======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 8 August 2019 ISSUE #187 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Are you sitting down? If not I'll wait... Good Now? Okay... posted just moments before wrapping up this month's issue, Cirque du Soleil announced news that I... well, we've all been waiting for... and here it is: "Our most iconic melodies reinterpreted through today's lens will be released on August 16th! Only 4 days until Alegria's soundtrack is yours!" Check out the video released with the news - https://www.facebook.com/CirqueduSoleil/videos/2440342876222343/ for a few clips of the new music while we wait! * * * X: THE LAND OF FANTASY PREMIERES * * * Since we've last spoken, X: THE LAND OF FANTASY has made it's grand premiere in Hangzhou, China. You'll find an article within that talks briefly about the show, but unfortunately not much has reached the English-speaking press on X. However, a few reviews can be found in Chinese, such as: - http://www.kaixian.tv/gd/2019/0812/737805.html - http://www.zj.chinanews.com/jzkzj/2019-08-12/detail-ifzmwwss2356402.shtml - https://ori.hangzhou.com.cn/ornews/content/2019-08/09/content_7242734.htm The general consensus is, if my translator is working properly, X: The Land of Fantasy is "stunning, shocking, worthwhile, high-energy all the way.." That's great news! We hope to hear much more out of Hangzhou shortly. So stay tuned! * * * UPCOMING CIRQUE SHOWS * * * Earlier in the year I threw together a quick list of upcoming show premieres, based on prior statements and rumors. With the announcement of "'Twas the Night Before..." (press release within), it's time to update and re-share that list. Here's what I have that's due from Cirque du Soleil's main brand and Events + Experiences for the rest of 2019 and into 2020 as of now. We're certain more will be added to it shortly! 2019 ---- 10/4/2019 -- AXEL Premieres (Arena Show, North America) 10/10/2019 -- MESSI10 Premieres (Arena Show, Europe) 10/24/2019 -- R.U.N. Premieres (Resident Show, Las Vegas) 11/27 - 12/20, 2019 -- VITORI (in Malta) 11/29 - 12/29, 2019 -- "Twas the Night Before" (Chicago / NYC) November 2019 -- AT SEA #5 (MSC Grandiosa) November 2019 -- AT SEA #6 (MSC Grandiosa) 2020 ---- March 2020 -- La Nouba Replacement (Resident Show, WDW) March 2020 -- AT SEA #7 (MSC Virtuosa) March 2020 -- AT SEA #8 (MSC Virtuosa) April 2020 -- Tour 2020 (GC Touring Show, Montreal) Summer 2020 -- Hommage #6 n/a - a Touring show starting in Chile n/a -- ASTANA 2020 (Reflekt 2.0) November 2020 -- MALTA #2 Enough Cirque for ya? * * * WHO IS AXEL? * * * Speaking of AXEL: the trailer for Cirque's new ice skating spectacular has hit the Internet and it's already drawing ire from some fans for it's strangeness, which you can see in the transcript below... My name? Axel. Why? Dad was a Guns ’n Roses fan. Mom could do a double axel in skating competitions, but I never saw her do it. My nationality? Who cares? I was born on a plane. My parents were traveling back home from Australia. It makes me an extraterrestrial, I guess. Can I really call myself an artist? Look, I play music and I draw. My music inspires my drawings and my art inspires the music. It's all the same thing really, it’s an expression of who I am. I’m trying to create different worlds where everything talks to each other, connects to the world, the atmosphere, the mood, the energy. The guitar is my instrument. Playing it is like drawing for me. It’s the extension of my hands. Red is my color, and my biggest fear is being irrelevant. My worst memory was my dog being hit by a car when I was 8. It broke my heart. I cried for days. She was brilliant. Lei is the new girl in town. Her dad runs a coffee shop. I go there now and I don’t even like coffee. Why does she make my heart beat so fast? I don’t need to sleep much, so I guess that gives lots of time to work on my art and music. Hey is stamina a superpower? Still working on finding myself, but inspiration is everywhere. See the video here: https://www.youtube.com/watch?v=DVzB7oUustA Not long thereafter, another video was posted, featuring Behind the Scenes footage of the character Axel singing and playing acoustic guitar in his bedroom. An interesting choice to say the least, but regardless of how you may feel about it, the videos are generating buzz. (https://www.youtube.com/watch?v=DOZlwsLeCRE) * * * SNEAK PEEK OF R.U.N * * * Last month, San Diego Comic-Con attendees were treated to an exclusive sneak-peek of R.U.N - Cirque du Soleil's first live-action thriller, at the Con's Fandom Party. A specially created act inspired by R.U.N was performed, showcasing a live performance by Tyler Bates, R.U.N's music composer, as well as a voice-over narration written by filmmaker Robert Rodriguez. The never-before-seen performance included pyro elements, an epic rooftop battle, adrenaline-inducing motorcycle tricking, and live-action stunts. o) Pictures of the Performance: https://www.facebook.com/runtheshow/posts/2280790445339802 o) Video of the Performance: https://youtu.be/Gnu1kcubeRI? o) Behind the Scenes of the Performance: https://www.youtube.com/watch?v=j7UVOtmJHOg Are You In? Then Keep reading! /----------------------------------------------------\ | | | 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 8: "First Steps Across the Sea" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- New Holiday Show: ‘Twas The Night Before… {Jul.16.2019} ---------------------------------------------------------- Cirque du Soleil and The Madison Square Garden Company are pleased to announce that an all-new, family theatrical production, ‘Twas the Night Before… will make its debut at The Madison Square Garden Company’s venues, The Chicago Theatre and Hulu Theater at Madison Square Garden. ‘Twas the Night Before… is an exhilarating new spin on the beloved Christmas classic as only Cirque du Soleil can imagine. This vibrant acrobatic spectacle about the joy of sharing and friendship promises to spark lasting memories in the hearts of children and adults alike. The production will run at The Chicago Theatre from November 29 through December 8, 2019, for 17 performances and at the Hulu Theater at The Madison Square Garden from December 12 through December 29, 2019, for 28 performances. Tickets go on-sale for both shows on Friday, July 19, 2019 at 10:00AM (in both Central and Eastern time zones.) “We are thrilled to return to Chicago and New York with our very first production celebrating the Christmas holiday season, with a unique take on a Christmas classic. ‘Twas the Night Before… is a show created to entertain the whole family, as well as the perfect opportunity for parents to introduce the world of Cirque du Soleil to their children for the first time.” said Yasmine Khalil, Cirque du Soleil Chief Executive Producer. “At MSG, we’re committed to bringing our audiences the very best and most captivating entertainment available anywhere in the world,” said Darren Pfeffer, executive vice president, MSG Live, The Madison Square Garden Company. “We are thrilled to be partnering with Cirque du Soleil – another name in world-class entertainment – on this one-of-a- kind production, which we know will not only provide a unique celebration of the season, but also inspire another generation to appreciate the creativity, athleticism and artistry of Cirque.” For more information about ‘Twas the Night Before… by Cirque du Soleil at The Chicago Theatre and Hulu Theater at Madison Square Garden, visit msg.com/family or call 866-858-0008. For the Hulu Theater at Madison Square Garden run, groups of nine or more please call 212-465- 6080; discounts are available for groups of 20 or more. Tickets starting at $40 at Hulu Theater at Madison Square Garden and $30 at The Chicago Theatre. ‘Twas the Night Before… by Cirque du Soleil is the 49th original production of Cirque du Soleil. ---------------------------------------------------------- «Joyeux Calvaire»: un hommage poétique! {Jul.18.2019} ---------------------------------------------------------- {Article was translated from the original French via Google Translate} Cirque du Soleil presented a poetic and romantic show on Wednesday night with its tribute to the Cowboys Fringants, which greatly moved the members of this popular Quebec band. “It’s far too emotional for what my body