======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 6 June 2019 ISSUE #185 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Before we get started there are some congratulations in order: On May 11th, SYMA and VARELIA aboard the MSC Bellissima celebrated their 100th performance. On May 20th, LUZIA artist Abou Traore captured a Guinness World Record title for the Farthest Moonwalk with a Soccer Ball Balanced on his head (10 meters). Check out this amazing feat here: https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/287955212086865/. On May 26th, CRYSTAL celebrated its 500th performance. On June 1st, we got our first glimpses of Messi10 - "Discover a stage that will create an environment that brings together the acrobatics of Cirque du Soleil as well as the beautiful culture of football!" Check out that video here (and be on the lookout for other juicy details about the new show): https://youtu.be/peApMqLERIo. And on June 2nd, KURIOS had its final performance in Japan. Check out this fantastic highlights video from the show's journey across the country (with big thanks to Fuji Television who put the video together for the tour): https://www.facebook.com/kuriosbycirquedusoleil/videos/2191359420911965/ * * * CIRQUE ANNOUNCES AXEL - A NEW SKATING EXPERIENCE * * * Cirque du Soleil is proud to announce its return on ice with a new creation that will spin you into the vibrant world of AXEL. This unique experience will showcase world-class acrobatic skating performances set in fantastical universes combining full-spectrum visual effects and awesome live music that seamlessly integrates popular songs with new original scores. “The success of our first creation on ice has reinforced our ambition to further explore the extensive creative possibilities of a frozen playground,” says Daniel Fortin, Vice President Creation. “With Cirque du Soleil AXEL, we will offer a truly electrifying experience to all audiences, pushing the boundaries of creativity with the unique approach that has forged the reputation of Cirque du Soleil.” Follow AXEL and his dynamic group of friends whose passion for live music and graphic arts come to life in an exhilarating adventure that reminds us that our dreams are within reach. Discover this young artist as he falls for the fascinating Lei in a high-speed chase for love and self-realization. Sparks fly as they set out on a fast-moving quest through fun colorful fantastical worlds. Will he fulfill his destiny and find his voice? SEE THE TEASER VIDEO HERE: LINK /// https://youtu.be/3nZPX1t6oDU FOR MORE INFORMATION / TICKETS: LINK /// http://www.cirquedusoleil.com/AXEL Created to tour in arenas around the world, Cirque du Soleil AXEL will hit the ice for the first time in Cornwall, Ontario, on October 4, 2019, before taking the road to stop in several cities in the United States. This new on-ice experience will be presented in Quebec City and Montreal later this year. AXEL is the 48th original production of Cirque du Soleil. * * * BÔCCA - AN EXCLUSIVE PERFORMANCE IN MONACO * * * For the second year in a row, Cirque du Soleil will be packing in Monaco for the Monte-Carlo Sporting Summer Festival, for five exclusive performances in the legendary Salle des Étoiles from August 15 to 19, 2019! Mixing gastronomy and high-flying acrobatics in a light and warm atmosphere, Cirque du Soleil will merge circus arts and culinary arts at the heart of the kitchen of a Casino Monte-Carlo restaurant. There a brigade of formidable cooks will cook great dishes, from exquisite salmon jelly to a sumptuous cake, which will come to life in an acrobatic and gourmet fairy tale that will delight young and old alike. High caliber artists will give substance to the story of this magical fairy tale. Icarian games, Chinese rings, aerial fabric, roller skates, juggling of all kinds, unicycle and trapeze- dance will be on the menu of this culinary allegory. This gastronomic fantasy will be carried by a soundtrack drawing from the music hall and jazz. The melodies, predominantly acoustic, will give pride to the brass, supported occasionally by the accordion and the harmonica, in grainy sounds with the scent of jazz and funk. The experience is €307.50 per person, you must be 7 years of age or older, and a jacket/ dress is mandatory. * * * THEME PARK UNIVERSITY ON "THE PARKS" * * * Theme Park University has been on the forefront of news regarding the on-again-off-again Cirque du Soleil-themed Theme Park in partnership with Vidanta, just as we have, and on June 7th, they received an official statement from both Vidanta and Cirque du Soleil regarding the future of the project: The Parks at Vidanta Nuevo Vallarta has expanded greatly in scope, shifting from a single theme park to a multi-tiered destination of immersive entertainment and vacation experiences across several park concepts, spanning hundreds of acres and countless one-of-a-kind experiences. As a continuation of our longstanding partnership with Cirque du Soleil, we are thrilled that a section of one of these concepts will be dedicated to their creative genius. The enhanced vision for The Parks is already underway with construction on many of its innovations currently in progress, as can be seen at the site in Nuevo Vallarta. As the project continues to advance, more details about this groundbreaking entertainment destination—including specifics about the expanded master plan—will be shared. Hmm... What a saga. Worthy of a soap opera (or two)! Okay, 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 * REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock" A Sneak Peek at CDS Events + Experiences in Andorra * Jean David's Quel Cirque, Part 6 of 12: "Strategy" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- Lamarre: Acrobats still part of the act; ‘MJ One’ to stay {May.08.2019} ---------------------------------------------------------- Daniel Lamarre is not ready to pink-slip the clowns and acrobats in Cirque du Soleil. “I think the challenge for us is each show has to be distinctive, to have new ideas to apply to acrobatics,” Cirque’s CEO and president said this past week in an interview in the company’s Las Vegas headquarters. “We’re not saying no, forever. But now, our clientele looking for acrobatic shows is very well served.” Lamarre’s company has just announced “R.U.N”, a show it stresses does not not feature the acrobats and clowns that made the company famous. The company is expanding beyond the gymnasts and aerial and aquatic artists bounding around its other six shows on the Strip. Opening Oct. 24, “R.U.N” is presented as a kind of “Fast & Furious” action-adventure film set for the stage. The company’s energy is behind that new show, the first Cirque show to open on the Strip since “Michael Jackson One” launched in 2013. Lamarre spoke of the Cirque universe beyond the new show. Some highlights, and note Lamarre’s repeated use of “machine” in describing the company: Cirque never considered reassessing its staging of “MJ One”: Lamarre answered, “No, no,” when asked if the explosive HBO documentary “Leaving Neverland” had initiated discussion of pulling the Jackson tribute show from Mandalay Bay. Lamarre reiterated that Cirque is not involved in the Jackson “estate’s litigation against HBO. He added, “The good news there is that we’re still selling very, very well, and it’s almost as if there is a movement right now from the Michael’s fan to really support everything he does … including ‘MJ One.’” Other production shows can’t match the Cirque “marketing machine:” Look no further than “Fuerza Bruta,” which flamed out after five weeks at a reinforced tent at Excalibur. “We are still in a unique position in Las Vegas, and we saw it recently when ‘Fuerza Bruta’ came in and they had to shut it down after a few weeks because they didn’t have the machine, the marketing machine, that we have,” Lamarre said. “Before you buy ticket to so a show other than a Cirque du Soleil show … you will have to struggle, because I have so many shows to offer to you. I know a lot of people who have come here and seen two shows, three shows, with Cirque du Soleil and they don’t get bored. That dominant situation we’re in has allowed us to maintain the level of ticket sales to succeed.” Cirque is opting for “dynamic pricing” in its ticket strategy: The 40 percent off for “Love” or 2-for-1 deals for “Zumanity” are results of demand for tickets across all Cirque shows. “We did not have this until after 2012, when we found it was a little bit more difficult for us in this city,” Lamarre said. “But now we have ‘dynamic pricing,’ a little bit like an airline company, where we can play with our ticket pricing depending on what day of the week, and the occupancy level and all of that. … We have been able to keep about the same level and even a little bit more ticket sales overall as we’ve done this. The shows are much more stable than people like to think.” Under Cirque, Blue Man Group is an international production: “Blue Man Group has been U.S.