" {Apr.09} Nelson Smyles, acrobat on LUZIA, loves to jump around. Discover why he dreams of having a big swimming pool in this episode of Finding Home LINK /// https://www.youtube.com/watch?v=021D0qTWMTM *) WE ARE VOLTA (YOUTUBE) What is life on tour like? The most random object you travel with? What do you miss most about a “normal” lifestyle? Find out what our VOLTA artists reveal in this new web series, We Are VOLTA. o) EPISODE 1: "Life on Tour" {Mar.30} LINK /// https://www.youtube.com/watch?v=SScFf5XKnew o) EPISODE 2: "What's Unique About it?" {Apr.06} LINK /// https://www.youtube.com/watch?v=_w8qfQJaQA4 --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) CASTING: Action Sports Specialists LINK /// https://www.youtube.com/watch?v=YbBTpXMrPXQ o) The Alegria Big Top is Up! LINK /// https://www.youtube.com/watch?v=byb8p_-3OQk o) LUZIA Music Video: "Flores En El Desierto" LINK /// https://www.youtube.com/watch?v=Pk2o_R_QQ7o o) What do the Sound, Video and Communications teams at JOYA do? LINK /// https://www.youtube.com/watch?v=GGdAf5rNRM0 o) Will Smith doing it the CirqueWay LINK /// https://www.youtube.com/watch?v=8KMuwjOrCe0 o) Experience CREACTIVE! LINK /// https://www.youtube.com/watch?v=wUnIFSbVK6A o) Youth-Led Chicago SOCIAL CIRCUS Festival LINK /// https://www.youtube.com/watch?v=COyjYCieblc o) Defining AWE at SXSW 2019 LINK /// https://www.youtube.com/watch?v=J-CsbslhbOw o) What it's like Photographing our Artists LINK /// https://www.youtube.com/watch?v=1VyfjCT4Qu8 o) CASTING: Martial Arts Specialists LINK /// https://www.youtube.com/watch?v=wbZ_mieJkYI o) CORTEO Music Video: "Balade au bout d’une echelle" LINK /// https://www.youtube.com/watch?v=WhMsPTNzsLg o) CASTING: What Does it Mean to be a Circus Artist? LINK /// https://www.youtube.com/watch?v=NoEdAtWTiHs o) Mystère Music Video: "Egypte" LINK /// https://www.youtube.com/watch?v=rQ1fIf5Sk7Q o) The Evolution of Alegria's Iconic Makeup LINK /// https://www.youtube.com/watch?v=--Rq9P_JOpc o) CASTING: Figure Skaters LINK /// https://www.youtube.com/watch?v=NgkK5kRw9wQ o) OVO Music Video: "Scarabees" LINK /// https://www.youtube.com/watch?v=_NSFuwvHTik o) Alegria Artists Answer Questions from the Big Top LINK /// https://www.youtube.com/watch?v=cWm4vGa6j_s o) CRYSTAL: Meet Pierre Antoine Chastang LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/399201457324141/ o) CRYSTAL: Meet hand-to-hand porter Eyal Sadik LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/650227645406828/ o) OVO: Meet Ladybug Neiva Nascimento LINK /// https://www.facebook.com/OVO/videos/267154590872401/ o) OVO Bugs Invade Carnival 2019! LINK /// https://www.facebook.com/OVO/videos/640385273085043/ o) OVO: Meet Aruna, the Spider LINK /// https://www.facebook.com/OVO/videos/2574075212607801/ o) TORUK: 5@5 from the Front of House LINK /// https://www.facebook.com/torukthefirstflight/videos/354101435188748/ o) JOYA: Meet the SVC Team LINK /// https://www.facebook.com/CirqueduSoleil/videos/2316266718698602/ o) The JOYA Experience: Full of Surprises LINK /// https://www.facebook.com/JOYA/videos/2308119002796340/ o) AMALUNA: Meet the Band! LINK /// https://www.facebook.com/Amaluna/videos/286988658645140/ o) AMALUNA: Meet the Chefs LINK /// https://www.facebook.com/Amaluna/videos/344542892830205/ o) AMALUNA: Meet the Prop Team LINK /// https://www.facebook.com/Amaluna/videos/2386109638301442/ o) AMALUNA: Meet the Lighting Team LINK /// https://www.facebook.com/Amaluna/videos/1744853298949646/ o) VOLTA: Singer Nick Pitera joined our band as a guest performer for a one-time jam the #CirqueWay! He learned the music and lyrics in no time and jumped on stage to record this amazing version of our Aerial Straps song “Cause you’re still here”! LINK /// https://www.facebook.com/VOLTA/videos/351207735544745/ o) VOLTA: Danila Bim, Hair Suspension Artist, on the TODAY Show LINK /// https://www.facebook.com/VOLTA/videos/592258654573911/ ======================================================================= FASCINATION! FEATURES ======================================================================= ------------------------------------------------------------ Jean David's Quel Cirque, Part 4 of 12: "O, Canada!" 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 adieu, Quel Cirque! # # # In 1985, the Ontario fiasco left us over $750,000 CA in debt. Technically we were nearly bankrupt. We asked Claude Castonguay, then a Canadian insurance company CEO, to help get us back in gear. The previous summer I had run into him at our Quebec City show. He was looking for tickets, but the show was sold out. I gave him courtesy tickets in the front row of the big top and a tour of our humble facilities. In the weeks that followed, he sent me a thank-you letter, offering me his support.… It was far from a hollow offer. In fact, he and his marketing vice-president, Pierre Melançon, helped us devise a sponsorship plan, injecting a little more rigor and professionalism into our business. Claude Castonguay also signed a letter addressed to our creditors and the Montreal business community, vaunting the merits of our project and dynamic young team. The object was twofold: to win people’s trust and gain time. Mission accomplished! In a matter of weeks, we were awarded an important Canadian government contract that took us to Vancouver. Our show opened the Canada Pavilion at Expo 86. Our team also acted as host for a month. Meanwhile, we took part in the Vancouver International Children’s Festival. Both operations were a success, enabling us to get the Canadian tour off to a flying start. My analysis of our Ontario setback revealed that our success in Quebec in 1984 and 1985 had no impact whatsoever in the English-Canadian market. I learned what everyone around me already knew: Canada