and my soul can take,” said bassist Jerome Dupras, at the end of this premiere of Cirque du Soleil’s “Joyeux Calvaire” show , Wednesday night, at the amphitheater Cogeco of Trois-Rivières. The audience could have expected an explosive show, like the colorful group of dashing Cowboys, but the tribute presented was all about poetry. The opening number took place under the tunes of “Hirondelles”, a sweet piece from the album L’Expédition, with a solo artist flying over the dangling trapeze scene. At the beginning of the show, a couple languorously danced acrobatics from the top of their Russian frame, sometimes blindfolded, on the “Bye Bye Lou” ballad. An artist specializing in hula-hoop then captured all the attention, dancing alone with hoops on the song “Pub Royal”, from the album Octobre. THE BEAUTY OF WORDS “Tonight, what stood out a lot is the beautiful writing of Jean- François. It added to all this visual. It was super beautiful! “Said violinist Marie-Annick Lépine. Jean-François Pauzé, who has written several songs of the Cowboys Fringants, was pleasantly surprised by the result. He praised the audacity of Cirque du Soleil for highlighting more unknown pieces from the general public. “For the author that I am, it was still fun to hear stuff that we never play,” he said. The team could not ignore the big hits, like “Toune d’automne” and “Les étoiles filantes”, where the artists who performed duets added a romantic touch. The decor also included an artistic signature, with its many illuminated miniature houses that regularly recalled during the 75 minutes of services, the suburb of Repentigny in which the Cowboys frisky grew up. FIERCE RHYTHM At times, the frenzied rhythm dominated the scene, as during “La Manifestation”, which mobilized the thirty artists of the production. Dancers surprised the audience towards the end of the show, presenting their energetic choreography, both feet in ponds of water. The piece “Par chez nous” served a dynamic finale, with artists moving on fixed bars. While attending this “Joyeux Calvaire”, the musicians of the frisky Cowboys no longer felt the only ones clowning on the boards, in front of so many acrobats. “We have crusts to eat! Joked bassist Jérôme Dupras. { SOURCE: Le Journal de Montreal } ---------------------------------------------------------- VStar CEO seeks new live entertainment opportunities for parent Cirque du Soleil {Jul.28.2019} ---------------------------------------------------------- Eric Grilly, CEO of Fridley-based VStar Entertainment Group, is working to expand the performance portfolio of parent company Cirque du Soleil Entertainment Group as executive head of studio alliances for the Montreal-based global live-entertainment brand. Grilly said he was excited to leverage his industry relationships and experience to pursue partnerships with Hollywood studios and other content license owners for Cirque while focusing on VStar’s children’s stage shows. “[Cirque] is a creative powerhouse so the sky is the limit relative to what we can do,” Grilly said. Under Grilly, VStar has struck deals to produce original touring shows for Nickelodeon, under an exclusive five-year partnership, and NBC Universal. Grilly has overseen VStar’s launch of the “PAW Patrol Live!” production, which has sold 3 million tickets around the world and is on a 30-city tour of China. VStar’s newest show, “Nick Jr. Live!” will make its debut in September, and “Trolls LIVE!” based on the 2016 film “Trolls” in November, Grilly said. “Eric’s intimate knowledge of third-party partnerships, his industry relationships and his expertise in live entertainment will provide immense value as Cirque du Soleil Entertainment Group solidifies itself as the world’s largest creator and producer of live entertainment content,” Jonathan Tétrault, president and chief operating of Cirque du Soleil Entertainment Group, said in a statement. Grilly joined VStar as CEO in April 2016. His experience includes serving as president of Alli Sports, a division of the NBC Sports Group that created live entertainment experiences for brands looking to reach millennials through action and adventure sports. With two new shows this year, VStar’s workforce of 300 could increase 20% this year, Grilly said. Cirque du Soleil Entertainment Group, which has 4,500 employees, acquired VStar in 2018. Q: What are you looking forward to with your appointment to this additional role? I’m going to get to learn about all the different capabilities that Cirque can bring to bear in these partnerships, so I’m excited about that. I enjoy the global nature of the business and thinking about creating an experience and how we will tour and operate that experience in a global geography. VStar will continue to focus on kids and families, but I’ll be looking at other opportunities across a broader demographic scale as executive head of studio licensing. Q: Where is the growth potential for live entertainment? In the last 36 to 48 months, the live-entertainment experience has become a priority in [brands’] strategic planning and strategic direction relative to their overall business strategy. Maybe one of the bigger drivers is that families with young children today — and it’s being driven by millennials — are trading things for experiences. That has reprioritized how discretionary income is being spent. So experiences, the unique ones that we create, these memories that we provide, have been prioritized. Q: What goes into forging licensing deals with studios? Every partnership is unique in terms of the capabilities and the resources that each partner brings to bear. More partnerships are being created where — rather than us simply licensing the rights to a property or licensing the rights to [intellectual property] — we’re finding brands that want to invest in us. I like that, in that it creates philosophical alignment relative to the creation and production of a show when both parties share equally in the risk. { SOURCE: Star Tribune } ---------------------------------------------------------- Cirque du Soleil: The Great Chinese Seduction {Aug.08.2019} ---------------------------------------------------------- {Article was translated from the original French via Google Translate} It's tomorrow night that Cirque du Soleil will officially launch its first permanent show in Hangzhou, China, in a brand-new 1,500-seat theater built on the site of a former railroad yard. With X: The Land of Fantasy , Cirque hopes to finally break through this coveted market. The arrival of the Circus in China inspired Quebec director Hugo Bélanger ( Harold and Maude , Around the World in 80 Days ) the theme of the meeting between East and West. Even the cast of X: The Land of Fantasy , of which half of the 50 circus performers are Chinese, reflects this "encounter". "It's a huge project," says Hugo Bélanger, who has been designing the show for three and a half years. "Just to give you an idea, Robert Lepage's show Kà [presented in Las Vegas since 2006] comes back four times here! It is very impressive. " Since the sale of Cirque to the consortium led by the US investment firm TPG Capital (in 2015), the deployment of the multinational entertainment company in Asia, and in particular in China, has become THE priority, despite the challenges (and collapses) encountered by many foreign companies. In the spring of 2017, Cirque's former creative guide, Jean-François Bouchard (now at Lune Rouge), unveiled at C2 Montreal the models of this new theater built in Hangzhou, a "small" city of 15 million people. residents located 200 km from Shanghai - a real estate project made by Chinese co-producer XTD and valued at 200 million US. The scenic device of X: The Land of Fantasy is probably the most sophisticated ever created by the Circus: 2 mobile islands of 750 seats each which rotate 360 ??degrees and move laterally. Four distinct scenes, therefore, the longest of which is 100 meters long! "This is a breakthrough for us, but I remain cautious because we are still at the beginning of the wave of all that is live entertainment in China", told us the CEO of Circus, Daniel Lamarre. "I hope we are not too far ahead of the wave and that we will find an abundant public to see it. One day there will be a market and that day we will be there." - Daniel Lamarre, CEO of Cirque du Soleil During the first