-centric, North American-centric, and Cirque 450 cities around the world, and has a distribution machine that is totally unique,” Lamarre said. “Nobody in the world tours at that scale. So when you do an acquisition like Blue Man Group, you can tour that show in 450 cities as well.” “Mystere” has been extended at T.I. “We’ve renewed the contract for an additional five years, and if I believe (hotel owner) Phil Ruffin, and I do, the show is there forever,” Lamarre said. “It has been there for 25 years. It is the granddaddy.” Will Cirque du Soleil remain the Strip’s predominant production company in five years? “Totally, and I would hope that we would be growing,” Lamarre said. “This one is a major test for us because if ‘R.U.N’ can achieve what we think it will achieve, then it will bring another growth pattern for Cirque du Soleil.” As for anyone who wants to partner with the company in future acquisitions, Lamarre said, “We’re still in the lookout, always … yep, because the business model we have developed is working and now it has intrigued interest from people. Now, people are calling us.” { SOURCE: The Las Vegas Review-Journal } ---------------------------------------------------------- John Katsilometes: “O,” We have Shows {May.13.2019} ---------------------------------------------------------- Cirque du Soleil is wading further into the deep end with “O” at Bellagio, its most profitable Strip production over the past 20-plus years. The company plans to expand the show’s schedule to seven days a week by 2020. The new schedule is likely to go into effect in late December. The decision came down Friday. The show is adding at least one performance on Mondays and Tuesdays, which are its current dark nights. As it is, “O” performs about 470 shows per year and annually moves more tickets than any single production show in the world. The read here is, “O” already spreads the wealth to other Cirque shows on the Strip. Why not put the schedule to the test to draw more revenue? Officials say that if “O” hits the box-office projections, other shows’ schedules will be reviewed. No plans have been announced yet to update the aquatic spectacle, but I wouldn’t be surprised to see refreshment at the pool by 2020. { SOURCE: Las Vegas Review-Journal } ---------------------------------------------------------- Why “R.U.N” will reshape Luxor {May.20.2019} ---------------------------------------------------------- The days of regularly imploding casinos and building brand-new casino resorts on the Strip appear to be over. We are now in the era of the massive remodel, currently exemplified by the major changes wrapping up at the Palms and the evolution of Monte Carlo into Park MGM. But some Vegas resorts can’t be remade. Luxor President and COO Cliff Atkinson was on the job for just a few weeks when he acknowledged as much during the recent announcement of the new Cirque du Soleil residency show coming to the 25-year-old Egyptian pyramid-themed property this fall. “I think it’s more about updating the property we have to be the best asset in its class. We can’t really rebrand what Luxor is, but what we can do is improve and update the offerings from rooms to restaurants and things like this show.” That makes the arrival of “R.U.N,” billed as Cirque’s first live- action thriller production and set to open October 24 at Luxor’s 1,500-seat theater, even more important for the pyramid, MGM Resorts International and the Strip in general. Cirque announced the show on April 30, the Montreal-based live entertainment company’s 47th original production, 10th resident show on the Strip and first new show in Las Vegas since the 2013 arrival of “Michael Jackson ONE” at Luxor’s neighboring resort Mandalay Bay. “R.U.N” is a first-of-its-kind collaboration with some major players in the Hollywood movie and stunt community, including filmmaker Robert Rodriguez who is writing the show. Cirque du Soleil is moving away from its traditional ethereal acrobatics and dream-like landscapes to create an immersive, action-packed, story-driven show that could be compared to a live version of a “Fast & Furious”-style blockbuster movie. “Every time you add a show you add something to the Cirque experience,” said Cirque du Soleil President and CEO Daniel Lamarre. “We did that with ‘O’ and with ‘Zumanity’ and ‘KÁ,’ and we did that with ‘The Beatles LOVE.’ That was also a huge departure. It’s a good thing for us now to bring something fresh and new. “It’s not unnatural for us. It’s almost as if we were to add a new arm to our casting department which is stunts. Our best discovery has been the huge stunt community in Hollywood, where everyone is intrigued to work with Cirque and figure out what we can do with a live production that we have never seen before. We said, ‘Guys, you have been doing it in the movie business forever. Come to our world and let’s see what you can do live.’” Cirque’s crew and those talented stunt performers and coordinators could prove to be a perfect team, but Luxor and “R.U.N” might also be an ideal fit. Much of the Egyptian-themed elements have been stripped away from the south Strip resort over the years as it has updated its offerings to appeal to different Vegas visitors. As Lamarre noted, the creative inspiration behind “R.U.N” targets a younger showgoer, a demographic direction Luxor has also been drifting toward in recent years. “I think they complement each other very well and it shows the direction of where the property is going,” Atkinson said. “The show is a big part of the property’s next step. It’s going to bring a lot of renewed attention here and then we’ll follow it up with what will happen here when the Raiders’ stadium arrives. The closest properties to the stadium are us and Mandalay Bay and we couldn’t be more excited about that.” It’s easy to see that an action-based show like “R.U.N” — as well as one of Luxor’s other resident shows, the all-ages favorite Blue Man Group — has a broader appeal that aligns well with the NFL’s 2020 arrival in Las Vegas and all the potential programming that will come along with it. The resort’s HyperX Esports Arena, opened last year in a former nightclub space, has a more specific draw but also targets a younger demographic and has vast potential for football and sports- related events and programs. “We definitely have a little harmony going on here at the pyramid,” Atkinson said. “We like how very complementary the programming at the Esports Arena and the show can be and how they have some overlapping, similar demographics. That’s how we update, through the programming and of course throughout the property, but the brand will remain Luxor for the foreseeable future and I think we’ll play up that narrative and that brand because it matches all the action we have. And I like that word, ‘action.’ It really says a lot.” The “R.U.N” theater was formerly the home of illusionist Criss Angel’s “Mindfreak” production — also originally a Cirque collaboration — and is in the final stages of a massive renovation. “Once we got a sense of how immersive the show is, we knew it would be a significant renovation of the whole space including the lead-up into the theater,” Atkinson said. “It’s completely revamped and reconfigured.” Lamarre said the “R.U.N” experience will begin in the theater’s lobby with interactive experiences that will “give you the buzz about what we’re talking about. Then when you sit in your seat, we want you to forget you’re watching something and feel more like you are a part of something. You will be surrounded by giant screens and visual effects and a lot of stunts happening live.” It sounds similar to being inside a video game, or maybe like having 50-yardline seats for an NFL game in a brand-new, hi-tech, 65,000-seat stadium. { SOURCE: Las Vegas Sun } ---------------------------------------------------------- Cirque-Inspired Movies In Works With Dan Lin’s Rideback {May.21.2019} ---------------------------------------------------------- Cirque du Soleil Entertainment Group, the world’s largest creator and producer of live entertainment content, and Rideback, producer of premium film and television content for global audiences, are proud to announce a partnership to develop feature length movies inspired by the Cirque du Soleil creative catalogue. This partnership aims to both leverage Rideback’s successful track record of transforming premium IP to the movie screen and, via continued diversification of content offering, increase the opportunities for a global audience to enjoy the Cirque du Soleil universe. “Cirque du Soleil Entertainment Group is synonymous with high quality entertainment, regardless of the brand or product category. For us, the movie business is a logical progression for ongoing portfolio expansion, and Rideback is the perfect partner to embark on this journey,” said Daniel Lamarre, president and CEO of Cirque du Soleil Entertainment Group. “Rideback is known for its ability to penetrate the movie industry with quality content. I look forward to the endless creative opportunities that will emerge by providing access to the immense Cirque du Soleil library of characters and storylines.” This announcement comes at a time when Cirque du Soleil Entertainment Group has solidified itself as the world’s largest creator and producer of live entertainment content. Recent strategic acquisitions of best-in-class companies, including Blue Man Group in 2017, VStar Entertainment Group in 2018 and The Works Entertainment Group in 2019, set the stage for future partnerships with the world’s most iconic brands. As a creative force in the entertainment industry, the company is continuously developing content for new audiences, evidenced by its recent reveal of R.U.N, a groundbreaking new show that is an unprecedented entertainment experience, using live action performance and exploring the world of stunts, that marks a pointed change in direction from previous productions. “Cirque du Soleil has enchanted millions of people around the globe through soul-stirring artistry and journeys of the imagination that are Cirque du Soleil hallmarks. Their expansion into movies creates a one-of-a-kind, frontier opportunity to develop entirely new narrative features driven by the awe-inspiring worlds they have created,” said Dan Lin, founder and CEO of Rideback. Lin continued, “We’re thrilled to partner with Cirque du Soleil Entertainment Group, as we feel uniquely positioned to share in their mission. We built Rideback on an ethos of empowering storytellers, opening doors for a broader mix of voices, and helping creators feel free to take risks and explore new ideas. We think our unique development environment will help Cirque du Soleil unlock exciting new stories waiting to be told on the big screen.” Rideback enters this partnership on the heels of completing production on Disney’s upcoming live-action “Aladdin,” directed by Guy Ritchie, starring Will Smith, and opening Memorial Day weekend. While Rideback continues to focus on tentpole movies based on globally recognized IP, founder Dan Lin also recently announced the Rideback TV Incubator, a writers-in-residence program formed in partnership with MRC that creatively and financially supports and mentors TV writers from diverse backgrounds to help them create new series for cable and streaming. Working alongside Cirque du Soleil