======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 20, NUMBER 5 May 2020 ISSUE #196 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * A BATTLE ROYALE FOR CIRQUE DU SOLEIL? * * * These last two months - from founder Guy Laliberté cashing out his last 10% and the company having to shut down due to COVID-19, to talks of bankruptcies and financial rescues - Cirque du Soleil has been on one hell of a wild ride. And it doesn't appear that it's going to be over any time soon As deep-pocketed private equity funds and Quebecor, Inc. weigh offers for the financially-strapped Cirque (and making their fight for the company a very public affair - see within), Guy Laliberté himself weighed in on the matter, saying he is considering whether or not to jump into the looming fight for the circus troupe he founded. "As the Cirque faces the biggest challenge of its existence we're about to see a wrestling match involving a number of players," Laliberté said on Tuesday, May 12th. "From my point of view, we're in for a battle royale. ... I am deciding whether or not I'm going to jump into that wrestling ring." Cirque du Soleil saw its revenue drop to nearly zero overnight as its live shows were put on hold due to COVID-19. Some 4,700 employees have been laid off, while a core group tries to plot how to get operations going again. As of now, the company has launched a formal search for new capital. Existing shareholders TPG Captial LP, Fosun Capital, and the Caisse de dépôt et placement du Québec recently put an additional $50-million USD into Cirque this month to help the company pay its obligations that include interest on loans, giving the company a bit of breathing room until it can find a more permanent solution. The Globe and Mail reported that Cirque recently hired the National Bank of Canada and U.S. investment bank Greenhill & Co. to advise its board of directors on either selling the company or negotiating a significant cash injection from its existing owners. The two investment banks have set a June 8th deadline for initial bids for the Cirque. Bloomberg reported on May 13th that Cirque du Soleil was in talks to borrow as much as C$500 million ($355 million USD) from the government of Quebec in order to remain solvent. But Cirque is attracting outside interest too, and must make a deal that satisfies its creditors, who are owed $900-million. Quebecor announced May 2nd it made a preliminary offer for the business. The telecom and media company said it is willing to put several hundred million dollars into Cirque, but so far there have been no formal talks between the two sides. (More about this within.) Private equity fund Providence Equity Partners LLC is also expected to make an offer. The battle for Cirque du Soleil and its soul has only just begun. More about this battle can be found in our news section within. * * * CIRQUE RESCHEDULING SOME SHOWS * * * While a storm rages outside the creative walls of Cirque du Soleil's HQ in Montreal, over the last few weeks, the company has quietly begun to reschedule a number of its touring shows. ALEGRIA's 2020 stop in Washington DC has been replaced with KOOZA in 2021 for instance. With the company's future still in doubt (and all involved gearing up for a battle), it's uncertain if Cirque du Soleil will be able to execute on these tour stops, however, they've been included in the ITINERAIRE section this month for reference. * * * QUARANTINE: THROUGH THE EYES OF CIRQUE ARTISTS" * * * Meanwhile, Director Mukhtar O. S. Mukhtar has put together a fantastic look into the quarantined lives of Cirque du Soleil artists (past and present) - Claudio Carneiro, Alberto del Campo, Brittany Gee-Moore, Eliana Girard, Aleksei Goloborodko, Bill May, Neguinism, Spencer Novich, and Uzeyir Novruzov - in a beautiful 23-minute video he shared via YouTube on May 9th. "Witness how hope and wonder inspires thrm to cope one step at a time in their own unique ways. To be inspired and come out of thissituation stronger than ever, love and unity is what we all need right now." SEE THIS MAGNIFICENT VIDEO HERE: https://www.youtube.com/watch?v=8Cl4yhvmzsk More? 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) Outreach -- Updates from Cirque's Social Widgets * Webseries -- Official Online Featurettes * Videos -- Official Peeks & Noted Fan Finds o) Fascination! Features * "A Peek into the Eccentric Worlds of AXEL" By: Richard Russo - Atlanta, Georgia (USA) * "Australian Acrobat to Sue Cirque du Soleil" By: Alice Matthews as Published in SBS's The Feed o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- Cirque Discusses Loan With Co-Owner TPG {Apr.16.2020} ---------------------------------------------------------- Cirque du Soleil Entertainment Group is in talks with its private equity backer TPG regarding a loan after the coronavirus pandemic forced it to close shows globally, bringing