show of the series of previews, last Saturday, the Chinese public has responded, said Hugo Bélanger, who was chosen for his ability to "tell a story." "The magic of the theater operated, there were people of all ages, a lot of oh! and ah! a lot of applause. They really reacted well. " It must be said that the Cirque put the package, creating acrobatic numbers of high aerobatics. Icarian games, acrobatic bungee, aerial straps, tumbling, trampomur, Chinese mast: all the acrobatic arsenal has been deployed. Luc Langevin even participated in the creation of illusions numbers presented in X: The Land of Fantasy . The role of the "faceless" narrator has been entrusted to Acadian artist Mathieu Chouinard, one of only 10 Canadian artists involved in the adventure. A HERO FOR EVERY STEP Contrary to the habits of the circus, which develops its concepts of shows before building its theaters (this is the case of all the shows presented in Las Vegas, for example), it was necessary for Hugo Bélanger to write a scenario according to the concept. of the room. "Each of the stands follows his own hero," he explains. In the yellow tier, which represents the East and is directed by an empress, one follows a boy, while in the red tier, representing the West, one follows a girl. So, there is 20% of the story that is different from one side to the other. " The stands then move according to the story before facing each other or standing side by side. Hugo Bélanger, who has been in Hangzhou since February, was inspired by Clint Eastwood's Flags of Our Fathers and Letters from Iwo Jima , which tell the same story during the Second World War - the first from American view, the other on the Japanese side. "I favored a fantasy world where two worlds [Aria and Petra], represented by a dragon and a phoenix, were separated following an earthquake and have been in dispute ever since. I invented a story where a royal seal was broken in two and lost. With this prophecy that once the two halves together, peace between the two worlds would return. These are two children who are at the heart of this adventure and this reconciliation. Hence the X of the title which symbolizes the meeting of the two diagonals. " NOT A "CHINESE" SHOW Cirque wanted to avoid a "Chinese" show despite the fact that in this city that seduced the European explorer Marco Polo at the end of XIII th century, over 80% of tourists are Chinese. "Young Chinese people are eager for things that come from elsewhere. They do not want to hear more about legends and Peking Opera, they want to open up to the world. " - Hugo Bélanger Despite the pitfalls related to the political nature of the Chinese empire, Daniel Lamarre looks forward to the future. "I hope this show will then help us to establish the brand and Cirque du Soleil, when I put my pink glasses, I think it may have the potential to do for us in China show that the O 's made for us in Las Vegas. If there is a big show that can work in China, that's it. If it does not work, I do not understand anything anymore ... " Have recent tensions between China and Canada had a negative impact on Circus? Daniel Lamarre weighs his words well. "Historically, it was an extremely important advantage to be Canadian, we were welcomed as friends and it was fantastic. Today, we no longer have that aura, but we are not treated like villains either, so I would say we do not have too many disadvantages. " What works for the Circus is that it will create jobs in China, says Daniel Lamarre, who talks about at least 125 jobs, including a team of Chinese technicians trained by the circus. "Circus brings a lot of positive things to China, and that contribution, I believe, is beginning to be recognized." { SOURCE: La Presse } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ---------------------------------------------------------- The Faces of REBEL {Jul.27.2019} ---------------------------------------------------------- {Article was translated from the original Catalan via Google Translate} Live new experiences, travel, meet people from all over the world, act, dance, learn, have fun, improve, live a dream … They are verbs used by artists and technicians who are part of the Cirque du Soleil at the time to describe the benefits of your work. For them, it is an experience to be part of the largest company in the sector worldwide. “I have always dreamed of working with the Cirque but I had never imagined that one day I would have the opportunity to become a main character,” says Yoherlandy Tejeiro Garcia, the dancer that stars Rebel. He is one of nearly fifty people, featuring artists and technicians, who make it possible for every night from Tuesday to Saturday during the month of July to carry out the best show with the Cirque du Soleil label. They work intensely to produce a show that begins to create weeks before the first function, and they do so far from the Principality. Specifically, everything starts in Montreal, where the Canadian company has its headquarters. “It is a process of creation before and every act is separated previously separately,” says Jorge Tapia, councilor of the show. Once you have a concept of show developed, you take to Andorra to put the pieces together. “We do not really test acrobatics, but transitions,” Tapia describes. When the show is already mounted and the premiere arrives, the hours of work are reduced, although they continue to be a few. Tuesdays, on the first day of the week’s function, begin the rehearsals at 3 pm, and the rest of the days start at 4 pm, less Saturday, the last day, in which they are already more shot and start training an hour later. The technicians are always the first to arrive and then the artists are coming to practice and make up. The rest of free days and mornings take advantage of them to visit different places in Andorra or other nearby cities, disconnect, relax, train, group … Each artist and technician has their preferences, as well as their history. Yoherlandy, for example, has taken advantage of some time to be with his family, who has come to visit. “During the mornings we play a little, we walk, we join … Just now I am here with my wife and my son and we do many activities, we take him to the park, in the pool, we have also gone to Barcelona the two days pounds, “he says. He is a native of Cuba, where he studied dance for eight years. In 2015 he decided to move to Canada, where his current partner resided, to try his luck in this world. He soon had his first chance in the Canadian company with a show that was held in Quebec. He continued to make some events with a single representation with Cirque du Soleil, but this year he received the great news that would give life to the main character of the Andorran show. How did you get it? From a dance television competition in Canada, where Rebel’s artistic director Lydia Bouchard worked as a judge. “He saw me during the entire competition and when he finished he told me that I had a proposal for me of a character who falls for the wrong person. At first I did not believe it because it was something giant for me, “describes Yoherlandy. Now you’ve seen how every night from Tuesday to Saturday between June 29 and July 28, you have thousands of eyes on you. “It’s a challenge,” he says. Those who also have a great responsibility are the protagonists of the Globe of Death number, an oval cage in which four motorcyclists go round continuously, remaining a few centimeters from each other. “It’s very dangerous, so we try every day, between an hour and an hour and a half,” says Jefferson Godoy, one of the four specialists. When they are not on stage, they spend hours in the gym, or by checking the bikes to ensure they are all in full condition. “When we are inside, we forget everything, the public, the music, the problems … We are only the four inside”, emphasizes the artist, who emphasizes that “we must have a confidence of 110 percent with those others “. You also need many years of practice to get into that ball and not shiver when doing what they do. In the case of Jefferson, He was nine years old with his bicycle, next to his father and grandfather, in Brazil, where he was born. At age 14 he was already on the stage with a motorcycle. In all these years, but there is always room for fright. “I suffered from injuries to the ribs, hands, fingers and