Entertainment Group president and CEO, Daniel Lamarre, and Rideback founder and CEO, Dan Lin, on this project are Sebastien Ouimet, who manages all content and distribution partnerships for Cirque du Soleil Entertainment Group, and Rideback President of Film, Jonathan Eirich. About Rideback Rideback, the production company formerly known as Lin Pictures, focuses on supporting and empowering visionary storytellers who share the company’s passion for entertaining audiences in delightfully surprising ways. Rideback produced the Warner Bros. franchise hits “The LEGO Movie,” “The Lego Batman Movie,” “It,” and sequels “The LEGO Movie 2: The Second Part” and “It: Chapter Two.” Rideback films have combined for more than $3 Billion in worldwide box office. Rideback also produced Disney’s upcoming live-action feature “Aladdin,” starring Will Smith, and Netflix’s upcoming awards contender, “The Pope,” directed by Fernando Meirelles. Rideback additionally produces the Fox network hit “Lethal Weapon,” based on the iconic movie franchise, and also develops other series for network, cable and streaming. Rideback is located at Rideback Ranch, a creative campus in the Historic Filipinotown area of Los Angeles that houses Warner Animation Group; writer-directors Phil Lord and Chris Miller’s Lord Miller; writer-director David Ayer and Chris Long’s Cedar Park Entertainment; actress-producer Margot Robbie’s LuckyChap Entertainment; and premier animation studio Animal Logic. Founder Dan Lin has built Rideback on a simple idea: to be a community in support of creativity, a place where people and ideas pour into each other to elevate the potential of both. Visit www.rideback.com. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- For Laliberté, PY1 pyramid is his new Cirque du Soleil {May.21.2019} ---------------------------------------------------------- Guy Laliberté is a dreamer. His first dream was to take a rag-tag gang of street performers in a little town near Quebec City in the mid-’80s and transform them into an innovative circus that had nothing to do with the old-school animal-focused circuses. That dream became the Cirque du Soleil, currently the biggest live-show producer in the world. Laliberté sold his controlling stake in the company he founded for a reported $1.5 billion in 2015. Now he has another ambitious dream. This one is called Lune Rouge Entertainment, a hard-to-pigeonhole next-generation multimedia company that, in its own words, “develops highly immersive entertainment experiences and explores new creative horizons through projects in Quebec and abroad.” Lune Rouge’s first major project is the PY1 pyramid, an odd-looking 25-metre-high structure made of steel and concrete that is located on the Clock Tower Pier at the east end of the Old Port. It will be home to an immersive sound-and-light show called Through the Echoes, which opens June 1 and will be performed five times a day until late September. Then the PY1 pyramid will be packed up and shipped to Miami and the same show will debut there at the end of November or the beginning of December. The next stop will be the New York City area in the spring of 2020 and the idea is to tour the PY1 pyramid for years to come. In an interview Tuesday in the PY1 pyramid, Laliberté said he is comfortable with people comparing it to what they did with the Cirque du Soleil. “What do you do after you do the Cirque?” said Laliberté. “You are condemned to do something that is not like anything else. I don’t know if it will work and I don’t take things for granted. The one thing I know about the pyramid and what is presented there is this: it doesn’t exist anywhere else in the world. Does that qualify as being original? Will it be welcome by the public? We’ll see. So far it smells good, it feels good and we’ll see if it tastes good in June and if people buy into it. I’m all in. This is only one of the elements of what we’re masterminding. The future is coming.” Groupe Lune Rouge, the parent company owned by Laliberté, has four divisions. One is the family office, which manages his personal investments, including his real estate holdings (notably the former Maison Alcan on Stanley St. that Laliberté bought in 2016 for $50 million and which now houses Lune Rouge) and his contemporary art collection, the latter which Laliberté says has been his most profitable investment in recent years. Then there is Lune Rouge Entertainment, which is behind the PY1 project. The company also includes Reflector Entertainment, another multimedia company majority owned by Lune Rouge and run by Alexandre Amancio, who owns a minority stake in Reflector. The fourth division of Lune Rouge is an innovation division for smaller technology ventures. PY1 will also host immersive music parties featuring over 70 Montreal DJs, including Laliberté himself, who will be spinning the tracks June 1, 5, 7 and 9. The PY1 Nights will be held every Friday and Saturday nights over the course of the summer. All of the walls and the ceiling of the pyramid are used as screens, both for the Through the Echoes shows and for the party nights. “It’s like a really fun sandbox,” said Laliberté. “The pyramid can be like the blue-and-yellow Big Top was for the Cirque du Soleil.” There are also plans to have immersive meditation, yoga and work-out sessions take place in the pyramid in the morning. The pyramid cost $25 million to create and each show will cost between $4 million and $5 million to produce. When asked if the Cirque could potentially buy PY1, he said: “It’s not for sale. Not now. This is our first baby step in a series of things that are part of our master plan.” It’s impossible not to notice that the PY1 Pyramid is located just to the east of the Cirque du Soleil Big Top, which is currently home to the reboot of the classic Cirque show Alegria. Laliberté is well aware of his neighbours just down the pier. “It’s hyper symbolic, both of us right beside each other,” said Laliberté. The big difference between the Cirque du Soleil and PY1 is there are no live performers in Laliberté’s new venture. “I don’t want to touch that,” said Laliberté. “I made that decision when I left the Cirque. That’s finished. I’m exploring something else.” The PY1 pyramid opens to the public June 1 and the sound-and-light show Through the Echoes plays daily until the end of September. The PY1 Nights immersive parties happen every Friday and Saturday night over the summer. For more information, visit the website py1.com { SOURCE: The Montreal Gazette } ---------------------------------------------------------- X: The Land of Fantasy Official Announcement {Jun.01.2019} ---------------------------------------------------------- On May 30th, the Product Launch of “X the Land of Fantasy” produced by Cirque du Soleil and Hangzhou Suntiandy Group was successfully held in Hangzhou Suntiandy Theater. For the first time, the seating wagon was rotated 360°, presented the main characters as well as a piece of “spoiler.” On the same day, Xu Peng, deputy director of Zhejiang culture and tourism department, Zhao Hongzhong, deputy director of Hangzhou culture, radio, television and tourism bureau, Weldon Epp, Consul General of Canada and François Dansereau, Head of political and public affairs Quebec Government Office in Shanghai, came on site to witness the grand event. Liu Wendong, Chairman of Hangzhou Suntiandy Group, and Cirque du Soleil President and CEO Daniel Lamarre delivered speeches. Writer and Director Hugo Bélanger gave a detailed introduction to the theater, scenes and storyline. The first stunning appearance of Hangzhou Suntaindy Theater, which is customized with cutting edge technology and amazing design, displayed the wonderful scene of Cirque du Soleil X: The Land of Fantasy. Just as its tagline “Striking at every moment,” an unprecedented 360° immersive fantasy experience was brought to everyone from the beginning of the event. UNIQUE PERFORMANCE AUDIO-VISUAL FEAST The event completely demonstrated the uniqueness of the theater: the guests were seated on the seating wagon that represent two countries, which is the east and the west. With the rotation, they watched the main stage including the 100-meter-long Great Wall under the guidance of one of the main character of the show, The Watcher, as well as the 4 main performance areas. With the dazzling sound and light effects and exquisite props, the main scenes of “X: The Land of Fantasy” and the roles including King, Empress, Hero and Heroine, counselors, warriors, etc. are all presented in detail. Videos about theater construction, main creation team, and artists are also released. Hence, an amazing experience was presented from different aspects. SEE PICTURES FROM THE CONFERENCE HERE: LINK /// http://www.cirquefascination.com/?p=12732 Since the Press Conference held last year, the storyline of X: The Land of Fantasy has been well known to the public. This conference is an official “sneek peak” about the wonderful story, which almost restored the story about the Hero and Heroine were chased by the evil. In the middle of stage lift, Shadow Warriors and Hero & Heroine, their companies are confronting with each other, circus was redefined by the amazing and breathing taking Icarian performance. BRAND NEW CHAPTER OF HANGZHOU CULTURE & TOURISM After the wonderful performances, as one of the most important aspects of Cirque du Soleil X: The Land of Fantasy product launch, the signing ceremony is also quite interesting. “X: The Land of Fantasy” announced that they will cooperate with Ctrip, Damai, Fly Pig, etc. on tickets selling. There are 6 different kinds of tickets, 380 / 480 / 680 / 980 / 1280 /1680 Yuan, and on June 1st, the tickets will be sold on these platforms and the official website. Nowadays, with the improvement of the consumption level of the Chinese people, the overall consumer market has been upgraded, which makes the spiritual consumption + service experience oriented become the trend. As a key tourist city in China, Hangzhou, which has its own profound cultural heritage, has also ushered in the rising popularity of cultural tourism and entertainment in recent years. The cooperation with mainstream OTA platform