the famed live performance brand to its knees. The Montreal-based company is discussing a $50 million loan secured by Canadian intellectual-property assets, according to people familiar with the matter. The borrowing would give the company time to explore options including potential government assistance, the people said, asking not to be identified because the matter is private. Representatives for Cirque and TPG, its majority owner, declined to comment. Entertainment companies that depend on large crowds were among the first business casualties of the virus. Cirque announced temporary layoffs of 4,679 employees on March 19 after shutting down 44 productions to comply with government orders around the world. The company, which grew from a troupe of Quebec street performers into a global entertainment giant, is also in talks with Caisse de Depot et Placement du Quebec for rescue funding, Bloomberg previously reported. Cirque, which has shows in Las Vegas including "Mystere" and "Michael Jackson ONE," needs to address about $900 million of senior loans. S&P Global Ratings cut Cirque's rating to D on April 3. The company failed to make principal and interest payments due March 31 on its first-lien credit facility and an interest payment on its second-lien facility. The first-lien loan is quoted at just over 52 cents. { SOURCE: Bloomberg } ---------------------------------------------------------- New Dates Announced for "Under the Same Sky" {Apr.20.2020} ---------------------------------------------------------- In light of the COVID-19 pandemic, Cirque du Soleil has taken the decision to reschedule the opening of its new Big Top show production, Under the Same Sky, originally planned to take place on April 23, 2020. The show will premiere under the Big Top in Montreal's Old Port, starting April 22, 2021. The changing situation amidst the coronavirus pandemic across the world and the cancellation of all public events through August 31st announced last week by the Quebec government, have likewise brought the new production of Under the Same Sky to a standstill and suspended the touring schedule temporarily. "As the world is still greatly affected by the COVID-19 pandemic, we have no choice but to reschedule the opening of Under the Same Sky to next year. We look forward to presenting the World Premiere in Montreal, as Cirque du Soleil has always done for all Big Top productions in the past", says Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group. Cirque du Soleil is also happy to announce changes to its tour plan by adding the city of Gatineau, Quebec, at the Place des festivals Zibi, as the second stop of the Under the Same Sky tour. This 51st original production for Cirque du Soleil and 20th Big Top show will bring a bold new visual approach to the Big Top; high-level acrobatics will be woven within a striking and disruptive imagined universe. Spectators will be touched by uplifting choreography and startling physical theatre, and moved by the vibrant musical score, all infused with the warmth of human interconnection. The show's visionary approach will wow fans with vibrant color and light, bringing Cirque du Soleil on an exciting whimsical journey. Current ticket holders will be contacted directly by a Cirque du Soleil representative to receive updated tickets for the same week, same day in 2021. Tickets can be purchased online at www.cirquedusoleil.com/under-the-same-sky { SOURCE: Cirque du Soleil } ---------------------------------------------------------- Ex-Cirque star develops COVID-19 fashion line {Apr.20.2020} ---------------------------------------------------------- Pandemic fashions are a snap for Wassa Coulibaly. The Baobab Stage proprietor and former "Zumanity" artist has launched a new line of COVID-19 pieces. They feature hooded dresses with face covers, which are fitted with snaps so you can cover your face in public. "You can wear these in a variety of ways," Coulibaly says. "You can even wear them after the pandemic is over." Coulibaly, who is originally from Dakar, Senegal, immigrated to the United States as a teenager and earned a role in Cirque du Soleil's "Zumanity" as the show opened in August 2003. She left the cast in October 2013, devoting all of her time and energy to Baobab Stage at Town Square. Coulibaly has presented shows in the theater, opened a cafe and sells her fashions from an adjoining shop. She came up with the idea when she walked into a market last month and was reminded to cover her face. Coulibaly pulled her hood across her head. That day, she was working on the fashion line. Find Coulibaly's work at wassaboutique.com, where you can order and then pick up the items curbside. You can also have your order delivered. Her business temporarily shut down by COVID-19, Coulibaly has spent most of her downtime with her daughter, Mariam, who turns 3 in