feet, I opened my head … These things happen,” says the Brazilian, who reminds us that “10 years ago I did not have any fright. “. He takes it with such passion that he is already teaching his son of six years this particular art. “It’s crazy about that. She sees it and she likes it. Then he comes with the bicycle and when he can he puts himself inside the balloon to make turns. I like to see how he does it, “says Godoy as he smiles. At age 14 he was already on the stage with a motorcycle. In all these years, but there is always room for fright. “I suffered from injuries to the ribs, hands, fingers and feet, I opened my head … These things happen,” says the Brazilian, who reminds us that “10 years ago I did not have any fright. “. He takes it with such passion that he is already teaching his son of six years this particular art. “It’s crazy about that. She sees it and she likes it. Then he comes with the bicycle and when he can he puts himself inside the balloon to make turns. I like to see how he does it, “says Godoy as he smiles. At age 14 he was already on the stage with a motorcycle. In all these years, but there is always room for fright. “I suffered from injuries to the ribs, hands, fingers and feet, I opened my head … These things happen,” says the Brazilian, who reminds us that “10 years ago I did not have any fright. “. He takes it with such passion that he is already teaching his son of six years this particular art. “It’s crazy about that. She sees it and she likes it. Then he comes with the bicycle and when he can he puts himself inside the balloon to make turns. I like to see how he does it, “says Godoy as he smiles. He takes it with such passion that he is already teaching his son of six years this particular art. “It’s crazy about that. She sees it and she likes it. Then he comes with the bicycle and when he can he puts himself inside the balloon to make turns. I like to see how he does it, “says Godoy as he smiles. He takes it with such passion that he is already teaching his son of six years this particular art. “It’s crazy about that. She sees it and she likes it. Then he comes with the bicycle and when he can he puts himself inside the balloon to make turns. I like to see how he does it, “says Godoy as he smiles. ARTISTS BEHIND THE FOCUS On the other side of the stage, there are also several stories related to the Cirque du Soleil, with a high degree of responsibility. They are those of the technicians who assist and collaborate closely with the actors, dancers and specialists so that everything works correctly. Peculiarly, they cannot always see the show. “The show? I have not seen it. You know a little about what is cooking and where it is going, but we have to be careful that everything goes well, “said Basque Iñaki Allorbe, who is responsible for the part of the assembly and the care of the acrobatic devices that are used to the show. Others, however, are forced to have their eyes set directly on the stage from beginning to end, as is the case with Tapia, who coordinates the artistic section with the technician or in other words, gives foot to everyone to know that it’s your turn. A job that sounds stressful and “it’s, a bit,” it ironically. “What strikes me is that it is circus and, therefore, any mistake you have may cause someone to hurt”, points out in a more serious tone. The councilor is from Mexico and only works with Cirque du Soleil in the show of the Principality, which has been involved since 2016. “Here is a very good contract professionally,” he says. The rest of the year is freelance in events around the world. It is a very different situation to that of other workers behind the stage, such as Allorbe. He has worked for 15 years with the Cirque, an opportunity that came to him as a result of some contacts he made when he lived in England at the time. “It’s the fourth year I come here and I’m very happy. The best part is that normally when you go there you go to large cities and there is facility to maintain contact with nature. I like to go bicycle and in Andorra I never get bored, “he explains. Also Valencian Isabel Ruiz Piti, in charge of costumes, has been working for a long time in the summer show of the Principality, specifically six, and emphasizes that “a few weeks before they ask me if it is good for me to come by what places, but I always try to book- I give you the dates because here is a project that I really like. ” ANDORRAN STAMP Among so much nationality that is part of the Cirque du Soleil, there is no Andorran. Nico Bordes is the only worker in the Principality in the production of Rebel, a situation he likes because, he says, “I have the feeling of traveling at home” and adds that “it’s a luck and a privilege.” He is in charge of mounting the scenery of the stage, but also has other “extracurricular” tasks as the only Andorran. “One of the jobs that I also find important within this group of Cirque du Soleil in Andorra is that I make them a bit of a mountain and gastronomic guide,” says Bordes. This year, and after four summers dedicated to the shows of the Canadian company, it has been able to collaborate on shows from outside the Principality, in Saudi Arabia, between mid-August and September. “It is the first time that they suggest leaving with them to another place and I take it as an open door in this world,” says Andorran, who has a varied professional route and in winter he is a ski monitor in Pal Arinsal . “I’m really looking forward to it,” he adds. And this is one of the most prominent parts of the profession: an endless journey, especially for those who are fully engaged. Tapia comments that “this year I think I have been three weeks in Mexico”. Others, however, also see this as a negative point, since it does not allow them to be with the family what they would like and assemble to be able to stay longer at home. Allorbe, for example, points out that “he is going for seasons, but I am the one who is most at home, at least I try”, although he has come to live for a year in Japan and has traveled around South America, Asia, Canada, the United States and Europe working with the Cirque. It is a situation similar to that of Ruiz, which explains that “I am more at home because I am only in events and I can choose what I do and what I do not”. For artists, the side of being able to be with the family is also important. Yoherlandy points out that “I have found a balance and I try not to be long separated from my family.” Jefferson Godoy, however, finds himself more complicated at times and indicates that “it is not always easy to be away from home. My parents are in Brazil and I have not been there for a long time. ” However, he points out that “my wife and son live in France and it is easier to see them.” He is the one who has the life of the circus, one of the oldest professions and that has always been characterized by the difficulty of maintaining a certain degree of stability. The best that compensates for this aspect of work is love for the profession, as the great majority of those who work there coincide. “I am a lover of it, it’s my passion and I love my job,” concludes Godoy. { SOURCE: Diari d’Andorra } ---------------------------------------------------------- A Q&A with 2 of VOLTA’s BMX Bikers! {Jul.31.2019} ---------------------------------------------------------- The top of the Cirque du Soleil tent, stretching across one of the parking lots next to the Tyson’s II mall, peaks over the collection of roadways as I drive into the neighborhood. The tent itself is a massive spectacle, looming among the collection of hotels and buildings. Touring Cirque du Soleil’s Volta is a massive enterprise with hundreds of performers, staff and volunteers. I am there just days before the first performance and there is a constant coming and going as people set up for their months-long stay in Tysons, VA. The grounds are bustling with movement and energy. Inside the rehearsal tent that energy is multiplied. People are exercising, stretching, warming up not just on the ground, but up in the air. Trapeze rings and trampolines are actively in use as acrobats warm up with running front flips, forward dives and aerial twists. Within this bustling environment, DCTS interviewed two of the BMX performers, AJ Amaya (above right) and Joel Bondu (above left). BMX is the art of performing