is relying on the overall consumer market, promoting Hangzhou culture and travel industry and Cirque du Soleil X: The Land of Fantasy show. As Suntiandy President Liu Wendong said in the conference, “It is believed that under the cultural tourism policy and joint efforts of platforms and media, this unique entertainment experience created by Cirque du Soleil and Hangzhou Suntiandy will become an important cultural symbol to realize the integration and re-creation of Chinese and Western culture and enrich the cultural heritage of Hangzhou.” It is believed more in-bound tourists will be attracted, and its role as international tourism city will be also consolidated. Looking forward to the spectacular premiere of Cirque du Soleil X: The Land of Fantasy in August this year. { SOURCE: Hangzhou Suntiandy Group} *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ---------------------------------------------------------- BWW Interview: Puppeteers Talk TORUK – THE FIRST FLIGHT {May.07.2019} ---------------------------------------------------------- TORUK – The First Flight is a show inspired by James Cameron’s movie AVATAR, and created by Cirque du Soleil; it comes to London’s O2 Arena in June. BroadwayWorld spoke to puppeteers Helen Day and Antony Antunes about the show. Q. Who inspired you growing up? Antony: I was inspired by physical theatre companies – who, at the time, were laughing the boundaries of theatre. They included DV8, Théâtre de Complicité and Cirque du Soleil. I also adored the puppetry of Jim Henson. Helen: I was always incredibly inspired by my mum’s work ethic. She held down a high-pressured job whilst raising two girls. She definitely inspired me to think that anything is possible, which is hugely helpful as a performer. Q. What drew you to puppetry? Helen: I briefly dated a puppeteer and puppet-maker, years ago. He moved on fairly quickly, however he left me a puppet he had made for me. I started to play and experiment with her, and realised that my love for him might have faded, but I was starting a love affair with puppets! Antony: For me, it started at a young age. Loving the classic puppetry styles (The Muppets, Sesame Street etc.), I became interested in exploring physicality in different ways. Later, I continued exploring this at university. Q. How did you get involved with Cirque du Soleil? Helen: I saw a casting call when Cirque du Soleil was specifically looking for puppeteers for the original creation of TORUK – The First Flight. I sent in an application and some video footage, and was invited to a live audition. About three weeks later, I was offered the job! That was back in 2015. I’ve worked on this show from the start and am very proud to still be touring with it today. Antony: I had auditioned as a puppeteer and clown for Cirque du Soleil four years ago, also for the creation of TORUK. I wasn’t successful at the time, but I stayed on file and in contact, so my time came eventually! Q. What can we expect in this new TORUK – The First Flight production? Antony: TORUK – The First Flight is inspired by James Cameron’s epic movie AVATAR. It’s a collaboration combining the creative forces of his team and Cirque du Soleil, so it’s a unique live multimedia experience. Helen: Expect to see a very different side of Cirque du Soleil! Our show has a strong storyline, and acrobatics, puppetry and theatre are all combined to tell that story. It’s a spectacular piece on a grand scale with projections covering the entire stage. The show is named after its ‘star’ – a giant bird/dragon creature feared by all on Pandora, and known as ‘the last shadow’ because, if you encounter it, its shadow is the last thing you see before you die. Fans of the movie AVATAR will remember that Jake was the sixth ‘Toruk Makto’ (Toruk rider). Our show tells the story of the first Toruk Makto, hence the name. Q. Why was AVATAR chosen as the inspiration? Helen: Cirque du Soleil has long been known for transporting audiences to other worlds. At TORUK, audiences are swept away to the moon Pandora and the beautiful world of the Na’vi. The message behind AVATAR also matches our company ethos. It’s a good fit. Antony: The world of Pandora is so wide with possibilities; I think the source material is endless. Creating a live show was another way to expand that rich universe. The result is a true collaboration between the creative forces behind AVATAR and Cirque du Soleil. Q. What characters do you play in the show? Helen: I operate all of our puppets – namely Viperwolves and Direhorses (both of whom fans will remember from the movie); Austrapedes (created especially for our show, but now part of the Pandora landscape); a gorgeous turtle creature, a turtapede, which we’ve nicknamed Jeff; and of course the terrifying Toruk! I also start the show as a Na’vi. I play a member of the Omatikaya clan, and can be seen in an aerial drum and rope sequence. Antony: The puppeteers on TORUK are known as the spirits of Eywa, the force that connects all living things on Pandora. I puppeteer one of the Viperwolves, who chase and hound the Na’vi; the Austrapedes, who are cute and funny birdlike creatures; and the Toruk itself, a terrifying, nightmare creature. As puppeteers, we give life to all the creatures of Pandora, but we also give them voice and breath: we wear microphones and make all the sounds of the animals live on stage. Q. How do you keep the show fresh after all this time? Helen: The show was created in 2015 and has been open a long time now. We’ve toured 22 countries and 95 cities so far… However, we’re constantly tweaking it to keep it in tip-top shape. Antony: On top of that, everyone trains regularly throughout the week, to keep up their strength and cardio. Our stage is almost 2,000 square metres and we manipulate large-scale puppets, so being a puppeteer on TORUK is physically demanding! Q. How much input do you get in the puppetry design process? Helen: The puppets were elaborated by Patrick Martel, a professional puppet designer from Canada. As we added new creatures to the world of Pandora, it was a long process that started before the puppeteers arrived on the show. However, we’ve since made some amendments to the physical, as through use, we have wanted minor modifications so that we can make them look as lifelike as possible. I’m the Artist Coach for puppetry on the show, so have collaborated with our props team and external puppet-makers several times to make these amendments. Antony: Besides, we’re encouraged to keep the moments and characters alive, so we all have input into the characters and choreographies. Q. Any advice for aspiring performers? Antony: Practise, train and make as many connections and friends who are in the same field as you as you can. Helen: Try everything! Don’t get bogged down by the idea that you’re a specific type of performer before you’ve even started. I was totally convinced that I was going to be purely a ‘straight’ actress, performing Shakespeare. Now, I’m a circus puppeteer touring the world! Be open to different skills and opportunities – you never know where it might lead. Q. If you had to operate one puppet for the rest of your life, which character would you be? Helen: Definitely Jeff the turtapede. He’s the easiest of our puppets to operate, but also lots of fun. We basically get into the turtle- like shape and propel him forward with our feet. I think I could manage him well into my old age. The others might be a little difficult in later life. Antony: For me, it would be the TORUK, for sure! Q. Why should people come to TORUK? Helen: I think TORUK is unlike any other touring show that I’ve heard of. The scale, the projections and the sheer spectacle of the piece all make it an experience not to be missed. Antony: It’s a visual feast of incredible proportions. We have projections larger than five IMAX screens that cover the entire stage and showcase multiple landscapes of Pandora. Add the puppets, the music, the beautiful costumes, and the acrobatics… you get a beautiful show for the whole family. { SOURCE: BroadwayWorld } ---------------------------------------------------------- Grayslake native living his ‘inspiration’ as Performer {May.15.2019} ---------------------------------------------------------- Getting cast in Cirque du Soleil’s “Volta” has been a dream come true for Kevin Beverley. And the Grayslake native is especially excited to perform for a hometown crowd when the 2017 touring big-top show makes its Chicago debut this weekend on the grounds of Soldier Field. “I feel blessed,” said Beverley during a March interview at his high school alma mater, the Chicago Academy for the Arts. “This was exactly what I wanted to do.” Growing up, Beverley performed for nearly a decade as a member of local competitive dance troupes. When he transferred from Grayslake Central High School to the academy in 2006, he had to readjust his focus to concert dance, which was less about tricks and more about technique and sheer artistry. He found the perfect mix of his interests when he saw the Canadian TV documentary miniseries “Cirque du Soleil: Fire Within,” which was tied to the creation of the 2002 show “Varekai.” “It completely changed my brain,” Beverley said. “It had dance, it had theater, it had acrobatics — it had all these different kind of things and apparatuses coming together to make one show and I was blown away.” After taking circus classes at The Actors Gymnasium in Evanston and graduating from the Chicago Academy for the Arts in 2008, Beverley headed to Montreal to attend the National Circus School. He majored in dance trapeze and minored in hoop diving, the latter of which is his main showcase in “Volta.” “I like being multidisciplinary,” said Beverley, adding that in “Volta” he also understudies the dancing role of the main character “Waz.” “At the end, there’s a three-minute contemporary dance, which is very unknown for Cirque du Soleil with just one dancer and two backup singers,” Beverley said. “I get to mix my acrobatic background with my dance background and put them together for an ‘acro-dance’ solo.” In creating “Volta,” writer/director Bastien Alexandre and director of creation Jean Guibert