May. As the artist says, "We are having fun gardening, planting trees, hiking and creating." CHECK OUT HER FASHIONS HERE: http://www.cirquefascination.com/?p=13668 { SOURCE: John Katsilometes, Las Vegas Review-Journal } ---------------------------------------------------------- LaPresse: Many workers among Cirque's creditors {Apr.21.2020} ---------------------------------------------------------- { Translated from the original French using Google Translate } Not only has Cirque du Soleil been unable to keep its employees employed, but people working under contract for Cirque du Soleil have still not been paid for work performed before the announcement of the massive layoffs on last month. Cirque has adopted a policy of suspension of payments and obligations towards its suppliers, in particular consultants or freelancers, who have agreements with Cirque. Some of them told La Presse that Cirque did not pay the invoices sent before the massive layoffs announced in mid-March. In some cases, these are invoices for the winter months. In other cases, the invoices date from the fall months, which causes them financial stress. One of these suppliers, who does not want to be identified because he is afraid of the repercussions on his career, fears that a restructuring will occur "quickly" and that the debts towards "several hundreds" of workers will be "blocked" or renegotiated at the discount. "We are talking about circus craftsmen here: directors, lighting designers, choreographers, artistic coordinators, trainers, etc. "He says. For some of these people, Cirque is their only client. You should know that the Cirque employs many of these craftsmen full time, but also hires many by contract, according to its needs. Depending on the projects, freelancers in marketing, technology, programming and design can also obtain contracts. It was not possible to obtain details of the overall amount of claims owed to suppliers or the precise number of workers affected. "The Circus is a private enterprise," said spokesperson Caroline Couillard simply. Cirque explains that the COVID-19 crisis led to a "sudden and total" paralysis of its activities. "Consequently, we were forced to adopt drastic measures to preserve our remaining liquidity and ensure the sustainability of the Cirque du Soleil Group," said an internal note obtained by La Presse. "Our liquidity is under enormous pressure due to this unexpected and unprecedented event, and unfortunately, the duration of the pandemic and its impact on the future of the Circus remain unknown at this time," we can read. "Unfortunately, we have no alternative but to temporarily suspend the payment of our obligations to our suppliers and partners while we are working to get through this crisis and stabilize the situation. We are aware that this action, which is necessary in the circumstances, could have repercussions on your operations, and rest assured that we sincerely regret it, "he said. Cirque du Soleil announced on March 19 the layoff of 95% of its workforce, or 4,679 employees. Cirque has only a very small team still in place and the salary of the CEO, Daniel Lamarre, has just been reduced by 50%. "It was he who made the proposal to the board of directors," says Caroline Couillard. For the time being, no other employee or officer still in office has suffered a drop in salary. Last week, La Presse revealed that the Cirque is in a difficult financial position, to the point that the organization maintains that it does not even have the "means" to take help from the federal government to rehire the workers laid off in March. Management explains the situation by the fact that Canada's emergency wage subsidy program requires proof of payment for the 75% portion of employee wages to be given before being eligible to receive federal funding. "Although we would very much like all of our employees to benefit from this program, our current cash situation puts us in a position where we do not have the capacity to make such payments in advance," said a document obtained by The Press. Cirque has about 1 billion in debt. The main shareholders of Cirque are the American fund TPG, the Chinese group Fosun and the Caisse de depot et placement du Quebec. Given the situation in which Cirque finds itself, placing the organization safe from its creditors is one of the options being considered by management, sources confirmed to La Presse this spring. Cirque du Soleil in six dates o) April 2015: A group led by TPG Capital, of San Francisco, concludes an agreement to acquire Cirque du Soleil for approximately 1.75 billion US dollars. o) June 2019: La Presse reveals that the Cirque du Soleil Group is considering going public. o) November 2019: CEO Daniel Lamarre confirms that the stock market listing project is on the ice "for the moment", arguing that the stock market is not favorable. o) February 