acrobatics, tricks and stunts on specially- modified bicycles. Where the skill set is recognized for its “extreme sports” competitive history, Cirque du Soleil has embraced the athletes and the discipline as an art form. Q. Every Cirque du Soleil performer is responsible for applying their own makeup design. How challenging was that? AJ: Coming from a background where I’ve never done any sort of makeup or drawing or any sort of skills like that. It was quite intense learning that experience. This was at the Cirque du Soleil headquarters. All of us BMX riders, when we first started, were in a big classroom. They do this step-by-step process with each person. How to hold the brush, how much to stroke. It was a group effort. We all weren’t very good when we got started. First, when we had classes, each one was two hours long, and I couldn’t finish it. And we had them almost every day. Through time I got a little better with stuff. We have two layers of make-up. We have the creams, and then, after that, the powders so it doesn’t sweat off. Then we do all the dry stuff. The eyebrows are so rough to get correct. I still, all the time, deal with it. Some days are good. Some days are bad. I’ve done a lot of TV shows, and stuff like that, America’s Got Talent, and I’ve always snuck under the radar [of the makeup department]. I’ve always talked them out of it. I was quite terrified. The fact that I was able to learn it is quite a cool thing. Q. Aside from make-up, did they provide any other kind of training to be part of performing? AJ: They gave us make-up classes, dance classes, acting. Dude, it was rough. Acting was the funnest. The dancing was so brutal. Joel: Because we’re always doing a show, we don’t learn as many tricks as we do during a contest season. The tricks are a bit different. The competitive tricks are a bit different. We try to go a little bit higher than we used to. We try to follow the choreography. Since the show started, the show is completely different. The level of the tricks are crazy different. When I saw the show the first time I was already impressed with the tricks. After I got to be in the show, the level of the tricks were above my expectations. The level of riding is very high. Q. How long was the pre-tour rehearsal process? AJ: We did it during the day. They called it Creation, that was six months. I think something a lot of people don’t know about Cirque du Soleil is that every single thing that happens on the stage is detailed to where somebody setting up a lamppost is practiced fifty times for three hours to do it exactly at the right time with the music, to move correctly with the people. Q. Working around different acts and physical performances, has your workout regimen changed? AJ: For sure, I’m more aware of my body. I try to be a lot more flexible than before, and definitely take care of my body a lot more than I did to compete. I try out different disciplines that I see with the other folks for fun, jumping through hoops, swinging on the rings, things like that. When I competed, my back would get really sore, and I’d have no idea how to loosen that up, and then I learned, here, that it’s actually my legs that are overworked. If I stretch more and worked them out it helps my back. It’s been a few years since I’ve had that issue. Joel: I feel better, I take more care of myself than I used to. Stretching. I’m eating better food. Eight to ten shows a week is different than just going to the skate park with your friend and doing a normal session. Q. What’s your favorite trick? AJ: At the beginning of the performance I do what’s called a flair: a flip with a twist over someone. It’s like “Wake up, we’re in this. Here we go!” I have to not only stay on the ramp, ‘cause it’s not that wide. I have to be pretty precise and go high enough so I don’t hit him, and stop quite quickly before I go into the audience. Joel: When I do a big back-flip. Normally it’s a straight jump in normal shows. This stage is made to ride it every way. Some tricks are more impressive in this set up. The hardest part is getting used to doing it the same way every night. When you’re doing contests, you’re always one person. On the stage, it’s really tight, you’re riding with two or three people on the same ramp, so it’s hard to get used to it. Q. What kind of modifications to the bikes were necessary for Volta? AJ: I’ve actually adjusted my bike quite a bit. The way the stage is set up, it’s really, really small compared to what we’re used to in a competition or a course, and it’s really tight. Our ramps are glass and see-through, and they flex a lot. I raised my handlebars, making sure my brakes are really smooth. It is my custom bike fully. It is made for my size and geometry. I order everything from the tubes to the tires. Q. Are you responsible for your own maintenance? AJ: Yes. They asked if we wanted a mechanic. Our whole career we’ve always worked on our bikes. We would really like for us to be able to work on our own bikes and know that everything was made safe to our adjustments. We each have two bikes. We each have a spare bike to continue the act. Q. Aside from your act, what’s your favorite act in Volta? AJ: I like quite a few of them. There’s this one, called the Acro- lamp. The guy [Joey Arrigo as Waz] is just so strong and makes it look so easy. And you can tell he’s put so many years of training. It’s hard for me to believe he can be in the air for such a long time and do all these maneuvers. It’s such a beautiful choreography as well. Q. What is it like working with the Cirque community? AJ: All of us respect each other’s crafts. I personally am a huge fan of Cirque du Soleil: to see someone do something that they love and they’re good at is a really cool thing to experience that. We get to experience that every day. Everyone is super accepting and open to teach you their skill. Q. What does the average day look like for you and the performers? AJ: Each act is different. Some artists have artistic calls at 6:30pm for a 8 pm show. Some artists come at noon, stretch, ice. Everyone has a different routine. You’re more than welcome to show up whenever you need to or want to. To prepare yourself for the show. Like, our rope- skipping guys, they come many, many hours ahead. By the time we clock in they have all their make-up done. They’re already warming up. They’re quite disciplined. I always try to show up a little earlier. Do a workout, where it’s actually weights or cardio. Take my time to have dinner and then do the make up to start the show. We warm up during the show for our act. Q. How does Cirque take care of you? Joel: They have [physical and massage therapists]. They help us with how to train and how to do it every night. Everything from eating to training. Q. What are people’s reactions when they find out you work for Cirque? Joel: People get surprised. “Oh! What are you doing for them?” It’s really fun. Q. With all the travel, do you ever miss home? Joel: I think my family is happy for me, with what I’m doing. At some point, on tour, you feel like you’re at home. You get used to it very fast. Volta is a big family. { SOURCE: DC Theater Scene } ---------------------------------------------------------- Vocalists Add a Narrative Twist to VOLTA {Aug.08.2019} ---------------------------------------------------------- Cirque du Soleil’s Volta is a rush of energy and hand-over-mouth gulps of emotions. Currently decamped in Fairfax County, a quick saunter from the raised Metro Silver Line station at Tysons II, Volta offers eye-popping performances and pantomimed baggy-pants comedy. Cirque du Soleil has been performing in the DC area since the late 1980s but what elevates the experience in Volta is the arena-style, original music performed by a live band with two accomplished vocalists who are very visible onstage. The music helps connect the storyline for the over twelve separate “circus” acts. I recently spoke to one of Volta’s vocalists, Eric DeShan about the vocalist’s contributions to Volta. “The songs are a through-line connecting the acts and the overall theme of Volta,” DeShan says. Since Volta is about a personal journey of self-discovery and self- acceptance, “I plant the seeds of possibilities” for the storyline about “breaking free from the world around you.” The theme for Volta is this: a young