initially focused on urban extreme sports. Beverley said a strong message about self-acceptance and learning to love yourself was also folded into the show. “They wanted to try something new,” Beverley said. “It shows the extremes of BMX and other extreme sports, but at the same time it’s very beautiful with dance.” “Volta” features an original score by Anthony Gonzalez, who is part of the electronica group M83. Beverly says it’s his personal favorite of all the Cirque du Soleil shows he’s heard, though he admits to being biased since he’s in “Volta.” Beverley still has plenty of family and friends in the Chicago area, so he’s happy that they won’t have to travel too far to see him perform in “Volta.” “Leaving the city to go chase my dream to become a circus artist and to come back to Chicago to share it with my people — that’s unbelievable,” Beverley said. “(Cirque du Soleil) was my original inspiration and I’m living that inspiration.” { SOURCE: Chicago Daily Herald } ---------------------------------------------------------- Director Fabrice Lemire talks Cirque du Soleil’s CRYSTAL {Jun.02.2019} ---------------------------------------------------------- Artistic director Fabrice Lemire takes on the ice in Cirque du Soleil’s CRYSTAL. The show features an international cast of figure, extreme and freestyle skaters, acrobats, musicians, and comic characters. This is Cirque du Soleil’s first ever ice show and Lemire talks about the unique challenges of bringing acrobatics and skating together. Q. Where did the idea to do an ice show come from? The concept of creating our first acrobatic performance on ice has been in progress for several years. Cirque du Soleil wanted to bring the disciplines of skating and acrobatics together in a new way, that would not only surprise our audiences, but that would also push the boundaries and challenge us. Q. What is the storyline of CRYSTAL and what is the creative process to bring that to life? The title of the show is named after our main character, Crystal. She is timeless and is on a quest to find out who she truly is. The story of CRYSTAL is about accepting who we are and not always looking for perfection. The creative process of CRYSTAL occurred over several months of collaboration and exploration to build the world of CRYSTAL from the ground up. Q. What were the challenges of bringing the acrobatic feats that Cirque du Soleil is known for to the ice? Ice was a big challenge! One of the challenges was to be able to be creative in adapting the equipment (shoes and gloves) to provide the artists with good grip, support, and padding to allow them to glide when needed or to give them good grip and stability in order to perform exciting acrobatics on this slippery surface. Q. What was the training and rehearsal process like? It was a fun learning process as everyone had to adapt to a new surface and a new discipline. The acrobats had to learn how to skate and perform their disciplines on a new surface and the skaters had to learn how to do acrobatics. It was a fun process that allowed everyone to learn from each other. Q. Much of the costuming is designed to also protect the performers. Can you tell us more about that? Safety plays a big role in the costuming of our artists. Shoes are designed to give comfort and are adapted to the skills of each artist. In CRYSTAL, the shoes, and their crampon soles, are the reason why we had to create additional camouflage padding on some of our banquine gloves. Our hockey helmets used during the show are styled with the look of the show but provide the extra protection the artist needs. Q. The Swinging Poles act is a first for Cirque du Soleil. How was this act created for the show? Pendular Poles is a combination of Chinese Poles and Russian Swing. The poles are used in conjunction with our video projects to create the feeling of a city scape with tall skyscrapers. We conducted several workshops prior to the arrival of all the artists for the creation of the show. Q. What is your next project? I joined CRYSTAL at the beginning of the creation process in 2017 and learned a lot about ice, skating, acrobatics, and how to combine both disciplines together. I will be heading to a new Cirque du Soleil ice creation at the end of July called AXEL. { SOURCE: Phindie } ---------------------------------------------------------- Meet Crystal’s Zabato Bebe {Jun.04.2019} ---------------------------------------------------------- When Zabato Bebe was a little boy, performers on stage, who were capable of mesmerizing the audience with their tricks, their looks, and their ability to tell a story, fascinated him. Add to the mix a pair of ice skates and a father who was a dancer, and you have all the ingredients needed to make Bebe a star in his own right. Growing up in Vienna, Austria, the son of a professional African dancer and a professor of arts, the young boy was always very interested in creativity combining different forms of art and entertainment “My dad was from the Ivory Coast and I’ve been a figure skater most of my life,” Bebe explains. “Growing up, my parents pretty much let me do whatever I wanted to do, although my father always encouraged me to bring something more to the ice that was far from ordinary.” During his career as an athlete, Bebe competed in many national and international competitions. The next step for him was to perform in ice shows. Since making the transition from amateur skating to professional skating, Bebe has been exciting audiences all over the world, just like he’s doing currently in Cirque du Soleil’s first — and so far only show on ice — titled “Crystal.” “I joined this ice creation back in June 2017, and have been touring with the production across North America ever since,” Bebe says. “I never thought I’d ever be in a show like this. For me, it’s like a dream come true.” Bebe adds that surrounded by amazing people who possess beautiful and hero-like skills means there’s never a dull moment. “And we do crazy things on the ice that to us seem perfectly normal as we push ourselves to please and astound our audience.” But he adds, a lot of practice takes place before the acts are perfected. “For instance,” he says “working on two Chinese poles is just one of the craziest things I do. It’s hard to explain but I’ve never done anything like this before let alone as a figure skater. “When they asked me to do that,” he adds, “my stomach definitely turned around a few times before I agreed to do it. But after a lot of practice I’m now totally used to it. I also got used to doing a double back flip on a very small surface of ice.” Bebe says he thoroughly enjoys performing but looks forward to the day he can start doing some choreography, “both for Cirque and for their companies as well.” But for now, Bebe admits he derives great joy just from performing. “I love performing in front of people. “I love watching their astonishment as they see people do what seems to be the impossible. I also like to think maybe I’m inspiring kids to think about the things they could do. The body is a tool for expressing yourself, and maybe I can convince others think that way, too.” { SOURCE: The Philadelphia Tribune } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria, Amaluna, Koozå, Kurios, Luzia, Totem & Volta} o) ARENA - In Stadium-like venues {TORUK, OVO, Séptimo Día, Crystal, Corteo, Messi10, AXEL} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA, Paramour, R.U.N and X: The Land of Fantasy} 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 Miami, FL -- Dec 20, 2020 to Feb 9 2020 Houston, TX -- Feb 21, 2020 to Apr 5, 2020 Austin, TX -- Apr 15, 2020 to May 17, 2020 Chicago, IL -- Jun 3, 2020 to Jul 12, 2020 Washington, DC -- Jul 23, 2020 to Sep 27, 2020 Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021 Amaluna: Oaks, PA -- Jul 24, 2019 to Aug 25, 2019 Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019 Bazzar: Beirut, LB -- Jun 19, 2019 to Jun 30, 2019 Koozå: Valencia, ES -- May 30, 2019 to Jul 14, 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 Seville, ES -- Jan 15, 2019 to Feb 9, 2019 Kurios: Singapore, SG -- Jul 5, 2019 to Aug 4, 2019 Sydney, AU -- Oct 2, 2019 to Nov 3, 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: Hartford, CT -- Jun 19, 2019 to Jul 21, 2019 Calgary, AB -- Aug 16, 2019 to Sep 22, 2019 Vancouver, BC -- Oct 3, 2019 to Nov 24, 2019 London, UK -- Jan 12, 2020 to Feb 16, 2020 Moscow, RU -- Mar 19, 2020 to Apr 12, 2020 Totem: Geneva, CH -- May 9, 2019 to Jun 16, 2019 Gran Canaria, ES -- Jul 5, 2019 to Sep 22, 2019 The Hague, NL -- Oct 11, 2019 to Dec 1, 2019 Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020 Munich, DE -- Feb 12, 2020 to Mar 8, 2020 VOLTA: 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: 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: Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019 Montevido, UR -- Jul 04, 2019 to Jul 14, 2019 Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019 Mendoza, AR -- Aug 01, 2019 to Aug 04, 2019 Santiago, CL -- Aug 23, 2019 to Sep 1, 2019 Medellin, CO -- Oct 09, 2019 to Oct 26, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 Monterrey, MX -- Sep 19, 2019 to Sep 22, 2019 Guadalajara, MX -- Sep 25, 2019 to Sep 29, 2019 Mexico City, MX -- Oct 4, 2019 to Oct 13, 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 Ufa, RU -- Dec 25, 2019 to Dec 29, 2019 Riga, LV -- Jan 15, 2020 to Jan 19, 2020 Minsk, BY -- Feb 6, 2020 to Feb 9, 2020 Kiev, UA -- Feb 13, 2020 to Feb 16, 2020 CORTEO: 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 Hershey, PA -- Aug 28, 2019 to Sep 1, 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 Paris, FR -- Dec 12, 2019 to Dec 15, 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 Vienna, AT -- Mar 25, 2020 to Mar 29, 2020 Messi10: Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019 AXEL: Cornwall, ON -- Oct 4, 2019 to Oct 5, 2019 Syracuse, NY -- Oct 11, 2019 to Oct 13, 2019 Huntsville, AL -- Oct 18, 2019 to Oct 20, 2019 Pensacola, FL -- Oct 24, 2019 to Oct 27, 2019 Tampa, FL -- Oct 31, 2019 – Nov 3, 2019 Jacksonville, FL -- Nov 7, 2019 to Nov 10, 2019 Roanoke, VA -- Nov 14, 2019 to Nov 17, 2019 Worcester, MA -- Dec 5, 2019 to Dec 8, 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, June 14, 2019 o) Sunday, June 23, 2019 *) 2019 Dark Dates: o) August 20 thru 21, 2019 o) September 21 thru 25, 2019 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm *) Single Show Dates | 7:00 pm Only o) Tuesday, Jun 25, 2019 o) Tuesday, Nov 5, 2019 *) 2019 Dark Dates: 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: Location: Stage Theater New Flora | Hamburg, Germany Performs: 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 R.U.N: Location: Luxor Las Vegas (USA) Performs: Wednesday through Sunday - Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm SHOWS BEGIN OCTOBER 24, 2019 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) 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 6: "Why do you Love your CIRCUS job?" {May.04} LINK /// https://www.youtube.com/watch?v=n8Gd4TMyr0w o) EPISODE 7: "The Beginning" {May.11} LINK /// https://youtu.be/lHPe5Zsz_8E o) EPISODE 8: "Favorite Moments, Activites & Places" {May.18} LINK /// https://youtu.be/neBl4ruh3q0 *) PASCAL SIOUI'S ALEGRIA BEHIND THE SCENES VIDEOS Like he did with VOLTA, through his Facebook and Instagram pages, Pascal is posting videos that he shot during the creation of the new Alegria. o) VIDEO 6: Setting up the Masts, Cuopla, and Stage at IHQ LINK /// https://www.facebook.com/Psioui/videos/10157735820764305/ o) VIDEO 7: Sound guys are getting ready at Anjou LINK /// https://www.facebook.com/Psioui/videos/10157741748059305/ o) VIDEO 8: Setting up the Upstage of the Stage LINK /// https://www.facebook.com/Psioui/videos/10157748399729305/ o) VIDEO 9: Lighting & Sound Install Their Stuff LINK /// https://www.facebook.com/Psioui/videos/10157760765744305/ o) VIDEO 10: High Bar and Trapeze Structure Arrives LINK /// https://www.facebook.com/Psioui/videos/10157774867144305/ o) VIDEO 11: Fire Workshop with Tuione Tovo LINK /// https://www.facebook.com/Psioui/videos/10157786064824305/ o) VIDEO 12: Main Curtain & Sceptre | Week 6 in the Studio LINK /// https://www.facebook.com/Psioui/videos/10157804997219305/ --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) New artist?! See Vanessa Grimaldi CirqueWay For a Day! LINK /// https://www.youtube.com/watch?v=GDIuyYdFMe4 o) The World Premiere of Alegria - Red Carpet Action LINK /// https://www.youtube.com/watch?v=Vk4PvZT8xfc o) Alegria: In a New Light Official Trailer LINK /// https://youtu.be/MuxjJugZVTY o) PPP" Stands for "Performance Preparation Program" LINK /// https://youtu.be/3kh9Y601Vik o) Take Your Place: Tumblers LINK /// https://www.youtube.com/watch?v=wUpdx-MfYg8 o) TOTEM Music Video: "Toreador" LINK /// https://www.youtube.com/watch?v=4Ty94y80MYI o) A Day in the Life | Cirque du Soleil AT SEA LINK /// https://www.youtube.com/watch?v=Uk6-LwakqaU o) Take Your Place: Athletes LINK /// https://www.youtube.com/watch?v=3cfjqkoG1vo o) KOOZA Music Video: "L'Innocent" LINK /// https://www.youtube.com/watch?v=JDn_q1VlTcQ o) Take Your Place: Dancers LINK /// https://www.youtube.com/watch?v=wpGnkNE92nc o) "O" Music Video | "Ephra" LINK /// https://www.youtube.com/watch?v=PA8oT8PBzOg o) WEARABLE ART with Adam McAlavey | Nextasy LINK /// https://youtu.be/M10ziLXV3VQ o) Take Your Place: Acrobatic Gymnasts LINK /// https://www.youtube.com/watch?v=oe0oxP5JvfY ======================================================================= FASCINATION! FEATURES ======================================================================= o) REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock" A Sneak Peek at CDS Events + Experiences in Andorra o) Jean David's Quel Cirque, Part 6 of 12: "Strategy" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock" A Sneak Peek at CDS Events + Experiences in Andorra ------------------------------------------------------------ Surprising acrobatics, modern and glamorous costumes, musical rhythms known the world over, and a stunning stage design are just a hint of what awaits you in this edition of Cirque du Soleil in Andorra. In true Cirque du Soleil fashion, REBEL celebrates the musical heritage of the male superstars whose songs are forever etched in our collective memories. The show is a tribute to the rebellious spirit of rock, a soulful reminder that love—raw or tender, fervent or fiery, whispered in the ear or shouted from the rooftops—has filled songwriters from all eras with the urge to make music. REBEL takes spectators on a glittering, nightlong journey from dusk till dawn, where virility and tenderness go hand in hand, and where the spirit of love—whether gentle or untamed, genuine or impetuous, virtuous or subversive—reigns supreme. In this rock-infused, nocturnal fairy tale, spectators are taken on a visually striking acrobatic foray in which iconic songs from the past and present—from Jimi Hendrix to Charles Aznavour—are brought to life. The show is a testament to all those who heed the call of their rebellious spirit and, like an open book, choose to not only keep their loves close to their heart, but to wear them on their bodies in the form of tattoos—tangible proof of love lived large. THE SCENIC ENVIRONMENT -- Set Designer Simon Guilbault played with volumes and perspectives to create a thoroughly modern scenic environment that takes spectators from one place to another, from nightfall to the break of day. Pure lines and curves flow in graphic patterns that keep the focus on—and magnify—the artists on stage. This changing decor creates a geometrically variable space where everything is possible and where the atmosphere can shift from a neon-lit nightclub in a red-light district to a scene by the water on a starry night, all to the rhythm of the music and the beating hearts on stage. THE MUSIC -- For REBEL, Musical Director Jean-Phi Goncalves breathed new life into some of the most beloved songs written by male musical icons, reworked and rerecorded especially for the show. The soundtrack has deep roots in folk, blues and rock music, with electronic undertones that bring these hits in the “here and now.” In this show where eras collide, songs that have slipped into our musical consciousness sometimes mesh with the action on stage, and sometimes play out in striking counterpoint to dramatic effect. THE COSTUMES -- By fusing fashion with streetwear and by blurring the lines between the male and female forms, Costume Designer Nicolas Vaudelet created a coherent and visually stunning realm, drawing inspiration from the world of vintage tattoos, but with a modern twist. His highly textured, shimmering trompe-l’oeil creations inspired by the classics of high fashion create a retro-romantic rock star look worthy of the kings of pop. THE LIGHTING -- The lighting environment in REBEL was created using a whole panoply of lighting sources including moving lights, spotlights, neon, projectors, TV screens, and even a DEL-clad star-studded sky. Natural light shares the stage with highly formatted lighting effects in tune with the pulsing beats of this nightlong tale. THE ACROBATIC PERFORMANCE AND CHOREOGRAPHY -- In REBEL, acrobatics and dance combine the yin and the yang of passionate love. Acrobatic Performance Designer Edesia Moreno Barata mixes together disciplines such as aerial Cyr wheel, sway poles, roller skating, dance pole, and a high-octane act in which four electric motorcycles roll around inside a perforated metal sphere, like panic-stricken flies caught inside a light bulb. A troupe of ballet dancers personifying a gang of romantic rebels mix urban and contemporary dance idioms to underscore— sometimes in subtle ways, sometimes in broad dramatic strokes—the emotions bubbling on stage. * * * MEET THE PEOPLE AND ARTISTS WHO HAVE MADE REBEL POSSIBLE We introduce you to the people and artists who have made REBEL possible. It’s a fantastic team whose determination, dedication and passion for their work have created a show that will leave you speechless. They have you reliving the greatest musical hits by the best artists, and whisk you away to another era, to another time. EDESIA MORENO | ACROBATIC PERFORMANCE DESIGNER Edesia Moreno Barata started out as a top athlete on the Spanish national rhythmic gymnastics team. In 1998 she was spotted by the Cirque du Soleil which recruited her as a performer. She travelled the world with the "Saltimbanco" and "Corteo" shows for 10 years. Driven by a contagious passion combining sense of movement with the ability to produce results, Edesia took on the role of artistic and acrobatic coach for the Cirque du Soleil. More recently, she has worked as acrobatic performance designer, acrobatic choreographer, director and event designer for numerous Cirque du Soleil productions. In the last 20 years, Edesia has worked on 35 productions all over the world. Her experience has led her to develop a rare skill set including organisational skills, flexibility, respect, leadership, team spirit, creativity and passion. AUDREY TOULOUSE | MAKE UP DESIGNER Audrey Toulouse is a professional makeup artist with more than 15 years of experience in HD, artistic, airbrush and special effects makeup. Currently working at Cirque du Soleil, she specialises in makeup designs for new and upcoming shows. Her more recent designs can be seen in the show Diva in Andorra during the summer of 2018, Reflekt and in the advertisement campaigns Skoda Spain and Skoda Prague as well as in multiple private events, each of these designs bearing the mark of the Cirque du Soleil. Audrey distinguishes herself through her outstanding makeup, hairstyling and teaching skills, which she applies in both the theatrical and television sectors. Her talent has led her to take part in international productions, set in more than twenty countries. Creative, reliable, passionate and with an excellent capacity to adapt, she is extremely perceptive and receptive to any kind of creative guideline that comes her way. NICOLAS VAUDELET | COSTUME DESIGNER Nicolas Vaudelet was trained by the big names in Fashion: Christian Lacroix, Christian Dior, Louis Vuitton, Givenchy, Sonia Rykiel, and Jean Paul Gaultier. With the latter, he participated in the design and costume production for Madonna's "Confession" Tour and that of flamenco dancer