is divided into two worlds: one Francophone and the other Anglophone. There are two separate communications network and little crossover between them. Our Quebec triumph failed to resonate in the English- Canadian media. In a way, we were total strangers in our own country. But success in Vancouver meant scoring points in Toronto. In communications, I swear by the principle “When you pee in Lake Superior, the water rises in San Francisco.” An action in one place may have consequences elsewhere… You’ve probably guessed! I had the chance to confirm the theory that year: our success in Vancouver resonated throughout English-Canada, especially in Toronto. A few months later, Cirque du Soleil’s excellent performances in that metropolis completely eliminated the losses we had incurred the previous year. Still, nothing had a bigger effect in Canada than the success we registered in the US. The exchange rate, the population density, and climate all have a negative impact on the Canadian market. As a result, we have a minimal “sea-to-shining-sea” presence in Canada. Are you familiar with the expression “who says what to whom, by what means and to what effect”? The Art of Recruiting --------------------- Like any good manager, I valued the people I worked with, particularly those under my direction. I loved what I was doing and, to maintain the right atmosphere, I surrounded myself with people who shared my passion. As in most organizations, the jobs were demanding. Expectations were high, so when the time came to form teams, we needed individuals we could count on. Indeed, the daily workload and multitude of tasks to be performed obliged us to be open, and highly focused. Often, the members of your team made the difference in the quality of work that you could do. I set simple hiring criteria: above all, I wanted people who were autonomous, proactive, and creative. I encouraged them not only to identify the problems but also to find solutions. This brings to mind confrontations I had with Human Resources: some of them disagreed with my opinions and my decisions. I believed that will and determination displayed by candidates in their interviews were much more important criteria than their current skill level or previous experience. I wasn’t too shy to step up and declare that I was willing to accept responsibility for the consequences of my decisions. Time and events proved me right. Most of my staff became indispensable to the organization. They set standards for excellence in their sector. I was proud of my employees and associates. Together, we made a formidable team. Our strategic position in the company constantly forced us to seek fresh ways of doing things. Our approach to planning led to success. Many times, we served as a model for other departments. And I welcomed the situation. At the office, I always emphasized the organizational climate. I long felt that my primary role was to foster a work environment that encouraged and rewarded individual expression and initiative by every member of the team. A poor atmosphere makes people uncomfortable. So, it’s a manager’s responsibility to maintain the right environment. Starting at the Top ------------------- We entered the American market, starting at the top: HOLLYWOOD. The Quebec delegation in Los Angeles helped us get in touch with Robert Fitzpatrick, the founder and director of the Los Angeles Festival. An outgrowth of the Olympic Games, this arts festival saw the light of day in 1984 but was not repeated. Then, at the request of Mayor Tom Bradley, a group of promoters launched it again in 1987. It was a somewhat elitist event with great works, big companies and famous names… Festival directors were on the lookout for a show with a little more popular appeal. Not surprisingly, our exotic, and novel presentation appealed to them. Thus we quickly reached an agreement that involved considerable risk for us. At the time, the troupe numbered over 80 people and had to transport hundreds of tons of equipment. It was an enormous operation and the Los Angeles Festival did not want to foot the bill. Festival officials thought that the event was too risky for their young organization. If our show failed, the consequences would have a disastrous impact on their operating budget and their reputation in the American entertainment industry. We struck a deal: the festival didn’t produce our show; it assumed no financial risk; we shouldered the risks. But we did get some advantages: the festival included us in their programming, and its advertising campaign supported our ticket sales. Our show enjoyed the same benefits as the other shows for which the festival actually assumed production costs. And even better, we were on the front page of the festival program, a million copies of which were distributed in the Los Angeles Times. What a coup! Finally, the key element that convinced us the risk was worth taking was that we had a very favorable place in the schedule… Our show would kick off the festival. Much to our surprise, the announcement of the agreement got a cold reception in Hollywood. Many media outlets and critics from the arts world castigated the organizers for opening the festival with a “circus.” What was a circus doing in such a major event? Criticism was heaped on the festival. Rumor had it on opening night that the cultural elite would be lying in wait for us under the big top in the industrial quarter of Little Tokyo. The outlook was decidedly grim. The media had no idea who we were. But they would soon find out. During the months that preceded the event, we set the stage for our arrival in Los Angeles. My first working visit was also my first trip to California. Everything about the city impressed me; I’d never seen anything like it. But I was a