man named WAZ is lost. He thinks himself too different to be acceptable to the rest of the world. Others laugh at him. So, he begins a journey to find himself beyond the world that has mocked him, a world populated by humdrum and staid folk called GREYS led by puppet masters, the controlling ELITES. To find himself, he must be open to risk and change, including both mental and physical challenges. Each Volta act on WAZ’s journey has its own musical composition to provide an aural landscape that acts as a jet fuel propellant. (It may remind DMV theatergoers of Synetic Theater’s wordless, physical productions with music compositions by Konstantine Lortkiapnidze that serves as plot pointers.) Volta bursts with athletic endeavors of extreme physical and mental challenge. But, they are pretty much silent performances without the musical story-telling giving voice to the production. Sung by Eric DeShan and Camilla Bäckman, the songs became a narrative-spine for the visual physicality of Volta. The generally throbbing arena-style music was composed by European composer Anthony Gonzalez who created a stream of moody, emotional moments to sync with the acrobatic performances. The music, played by a live band, is an array of power-driven synth-pop with more inner- personal melodic lines sung in harmony by DeShan and Bäckman. The music and vocals are successful in “creating inner feelings” for Volta, DeShan says. The musical numbers give “emotional resonance to the journey of self-discovery.” As I witnessed at a recent performance, the production comes alive as the audience begins to decipher the journey as it takes on more visual colors in costuming and lighting. The visuals are impacted by the music and voices as DeShan noted in our interview. What’s more, it is clear that the singers are not an invisible afterthought. They are visual and aurally integral to the show. An example: One act in Volta features the trampoline wall. Risk-taking performers drop from two-story-high walls onto a trampoline, spinning and tumbling in the air. As the act builds, the trampoline begins to rotate and acrobats, both female and male, drop and pop. And there, in the midst of it all, is DeShan, standing tall at the apex of the over 2 story apparatus. He took his own physical and mental risks standing on top of that structure adding his voice to the drama. DeShan grew up in Oklahoma. He studied opera and musical theater at Oklahoma City University. Then it was off to NYC and Broadway. He has performed with the national Broadway tour of Tommy masterminded by Peter Townshend. A long-time lover of Cirque productions, DeShan began his Volta tour in December 2018 when the show was in San Francisco. In our interview, DeShan noted that Volta is an “intriguing tale of transformation about being true to ones-self.” It is about the ultimate liberation from the judgment of others. How so? For DeShan, the vocalizing helps to connect Waz to the audience. Here is example lyric from one of the Volta compositions; “Something has changed within me/Nothing will ever be the same, I’m done playing with logic.” For DeShan, Volta is a production that allows the audience “to surrender to the journey” and the challenges that WAZ faces and overcomes. From DeShan’s vantage points in the show, whether high above, at center stage, or on the sidelines, Volta is a “dream event where the audience can take away its own interpretations and excitement.” As another lyric goes from “To The Stars:” Turning off the dark moon/Falling for my new sun… I’m leaving you the cold/I’m burning up the grey I’m leaving you the cold/And I’m sending you a sign { SOURCE: DC Metro Theater Arts } ---------------------------------------------------------- Meet Geert Chatrou, Corteo's Whistler {Aug.09.2019} ---------------------------------------------------------- I started whistling when I was about four years old. We lived in the Eindhoven area of the Netherlands, and my dad whistled all the time. It was impossible for him to whistle out of tune. He whistled a lot of Bach, but also the Beatles. We whistled TV theme tunes together – him whistling one note, and me the next. I immediately produced a nice tone. Within a few years, I was better than he was. By 2003, when I was 34, I was working as a psychiatric nurse, and had three young kids. That year we had a big Christmas dinner for the family, and I remember whistling along to cheesy tunes like Rudolph The Red-Nosed Reindeer. My sister-in-law asked me to stop several times. At one point, I said: “If there was a competition, I would enter.” Two weeks later, I received a text from her: “Geert, you’re going to America. I’ve just entered you for the World Whistling Championships.” The auditorium was in a high school in Louisburg, North Carolina. Everything was overwhelming. There were about 30 contestants – some terrible, some very good. Some people were really, really competitive. It lasted two days – and I won. The prize was a big trophy covered with American flags and eagles. I had to go through customs with three trophies: one for classical, one for popular and one for grand champion. After that, I started receiving my first invitations to do concerts – mostly classical, accompanied by symphony orchestras, string quartets or, sometimes, just a piano. I was aware that I was the odd one out on the line-ups, and I had yet to turn professional. Then in 2007, I was asked to whistle in a big church in Leiden by an entertainment company. I knew it would be special – the queen of the Netherlands, Queen Beatrix, would be there. Normally at a concert there is a little security, but this was another level, with sniffer dogs. A lot of the performers, who included musicians and ballet dancers, were pretty nervous. When the queen came in, a weird frisson went through the audience. I whistled Czardas by Vittorio Monti; it’s a virtuoso violin piece that starts dramatically, then gets faster and faster; in the third part there are some really high notes. There was a circus performer in a feathered bird costume, hidden in the church ceiling. When I started my second piece, In A Sentimental Mood by Duke Ellington, she descended on a hoop and landed on the grand piano. Then I helped my “bird” down. The queen was very appreciative: it was a special moment. I’m not a big royalist, but I saw what she means to a lot of people. Now, I’m a professional whistler. I made the transition last summer; I had been working with homeless people, and felt close to burnout. Then Cirque du Soleil emailed me to say they were looking for a whistler. I went to Montreal to audition and they hired me in October; I’m travelling with them at the moment. I open the Corteo show as the ringmaster. At one point I whistle Twinkle Twinkle Little Star as beautifully as I can. Then I go into a duet with the violinist, backed by an orchestra. I do between 75 and 100 concerts a year and earn twice as much as I did as a nurse. I also run whistling workshops. I practise all day, but it’s hard for me not to whistle. I like to whistle recorder concertos by Vivaldi, but also jazz or blues. I love to improvise. The whistling community is getting bigger and bigger, and we often meet each other at tournaments. I’ve judged the past two World Whistling Championships. There’s a Japanese whistler, Akiko Shibata, who I think is brilliant. She’s one of my favourite whistlers right now. If people want to get into whistling, and they can afford it, they should go to the championships. There are also videos on the internet that can give you a feel for the quality of some of the top whistlers. The best advice is to keep it joyful. It’s unbelievable that I get to see the world just because I can whistle well. It’s really silly. But the key is not to take it too seriously. { SOURCE: The Guardian } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria, Amaluna, Koozå, Kurios, Luzia, Totem, Volta & Bazzar} o) ARENA - In Stadium-like venues {OVO, Crystal, Corteo, Messi10, AXEL} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA, Paramour, X: The Land of Fantasy, and R.U.N} 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: Gatineau, QC -- Aug 1, 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 San Francisco, CA -- Nov 19, 2019 to Jan 12, 2020 Sacramento, CA -- Jan 22, 2020 - Feb 16, 2020 Bazzar: Istanbul, TU -- Aug 