2020: The Caisse de depot et placement du Québec buys the remaining 10% stake from Guy Laliberté in Cirque. o) March 2020: Cirque announces the layoff of 95% of its 4,679 employees. o) April 2020: Sources confirm to La Presse that one of the three options considered by Cirque is to place the company safe from its creditors. { SOURCE: LaPresse } ---------------------------------------------------------- The Last Days of Cirque: How COVID-19 Brought Down an Entertainment Empire {Apr.22.2020} ---------------------------------------------------------- The slow-motion shutdown of Cirque du Soleil should have been an early warning of the disaster to come. The novel coronavirus was still considered a local problem in late January, when the world's largest circus producer canceled performances of The Land of Fantasy, its first and only permanent offering in China. Within two months, the virus had spread to every corner of the world. "Everything was going very well," recalls Diane Quinn, Cirque's chief creative officer, who had visited the show in Hangzhou, near the epicenter of the outbreak in Wuhan, just a few weeks earlier. The abrupt cancellation of The Land of Fantasy was a serious blow to profits, but a manageable one. Cirque still had 43 other shows around the world. COVID-19 would not have an official name for a few more weeks, and even as late as early March, the idea that it could grind the entire world to a halt seemed unimaginable. An outbreak in Italy was an inflection point for the company. Cirque had a show set to open in Rome—its tent was already erected and tickets were being sold—when the event's promoter called it off. The show would have gone on to Milan, but that would clearly be impossible after the Italian government locked down the country on March 9. One by one, the dominos fell—more cancellations, more travel restrictions, more bad news. "As the virus spread across Europe and ultimately into North America, we realized, boy, we're going to have a problem on our hands," Quinn says. Las Vegas, which accounted for some 35% of Cirque's revenue and is the company's most important market, was the final straw. On March 14, CEO Daniel Lamarre received a call from MGM Entertainment in Las Vegas, informing him that all of the city's casinos and other tourist destinations would be shut down. "I woke up the day after, Sunday morning, and I had no more shows, no more revenue," Lamarre says. The world had come to a halt, and Cirque du Soleil with it. For the first time in 35 years, the show wouldn't go on. "NOBODY HAS A CRYSTAL BALL" --------------------------- For performers like AJ Anaya, the shutdown has been devastating. Not long ago, Anaya could be seen twirling through the air on his BMX bicycle in a nightly spectacle of acrobatic mastery and gravity- defying stunts. He'd be hamming it up for thousands of cheering fans in Chicago, Atlanta, or Los Angeles, under the glittering big top in a high-octane show called Volta, a touring production by Cirque du Soleil that featured a wild array of extreme sports. For more than three years, Anaya has been among the show's star attractions. These days, the 34-year-old BMX performer lives a much more sedentary existence. Like thousands of his fellow performers, Anaya has been sidelined since March 13, when the famed circus brand announced the suspension of its touring shows in response to the coronavirus pandemic. Ten days later, he was laid off along with 95% of the company's other employees, who are not represented by a union. Anaya still communicates regularly with his fellow Cirque performers— his extended family, he calls them—through a Facebook group where they offer each other emotional support, trade tips about training and exercise routines, and discuss the day when they'll once again feel the adrenaline rush of performing live with the world's most famous circus. "It's been quite an adjustment going from 10 shows a week to just kind of being at a standstill," says Anaya, who lives in Denver with his wife and newborn son. "Everybody's excited to kind of get back on the road and do what we do." But with economies in free fall and no vaccine in sight, it remains to be seen how Cirque can reopen—and if it will be the same company when it does. In hindsight, there were few companies as vulnerable to COVID-19 as Cirque du Soleil Entertainment Group. Since its inception in 1984, it's played shows in 1,450 cities in 90 different countries, and large gatherings are their lifeblood. Its vast army of 1,800 artists relies on international travel to get from show to show, regularly crossing borders, performing on cruise ships, and interacting with fans. Daily training regimens require constant physical contact. The entire operation depends on an intricate logistical network of cargo ships, trucks, hotels, and food-service businesses, all of which have ground