little concerned. Los Angeles is a huge city and we had to market our show, work out partnership deals with the media, hire a PR firm, see to a thousand and one details, and, above all, create the event. The first time I met people in Hollywood, I asked them, “Are you real? ” touching them on the shoulder to make sure. They looked at me funny. It was hard to tell fact from fiction in the film capital, I explained. I wondered if the people were real or merely extras in a big-budget film. I was enjoying myself… The same week, we set up our first meeting with the local public relations agency recommended by the festival operators. It was a highly experienced firm with a long list of show business clients and contacts. But they left us cooling our heels in the conference room for a good twenty minutes. Our appointment was scheduled for 4:00 p.m. and it was 4:20. I couldn’t understand what was happening. It was a crucial meeting but the head of the agency hadn’t showed up yet. Spontaneously, I stormed out of the conference room overlooking the main work area where a dozen people were toiling away. And I bellowed, “Hello! I’m the client, I’m the client and I’m waiting. Hello!” In a matter of 30 seconds, the boss came racing down the hall; the staff was aghast. There was a crazy client in the conference room. I was the client. I informed the gentleman that I was just as busy as he was, that I had no time to lose and that as a client, I had a right to insist that our meetings start on time. Finally, we all got down to work. The gentleman explained how complicated things were in Hollywood: the media had more cover stories than they could handle, nobody had heard of us, or our circus, we had to be patient and, above all, not expect too much. They’d do what they could to help us. Very encouraging wasn’t it? Our relationship with the man and his firm was short-lived. The run-up to opening night was a real challenge. We lacked notoriety. In fact, to the people we met, we were complete strangers. We also knew zilch about Hollywood culture and had to bust our butts to get results and a little attention. Of course, some people did what they could to help us. For the premiere, only about 5,000 of the more than 55,000 tickets available were sold though we practically gave the tickets away: $15 for adults. The company had poured everything into its first American operation and we didn’t have enough money left to pay for the gas to drive back to Montreal. We had to lay everything on the line. The troupe was under enormous stress. Despite that, our spirits were high. We had unshakeable faith in our artists and the show. Our advertising used our French name, Cirque du Soleil, accompanied by the slogan “We reinvent the circus.” People needed to know what we had to offer. Some observers considered the slogan pretentious, but I thought it reflected who we were. Opening night would change our lives. The response by the press and the public provoked a media frenzy. The next day, the headlines read “There’s a festival in the festival.” Also, a lengthy debate began: Was it really a circus? Critics and the cultural vultures had been looking forward to lambasting us, but they were so enchanted by what they saw that they considered our show the only one in the festival worth seeing. A complete reversal of the situation. There was widespread astonishment. Many observers wondered what part of the United States we were from. We must be American! They’re from Canada? Quebec? You’re kidding! We sold out in less than a week. The company had to erect a huge fence around the site and set up valet parking. I had never seen so many limousines in my life. Something incredible was happening in Hollywood and in our organization. It was almost overwhelming. Within hours of the first press reviews, dozens of producers, managers, agents and sales persons of all sorts showed up. Americans, Israelis, Germans, Japanese, Arabs—they all wanted to see us to negotiate, talk, buy the company, rent our services, produce us, represent us, film us, finance us, assist us, advise us… We had to stay calm and keep our feet on the ground. It was all so tempting, so very tempting. Finally, we decided that the priority was to keep expanding our market share in the US and building our distribution network. And for all the people who wanted to do business with us, we had a word of advice: “Take a number and wait your turn.” Our principal sponsor, Canadian Airlines International Ltd., (CAI was a relative unknown in the market at the time), started getting hundreds of calls to its Los Angeles office. Their switchboard was flooded. CAI management couldn’t believe it: every travel agent in the city suddenly wanted to talk to them. People weren’t calling for plane tickets; they wanted tickets for the CAI circus… The airline even ended up selling the callers plane tickets! Our festival contract stipulated that the show couldn’t stay in Los Angeles and we couldn’t hold over. We’d have to leave when the scheduled performances were over and then return. As the festival management had refused to share the financial risk for our show, it couldn’t share in the profits generated by our success. They rued their decision; what seemed like a wise position a few weeks ago had suddenly turned into a tremendous business opportunity lost. Oh well, that’s life. After a brief stay in San Diego, we returned to the Los Angeles area, this time setting up on Santa Monica Pier. It was the start of a long and remarkable relationship. America was ours! { To Be Continued... } ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 4 (Issue #183) - April 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. { Apr.11.2019 } =======================================================================