21, 2019 to Sep 1, 2019 Cairo, EG -- TBA Koozå: Gijon, ES -- Jul 31, 2019 to Sep 1, 2019 Malaga, ES -- Sep 13, 2019 to Oct 6, 2019 Madrid, ES -- Oct 24, 2019 to Dec 8, 2019 Seville, ES -- Jan 15, 2020 to Feb 9, 2020 Kurios: Singapore, SG -- Jul 5, 2019 to Aug 18, 2019 Sydney, AU -- Oct 2, 2019 to Nov 24, 2019 Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020 Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020 Adelaide, AU -- May 29, 2020 to Jun 7, 2020 Perth, AU -- TBA Luzia: Calgary, AB -- Aug 16, 2019 to Sep 22, 2019 Vancouver, BC -- Oct 3, 2019 to Dec 15, 2019 London, UK -- Jan 12, 2020 to Feb 16, 2020 Moscow, RU -- Mar 19, 2020 to Apr 12, 2020 Totem: 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 Rome, IT -- Apr 1, 2020 to Apr 19, 2020 VOLTA: Washington, DC -- Jul 25, 2019 to Sep 29, 2019 Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020 Los Angeles, CA -- Jan 18, 2020 to Mar 8, 2020 Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ OVO: Santiago, CL -- Aug 22, 2019 to Sep 1, 2019 Medellin, CO -- Oct 09, 2019 to Oct 26, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 Ekaterinburg, RU -- Jan 1, 2020 to Jan 5, 2020 Riga, LV -- Jan 15, 2020 to Jan 19, 2020 Krakow, PL -- Jan 23, 2020 to Jan 26, 2020 Gdansk, PL -- Jan 30, 2020 to Feb 2, 2020 Minsk, BY -- Feb 6, 2020 to Feb 9, 2020 Kiev, UA -- Feb 13, 2020 to Feb 16, 2020 CORTEO: 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 Lisbon, PT -- Jan 3, 2020 to Jan 12, 2020 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 Santander, 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 Quebec City, QC -- Dec 12, 2019 to Dec 15, 2019 Montreal, QC -- Dec 19, 2019 to Dec 29, 2019 'Twas The Night Before Chicago, IL -- Nov 29, 2019 - Dec 8, 2019 New York, NY -- Dec 11, 2019 - Dec 29, 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 *) 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 NOTE: Starting January 2020, "O" performs 7 Days a Week Two shows Nightly - 7:30pm and 9:30pm *) Single Show Dates | 7:00 pm Only o) Tuesday, Nov 5, 2019 *) 2019 Dark Dates: 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 X: THE LAND OF FANTASY Location: Hangzhou, China 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 --------------------------------------------------- *) TEST R.U.N Prepare for a live experience, unlike anything you’ve ever seen from Cirque du Soleil! R.U.N is a live-action thriller jam-packed with stunts and chases that’ll leave you on the edge of your seat. o) EPISODE 1: "PLAYING WITH FIRE" LINK /// https://youtu.be/4wBqllx0BDw --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) MEET THE ARTISTS! Behind the Scenes at... - AMALUNA (Artists): https://www.youtube.com/watch?v=Osj4_3ULdWM - AMALUNA (Crew): https://www.youtube.com/watch?v=z681ffX4Als - JOYA: https://www.youtube.com/watch?v=AOq5xnmeWoA - CORTEO: https://www.youtube.com/watch?v=cTizxcOXVsU o) Music Videos for... - MYSTERE | "En Ville": https://www.youtube.com/watch?v=3-14dUXjtU4 - LUZIA | "Pez Volador": https://www.youtube.com/watch?v=YoNWhjEnris - JOYA | "Adventure at Sea": https://www.youtube.com/watch?v=gLTRyN6Dng0 - AMALUNA | "Enchanted Reunion": https://www.youtube.com/watch?v=bzwZS9KmF20 o) The Life of Cirque Artists - VOLTA: https://www.youtube.com/watch?v=mWazP2dNHwg - KURIOS: https://www.youtube.com/watch?v=fzwmSwVVFfU o) The Life of Cirque Artist Kyle Cragle https://www.youtube.com/watch?v=oeMd3iSTKqU o) On Set with KURIOS: https://www.tsingapore.com/article/on-set-cirque-du-soleil-kurios o) The Story Behind Kurios https://www.youtube.com/watch?v=T4Bstz-vlLM o) Cirque Artists Do The Bottle Cap Challenge https://www.youtube.com/watch?v=mSZ7V4Cpxhw o) This Job Isn't Well Known But High in Demand! https://www.youtube.com/watch?v=KKVOB19E6s8 o) Behind the Scenes with Cirque Musicians https://www.youtube.com/watch?v=yaTsIupe-SA o) KOOZA Makup Tutorial https://www.youtube.com/watch?v=ARfBasCMS50 o) CORTEO Rigging Specialist Discusses Arena Load Ins https://www.facebook.com/Corteo/videos/1048226248710077/ o) CRYSTAL: Discover Kevin Lapierre's Role https://www.facebook.com/CrystalbyCirqueduSoleil/videos/700843227013007/ o) CRYSTAL: Get to Know Figure Skater Mary Siegel https://www.facebook.com/CrystalbyCirqueduSoleil/videos/857893721255723/ o) KA: Follow Barri Griffiths (Chief Archer) Backstage https://www.facebook.com/KA/videos/574905053036832/ o) LUZIA: Discover What Makes Our Show Unique https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/2078167449143561/ o) TOTEM: Watch Trapeze artist Guilhem Talk About Life on Tour https://www.facebook.com/Totem/videos/863083224070568/ o) How much strength does it take to be an agile performer in our show? Watch The A.V. Club's behind-the-scenes interview to learn about what it takes to put on a successful performance: https://www.facebook.com/theavclub/videos/401849427344861/ ======================================================================= FASCINATION! FEATURES ======================================================================= ------------------------------------------------------------ Jean David's Quel Cirque, Part 8: "First Steps Across the Sea" 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! # # # For years, we’d dreamed of performing in Europe. We were convinced that there was a place for our shows there. In 1989, a business opportunity opened up for us. We needed a new show for our 1990-1991 North American tour, and Le Cirque réinventé (The Circus Reinvented) with which we had opened the United States, became available to be presented elsewhere. In Europe, Germany was our first choice. Circuses are very popular there; they draw a sophisticated, affluent clientele. We were determined to try our luck. We’d been negotiating with a German producer for three months. But the agreement fell through at the last minute. Clearly, there had been some misunderstanding. We rushed to adjust our plans because the artists and technicians were as good as hired. We had to find an alternative solution and in a hurry. We decided to perform in London and Paris—and do it on our own. In London, we located a site, the Jubilee Gardens; we also found a big top. We were pressed for time. London, the entertainment capital of Europe, is enormous. The English knew nothing about Cirque du Soleil, and we knew little about them; the challenge was considerable. Nevertheless, we knew that just as in North America, the people most likely to buy tickets and appreciate our show had an above average level of education and family income. After engaging in much preparation, and putting many safeguards and installations in place, we premiered on July 31, 1990. But that summer, England suffered its worst heat wave in 60 years. To make matters worse, the big top wasn’t air-conditioned. The heat wave lasted a good three weeks; it was a disaster. The only tickets people were buying were the least expensive seats on the side. The most expensive seats, those around the ring and in the center stands were empty. People who could have afforded to pay for them had fled the city to take advantage of the fresh seaside air. To top it all, opinions were divided in the English media about our show. Some reviewers complained that our show was too clean, too colorful. Journalists also grumbled that our performers smiled too much and their teeth were too white. One magazine even quipped “safe sex, safe circus.” It was a long, hot and humid summer, but the team hung in there. September brought some relief; our target clientele returned to the city; and word of mouth began to work for us. But it was too little, too late; our financial losses were substantial. Yet, we had drawn a little over 50,000 spectators, and it was some consolation that no other Canadian cultural product had attracted as many customers in a single run in London. Paris was waiting. There, we didn’t play in a big top; we performed in a theater, in the form of a big top at Cirque d’Hiver Bouglione in the 11th arrondissement. Built under Napoleon III, the theatre was owned by the Bouglione family, who were circus legends. We signed contracts with TF1 and Groupe Europe, an important French media group. We were privileged to work with some of the best people in the industry: Rose Léandry, Gérard Louvin, Tony Krantz, and Dominique Larmoyer. It has often been said that it’s tough