to a halt. In effect, government bans on large gatherings are a ban on Cirque itself, leaving a company that generated an estimated $950 million last year with essentially "zero revenues," according to Lamarre. A former public relations guru, Lamarre exudes optimism that Cirque du Soleil will survive the pandemic, even if he admits to not knowing when or how it will happen. In a way, that's been the hardest part. "The uncertainty of when it's going to end, it's just kind of rough," Lamarre says. "Nobody has a crystal ball, right?" That hasn't stopped financial analysts from spinning their gloomy prognostications. In a recent credit assessment, analysts at Moody's downgraded Cirque's credit rating to junk territory, citing its "excessively high leverage" and limited investment capacity for 2020. "Weak liquidity, soft show demand and challenging economic conditions will further pressure Cirque du Soleil's operating flexibility and capacity for growth capital investments once shows resume," the analysts wrote. S&P Global Ratings offered a similarly dire outlook, downgrading Cirque to its lowest rating and citing "missed principal and interest payments." Avoiding bankruptcy may be a high-wire act. Reuters reported in March that all options are on the table as Cirque explores plans to restructure its debt and repair its balance sheet. Lamarre did not deny that bankruptcy is a possibility, though he calls the report "overstated." Cirque has a wealthy patron in TPG Capital, the private equity giant that purchased a majority stake in the company five years ago, spurring a new wave of expansion and diversification for the brand. (Cirque's portfolio now includes Blue Man Group and the Illusionists franchise, among others.) Perhaps even more substantial, Lamarre says, is support from another major shareholder, Caisse de dépôt et placement du Québec, a Canadian manager of pension funds that doubled its stake in February. "They're very eager to keep us alive," Lamarre says. Still, the relationship with TPG is complicated. The 2015 deal that made Cirque du Soleil co-founder Guy Laliberté a billionaire also saddled Cirque with nearly $900 million in leveraged debt—a common practice among private equity firms to generate higher profits. That high-risk debt was later packaged into collateralized loan obligations and sold to global investors. Now, with that debt reduced to junk status, Bloomberg reports that Cirque has discussed a $50 million loan from TPG, using its Canadian intellectual property rights as collateral to buy time while seeking government assistance. Cirque declined to comment on the loan, but Lamarre told me that Cirque has indeed been negotiating a short-term rescue plan with the Canadian government. "Having support from the government would be helpful," he says, referring to Cirque as a "Canadian ambassador" that represents the country all over the world. "It's kind of intriguing right now because we have no shows, we have no revenues, but we have an amazing brand." The company later added, "we are confident that when the day comes when we can reopen our shows, we will get back to profitability." Between Caisse and TPG, and with an additional leg up from the government—Cirque's "three buddies," as Lamarre calls them—the company may be in a better position than many entertainment and performing arts organizations, some of which have already announced permanent closure in the wake of the pandemic. And while Lamarre may not have that crystal ball, he is confident enough to make a prediction: "One thing's for sure—if you called me this time next year, Cirque du Soleil will be open." ENTER THE SWAT TEAM ------------------- In the weeks since Cirque laid off its 4,679 employees, the company has been operating with a skeleton crew of administrative personnel and executives—Lamarre calls them the "SWAT team"—to mitigate the damage and plot a path forward. Discussions have already begun to reopen Cirque's show in China, although how or when that would work is unclear, especially as Cirque performers would usually need to travel to and from China to keep the show operating. The fraught logistical puzzle underscores one of the most frightening challenges that live-entertainment companies such as Cirque du Soleil are facing. Even after cities and countries begin to get their coronavirus outbreaks under control, life will not return to normal all at once. It will drip back incrementally. And even with the best of possible outcomes, large gatherings will be one of the last aspects of pre-pandemic life to return. Every day that goalpost gets pushed further into the future for industries across the live-entertainment sector. Broadway producers had been eyeing July 4 weekend as a possible reopening date, but producers are now saying they'll be lucky to be open by September. Disney and other theme park operators are