Joaquín Cortes. After extensive experience in Seville as art director of the century-old house "El Caballo", where he won the L'Oreal award for best collection in 2009, he designed the costumes for the Spanish National Ballet. In the same year, he met famous director Franco Dragone. For him he designed the 600 costumes that made up the wardrobe of the Parisian Cabaret Lido and those of Taboo 3 and 4 in Macau, Russian singer Philipp Kirkorov at the Kremlin in Moscow, the "Daï Show" in XiShuangBanna and Rixos World park and hotel in Turkey. This period, which runs to the end of 2016, clearly marks Nicolas' predilection for the design of stage costumes. Since January 2017, he has continued this activity in Canada with Scéno-Plus for MGM Macau, Vallarta Adventures for "Savia", directed by Gilles Ste-Croix, the Cirque du Soleil for the 2017-18 European Tour of German singer Helene Fischer, the inauguration and closing of the "Dubai World Cup", the shows Syma and Varéila for MSC Cruises and "Diva", presented in Andorra in summer 2018. JEAN-PHI GONCALVES | MUSICAL DIRECTOR A founding member of the PLASTER and BEAST groups, he started his career as a musician, touring with numerous established artists like Dumas, Ariane Moffatt, Martin Léon and Daniel Bélanger, amongst others. He became highly in-demand in the music industry with countless projects working as the director or arranger: Ariane Moffatt, Diane Dufresne, Jean-Pierre Ferland, Pierre Lapointe... His expertise are also recognised on the international scene, materialising through projects with Lauryn Hill and INXS. In 2010, he was asked to compose to images where he discovered his new passion. He then founded his music production company: XS, La Petite Boîte à Musique. Following this, his original music composition projects for the radio, TV, internet, cinema and shows multiplied. Over the last four years, he has directed the music for the Cirque du Soleil's tribute shows, amongst others, rearranging the works of Beau Dommage, Robert Charlebois, Luc Plamondon, Les Colocs and this year, les Cowboys Fringants. He is also working on a re-reading of the classic Alegria for April 2019. LYDIA BOUCHARD | SHOW DIRECTOR Her artistic career stands out for its diversity and creativity. A product of the world of classical dance, she has worked with renowned choreographer Jean Grand-Maítre of the Albert Ballet Company and famed opera director Renaud Doucet. In 1998, she began a flourishing career in the field of performing arts, rubbing shoulders with numerous famous art directors and choreographers. She then turned towards musical theatre and worked with large Canadian companies such as Mirvish and Jacobson Entertainment, Just For Laughs and Drayton Entertainment. In 2009, Lydia Bouchard joined the Cirque du Soleil's special events division where she discovered the passionate universe of the circus arts. After a 17 year career as an independent artist, Lydia has enthusiastically stepped into the field of directing and choreography. After around 10 years in the Cirque du Soleil, she is proud to be back working as a director in Andorra this summer in her brand new custom piece REBEL. Armed with a team of solid writers hand- picked by her, she offers her very own world from the singing greats, always in her off-the-wall, highly-sensitive style. SIMON GUILBAULT | SET DESIGNER Active on both the theatre and dance scene, he worked with Cirque du Soleil for the first time as a set designer for the show STONE in 2017 and again on Juste une p'tite nuite in 2018. BAZZAR by Cirque du Soleil was Simon’s third collaboration with the company. Recently, we saw his scenography in Alexia Burger's play Les Hardings at the Centre du théâtre d'Aujourd'hui, Molière's L'Avare at Théatre Denise Pelletier and the new Peep Show production by Marie Brassard at Espace Go, in Montreal, Canada. He collaborated with Marie Brassard in the creation of the play Jimmy, créature de rêve (2001), La Noirceur (2003), Peepshow (2005), L'invisible (2008) and Trieste (2013). These plays were praised both locally and internationally, and performed in several European theatres. ERWANN BERNARD | LIGHTING DESIGN Having started out in 2006, Erwann now has close to one hundred lighting designs under his belt. In Montreal he is very active on the theatre scene, where he regularly creates lighting designs for several renowned theatres. He boasts various joint projects with directors Serge Denoncourt, Claude Poissant, René-Richard Cyr and Mani Soleymanlou, to name but a few. Some projects have even led him to work in France. Since 2018 he has been working with the Cirque du Soleil, in addition to doing the lighting for the opening and closing shows of the Dubai World Cup, broadcast live to over 150 countries and watched by more than a billion people. He is recipient of prestigious awards, including the lighting award for the year 2018 awarded by the subscribers of the New World Theatre for Caligula, directed by René- Richard Cyr. ------------------------------------------------------------ Jean David's Quel Cirque, Part 6 of 12: "Strategy" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ Today a consultant in creativity and event marketing, Jean David was one of the pioneers of Cirque du Soleil, where he led the marketing department for 15 years (from 1984-1999), introducing the magic of the Grand Chapiteau to the whole world. During his tenure, David distinguished himself through innovative methods by commercializing the Big Top and introducing its magic to other cultures on four continents. A man of vision but also a determined entrepreneur, Jean David acted as Vice President of Entertainment, Sales & Marketing at the WYNN Hotel in Las Vegas before moving to India for 18 months, where he led a pre-feasibility study for the creation of an innovative project: the Mumbai International Creative Center, an international resort centered around the theme of creativity. In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered his views on leadership and revealed the innovative qualities that contributed to Cirque du Soleil's enormous success in marketing, management, creation and exploration. There was only one problem... it was written in his native French. Thankfully, David himself translated and web-published an English-language version of his book and we've collected the relevant Cirque-related chapters for this 12-part series. Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil celebrates its 35th anniversary this year, we thought this would be the perfect year to share these texts with you. So, without further ado, Quel Cirque! # # # We were quite open-minded toward our competition. There was no direct rivalry with traditional circuses. Our customers and products were very different from theirs; so we didn’t consider them rivals. Our real competition came essentially from cultural products like movies, festivals, theater, dance, and opera. Our clientele had a higher than average income, but they were also much coveted. So vigilance was the watchword if we wanted to attain the enormous sales objectives we set for each city. Engaging in lengthy presale periods was one of the best ways to maximize commercial performance. Our growing fame allowed us to offer tickets to consumers from three to twelve months before a show hit a city. We let them know several months in advance that we’d be back with a brand new product. Consumers could plan their entertainment budget accordingly. We realized they had to make choices. Of course, this approach required rigorous planning and skillful coordination of our activities but it offered multiple advantages. It forced us to act promptly in negotiating and signing land lease contracts. In so doing we had a better choice of sites. Because we were prepared well in advance, we had a chance to “shop around” and tie up our media partnership agreements well in advance. Since the media hadn’t yet committed their entire budgets and had to plan their activities effectively, our prompt approach was always welcome and, as a rule, their proposals were quite generous. Thus, we were in a proactive position vis-à-vis our sponsors. I soon realized that our strategic planning activities had a remarkable impact on them. They considered us credible partners. Even more important, we were a real asset in their own planning of marketing activities. Long presale periods did not result in additional advertising costs. On the contrary, we were able to maximize the reach of our advertising investments. We were also able to develop innovative promotional programs with our sponsors and our partners in the media. We could put in place all the ingredients we needed to create and build a real event. Word of mouth, the primary factor in our customers’ decision- making process, could circulate and operate freely. Because we were well prepared, time was on our side! I thought we had to take full advantage of the situation. As a manager, I had to make daily decisions that directly impacted the Cirque, our brand image, and our audiences. One thing about our shows that I always bore in mind and that I tried to share with our collaborators was that our audiences are intelligent. To some people, this may have seemed obvious, but it was a defining characteristic of the Cirque du Soleil. The artistic team never forgot that our patrons were discriminating. It was a basic premise of the Cirque experience itself. I believed that we had to bear it in mind in everything we did, whether it was in our advertising campaigns, our communications, our promotions and our customer service policy. In my initial contacts with sponsors, business partners and the media, I noticed that many of them were under the illusion that you couldn’t ask too much of the public. In their eyes, the public was dull, unsophisticated. You could put things over on them. I found this attitude surprising; I refused to accept it. I was certain it had no basis in fact. So we had to educate our new collaborators. I insisted that our publicity be serious. There was no room for puffing the product. We also avoided giving too much or too little detail. Our public could figure things out for