to do business with the French. And it’s true! Nothing that works elsewhere on the planet can work in France. Everything had to be reconsidered, re-done: signs, slogans, and communications. And yet, I love the French! Finally, it was the day of the premiere. I’ll let you in on a little secret: it was the finest premiere evening in my whole time with Cirque du Soleil. An absolutely magical evening that took your breath away. Many of the oldest, most celebrated European circus families accepted our invitation. Our room was filled with history. It was as if ghosts were present. We got excellent reviews — the media were less divided than in London — and French audiences loved our artists’ sparkling costumes, smiles and white teeth. The Paris operation paid for itself financially and even yielded a slight profit. But, before we finished our run, the Gulf War broke out and along with it a collective psychosis. We packed our bags and returned to Canada. Game postponed due to bombing! Know When to Say «No» --------------------- Cirque National Suisse Knie asked us for permission to present Le Cirque réinventé. It would be a follow-up to our visits to London and Paris. From a Business perspective, the Knie family was requesting us to grant them a licensing agreement for our show. It would assume the production costs and pay royalties on ticket and merchandise sales. Knie presented Cirque du Soleil on its annual tour of 60 cities, villages and cantons. Under the Knie’s big top were united all the elements of Le Cirque réinventé: music, décor, costumes, artists, and direction. In addition, there were the Cirque Knie animals for which we designed costumes matching the colors of the show. The entire operation took place on Swiss territory. After London and Paris, we believed that being involved in the Cirque Knie tour was an excellent way to gain exposure with a new European clientele and to test our product. It was 1991 and the tour was quite a success everywhere. In Switzerland, Cirque Knie was an institution, and its annual tour was eagerly awaited. In fact, the operation proved so popular that the Knie family wanted us to come back… They were eager to stage Nouvelle Expérience, which was capping off a magnificent two-year tour in North America. The Knie offer was interesting, but we decided to decline, and retain the possibility of introducing our shows on European soil ourselves. Sometimes you have to know how to say “no.” Be Yourself ----------- In marketing our shows throughout the world, I kept certain basic principles in mind. They were inspired by popular sayings my parents taught me when I was a child. They apply to all sorts of situations. In my professional life some are particularly relevant. Why look for complicated theories when we can access our cultural background for tried-and-true principles? Here are two of the sayings: “In Rome, do as the Romans do” and “If you want something done well, do it yourself.” These sayings propose a straightforward approach to life. Taken together, they may seem paradoxical. Let’s look at the two. “In Rome, do as the Romans do.” In international marketing, obviously you need to understand how locals do things. That way you draw inspiration from them. Above all, you can break down the resistance to your product or service. Globalization has forced us to think globally but act locally. To reduce the gap between consumers and our product, we had to reach out to the community, become a part of it. We had to be aware of their social and cultural context. All this was necessary to ensure the success of our operations. In the process, we got to know extraordinary individuals teeming with ideas. As a rule, the people we met producers, promoters, public relations consultants, communicators and the media found our openness charming. In fact, some even became our friends. Yet, there was a drawback. Most of the local collaborators we met on our travels were so eager to share their expertise with us that sometimes they wouldn’t take no for an answer. Usually, they weren’t aware of what they were doing. It was only natural for them to suggest tried-and-true ways of doing things that they used every day, and that worked very well most of the time. Seldom, did these professionals completely understand that since our product was original, it required an original approach. That’s when I went by the dictum “If you want something done well, do it yourself.” Our marketing objectives bore no resemblance whatever to those normally driving the entertainment industry. We were operating on a scale way beyond what our local partners were used to seeing. “Hello. You don’t know us but we’re a circus the likes of which you’ve never experienced. We’re lugging around our big top, which seats 2500. We’ve decided to perform in your fine city, where we’ll sell between 100,000 and 250,000 full-price tickets!” With ambitions came responsibilities. We had to make sure things were done correctly. So we spelled out the way we wanted them done. And we left no doubt in their minds about our expectations, clearly explained the sequence of activities, presented a precise action plan, provided the means for carrying it out and saw to it that our goals were achieved. Part of my job in Marketing was to act as Cirque du Soleil brand manager. In the context of exporting our product, it felt more like brand protection. We were presenting a live show to an audience inside a venue closely resembling a huge sailboat. Careful! It’s fragile! The operation had to be carried out with the utmost care. I was not only concerned about the uniqueness of our product; I was concerned about its vulnerability. I knew that paying attention to detail would be rewarded in the way the public, opinion setters and media perceived us. It would also impact in our results. People often asked me what were the differences between Japanese, American, Dutch, Chinese, English, Canadian, and German customers. Truth to tell, there were many. In the age of market globalization, though tariff barriers have been abolished, cultural differences fortunately have survived. Above and beyond differences in the exportation process, the people had one point in common: as consumers, they knew how to recognize quality in a product or service. Their needs were real; their expectations constantly evolved. It’s important to remember that the personality of consumers is continually changing. It may be surprising, but in this respect, things move very fast! It’s not that time is going faster; it’s that the information disseminated is denser, more focused and, above all, more pertinent. Technology is accelerating the circulation of ideas. All this leads me to think that the 21st century won’t tolerate redundancy. There’s a tendency to eliminate it. The global village really exists; what’s more, it brings forth unforeseen developments. The Cirque du Soleil marketing philosophy could be summed up in three words: creativity, identity, and competitiveness. CREATIVITY: Our product was innovative and universal. We always invested in the creation of new shows and we clearly demonstrated our capacity for renewal and transformation. Our greatest passion was the pursuit of bold new artistic challenges. IDENTITY: Our focus was youth, and more than 25 nations were represented on our staff. In our organization, we affirmed our cultural distinctiveness around the world, and we strongly supported bold entrepreneurship. COMPETITIVENESS: We set new standards of excellence in our sphere of activity. In all our markets, our commitment to excellence became the standard. We didn’t aim to succeed at all costs; we simply wanted to finish what we had begun. In exporting our shows, we have been highly successful. We have met with acclaim and affection around the world. Our most significant marketing triumph was our unique positioning with our consumers. For many entertainment industry observers, Cirque du Soleil was a sign of things to come. It was an organization that positioned itself in a context in which culture was the currency of human beings in search of an identity. To Be Continued... ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 8 (Issue #187) - August 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. { Aug.12.2019 } =======================================================================