themselves. As well, ticket prices wouldn’t discourage our customers. But when we first approached American cities about an eventual tour, our sponsors and media partners suggested that we offer price reductions or put discount coupons in papers and magazines. They were very surprised when we told them that our customers couldn’t care less about reductions. The most expensive tickets were always the first to sell out. Our customers wanted the best seats, period. Similarly, the announcement of our arrival created a remarkable interest, partially due to the hallmark quality of our product. From 1990 on, we developed an almost permanent tour plan for North America for a two and eventually a three-year period. Our fans knew that the shows had a limited run so they’d have to wait at least two years before they could see us again. This helped build interest. Cirque was in a very different position than theater, classical music, and modern dance. No products in our market were really comparable to our shows. The fact that our product was so rare boosted presales. It also heightened media and consumer appreciation of the shows. Rarity, long an important brand characteristic, placed us in a privileged position in the minds of our audiences. “Our show will be held over!” Among the marketing elements contributing to our success was the policy of putting tickets on sale in stages. If, for example, we planned on giving 60 performances over a seven-week period in a big top that seated 2500, we could expect to draw a total of 150,000 spectators. Until the late 1980s, it was our practice to put tickets on sale for our entire stay. But we found out that most people bought tickets for shows in the last weeks of the run, leaving our first weeks half empty. The phenomenon generated overall occupancy rates that could vary between 70% and 80%, even if the final weeks were sold out. To remedy the situation, we sold tickets for an initial number of performances and then announced that the show would be held over. For example, if there were 60 performances in seven weeks, we would sell tickets for the first three weeks, that is for 20 shows. And, as soon as we had sold 70% of the tickets, we announced that there would be additional performances for one or two extra weeks, and so on until all the tickets for the entire seven weeks were on sale. This approach gave us sold-out performances right from the start of an engagement, intensifying word-of-mouth activity and allowing us to achieve 95% occupancy. The approach seems quite normal today, but, at the time, applied systematically and meticulously from town to town, it was highly innovative and produced fantastic results. Mark of Excellence ------------------ Until 1989, but for our first incursion into Ontario as “Sun Circus,” our shows were billed as Cirque du Soleil in every city we visited. Sometimes, we used the slogan We reinvent the circus or La magie continue (The magic continues). Everything went swimmingly until 1989, when we returned to Santa Monica Beach with a slightly modified version of the show we’d put on earlier in California. But Los Angeles Times Critics sounded a bit of a sour note. If you’ve seen them already there’s no point going to see them again, but if you haven’t, it’s worth checking them out, they advised. It was the first time we’d had comments like that. The show seemed a little déjà-vu, and we began to understand the risk we ran. Traditional circuses face the same kind of challenges. Year after year, they return to the same cities with the same acts, the same tigers: the same old same old. It’s the kind of situation that we absolutely wanted to avoid. Our show was particularly valued for its rarity. Clearly, we had to provide our loyal fans with new adequately promoted fare. At the time a completely new show was in the works for our 1990-1991 North American tour. We were reinventing ourselves! Upon reflection, we concluded that we had to give our show a distinct name and identity. We needed to identify the distinctive characteristics of each new creation, baptize it like a newborn baby, and give it a personality that the public could easily recognize. So, the name Cirque du Soleil would appear under the new trademark, giving it the stamp of quality. Thus Nouvelle Experience/Cirque du Soleil was born in 1990. It was both the show’s title and a promise we were making in our advertising: “Cirque du Soleil is offering you a new experience.” But we had to be prudent about this experiment. That’s why proposed titles like Big Bang and Gaia were turned down. From then on, every new production would be given a title once and for all. That’s how a powerful company tradition was established: giving each show a name establishing its identity. So Fascination, Mystère, Saltimbanco, Alegria, Quidam, O, La Nouba, Dralion, and others saw the light of day. Obviously, this decision made life much easier for everyone. When I say everyone, I’m thinking of the artistic team in particular. Their orders couldn’t be simpler: give us a new show, PLEASE. It also facilitated the marketing team’s task: we were offering a new product, with new artists, music, decors, costumes and acts… The media couldn’t wait to get a glimpse of it. Finally, the titles made for stimulating conversation: I saw Kà and Mystère; I wanted to see Saltimbanco; I loved Alegria and Love; I was looking for tickets for O… What more could we ask! The practice of personalizing shows ran into difficulty right from the very start. It was the fall of 1991, in the old fire station, the company’s Montreal headquarters at the time. There was a very important meeting with representatives of Fuji television Network, the biggest private TV network in Japan. None other than head honcho Dan Yoshida led the Fuji delegation. He had come to negotiate with us about Cirque’s first Japan tour. I attended the meeting with Guy Laliberté, who chaired the negotiations and Roger Parent, our delegate producer. Negotiations were all but wrapped up. But there remained one little detail: Yoshida had a personal request. He wanted us to call the show Fascination. He liked the name. Fine. No problem, we thought. But he had another request he considered even more important: he didn’t want the name Cirque du Soleil to appear under the show’s title Fascination. It would only complicate things for the Japanese public, he argued. They couldn’t understand or pronounce French words. This was the first time we were negotiating with the Japanese, and the stakes were high. It was a $40 million operation, the biggest tour in the history of the land of the rising sun. Like a true CEO, Guy Laliberté was eager to clinch the deal; he immediately accepted Dan Yoshida’s proposition. I literally jumped out of my seat. The idea didn’t square with our brand positioning. While Roger steered Guy away from the discussion so I could intervene, I told Mr. Yoshida that we couldn’t accept his request because it violated the basic principles of our marketing plan. “Cirque du Soleil” was a stamp of quality, a mark of excellence. Like Chanel or Louis Vuitton, it was a trademark. And with his know-how and support, we intended to develop the brand and make it increasingly popular with the Japanese public. After a few vigorous exchanges long remembered by my Japanese counterparts, Yoshida came round to my point of view, which I took as a “sign of trust.” It was a narrow escape. Eventually, the Cirque du Soleil trademark was just as solidly established in Japan as it was in the United States, Canada, and elsewhere in the world. Gearing Up ---------- One morning early in the 1990s, I addressed the bimonthly executive meeting of Cirque du Soleil. The company was engaged in an intense period of activity: for us it was business as usual. I had asked to make an important announcement to the entire management team. I really set it up — I was enjoying myself — “My friends I have big news,” I said, “Starting tomorrow, Cirque du Soleil ticketing services will function 24 hours a day, 7 days a week, 365 days a year!” To say the least, I hadn’t anticipated the committee’s reaction. There were shouts of: “Sheer nonsense! It just can’t be done. What are you talking about?” At least the meetings were never dull. My colleagues were incredulous. I feared there would be a serious learning curve. Management was absolutely convinced that what I told them was impossible. They didn’t believe we could change the way we did things, especially in as sensitive an area as ticket sales. So I pointed out that we had engaged in rigorously coordinated planning with our ticketing centre and our tour development director to set up a presale system in North America that eliminated delays from town to town and year to year. Everyone was curious to learn more, so I continued. I told them we were even going to put tickets on sale for coming productions that were getting under way in Montreal though we weren’t sure what the content would be. The public was convinced of the quality of the product we were offering them. What they really wanted was to have good seats. We had already confirmed the scheduling for the new shows with the artistic team. There remained to finalize an agreement in principle with Montreal’s Old Port, which had already assured us of their collaboration; that was enough for us to proceed with ticket sales. We were merely offering tickets for the new show. We would give details about the production at the appropriate time and place. From then on, there would always be tickets on sale for a Cirque du Soleil show. Always. Our tickets would be available 365 days a year. Then I said something that really made their eyes light up: “These presale changes will increase our liquidity!” My announcement that morning marked an important stage in our company’s revenue growth and capital management. From that day on, there was no going back. We were innovative; we had to continue to be and go even further. To Be Continued... ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number (Issue #185) - June 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. { Jun.10.2019 } =======================================================================