quickly losing hope that they can salvage the summer. Some experts say we should not expect major live events to resume until fall 2021 at the earliest. Cirque du Soleil has survived other downturns. It took years for the company, which began as a humble group of 20 street performers, to become a global phenomenon. After exploding growth in the 1990s and 2000s, Cirque suffered a massive round of layoffs in 2013 and was seen as past its prime when TPG took a controlling stake two years later. It's grappled with high-profile performer fatalities that have called its safety record into question. And it's struggled to find a winning formula in cities such as New York that take their live entertainment seriously. Through it all, Cirque has thrived thanks to a multi-generational base of support that seemingly never tires of its unique brand of theatricality, daredevil acrobatics, and wonder. Even during the worldwide lock-down, die-hard fans tuned in to watch streamed excerpts from three shows on places like Facebook and YouTube. The result across platforms during one test was an audience of 14 million people, Lamarre says, a number that far exceeded even his most ambitious expectations. "You know, internally we were betting about how many people we would reach. I was the highest bidder and I was looking for 2 million viewers," he says. "I was totally off and so were my colleagues. That was such an encouragement in the middle of a crisis." Back in Costa Mesa, California, where Cirque du Soleil's "Volta" was supposed to be up and running by now, AJ Anaya is still hunkering down, his custom BMX bike in tow, ready for when the lights of the big top are shining again. Performing with Cirque is a dream job, he says, and looking on the bright side is part of the gig, even in the darkest of times. "It's such a crazy, crazy thing that we're going through, but honestly I think it's all gonna work out for the better," Anaya says. "We're going to return to normal, and hopefully better than we were before." { SOURCE: Christopher Zara, Fast Company } ---------------------------------------------------------- Cirque du Soleil Controlled from a Tax Haven {Apr.29.2020} ---------------------------------------------------------- {Text has been translated from the original French using Google Translate} Cirque du Soleil is owned by the limited partnership "Société à Gestion Cirque du Soleil SEC" which has its head office in Montreal, since the founder, Guy Laliberté, ceded control of his empire in 2015. The problem? Who holds the controlling position of said limited partnership? It is the US mega private fund TPG, from Texas, with 55% of the shares. How does it exercise control? Through "CDS Luxembourg Holdings S.à rl, Société à responsibility", which company is located in Luxembourg, recognized worldwide as a haven for light taxation. That said, you will not find "CDS Luxembourg Holdings" in the list of sponsors of the Cirque du Soleil Limited Partnership. Officially, the shares that the American fund TPG holds in Cirque du Soleil are registered in the name of the company "TPG VII CDS Holdings, LP". But when the transaction was sealed on July 8, 2015, TPG transferred (with effect two days later, July 10, 2015) all of the Cirque shares it owns through "TPG VII CDS Holdings" to "CDS Luxembourg Holdings". OTHER PARTNERS There are two other limited partners of the limited partnership "Société à Gestion Cirque du Soleil SEC", the Chinese group Fosun International Limited, with 25% of the shares, and the Caisse de depot et placement du Québec, with 20% of the shares. The first 10% tranche was acquired in July 2015, and the other 10% tranche comes from the recent purchase of the remaining shares held by Guy Laliberté. THE CALL FOR FINANCIAL ASSISTANCE Cirque du Soleil's request for government assistance has raised suspicion. As my colleague Jean-François Cloutier pointed out, it is billionaire groups, TPG from the United States and Fosun from China, who are asking Quebec's help to pay Cirque du Soleil employees and suppliers. To top it all off, Cirque du Soleil's third partner is our Caisse de depot et placement, with assets of $340 billion. Among the lobbyists who represent Cirque du Soleil with the Quebec government in its request for financial assistance, there is the wealthy Mitch Garber, chairman of the board of directors of Cirque du Soleil and the federal agency Invest in Canada. Under what pretext would the Legault government grant public funds to a company owned by a consortium of billionaire funds, while being controlled by the American fund TPG through a company established in a tax haven? After insistence, TPG and Cirque du Soleil confirm the existence of CDS Luxembourg Holdings. They claim that this company does not hold any interest in the Gestion Cirque du Soleil limited partnership. Note that "TPG VII CDS Holdings" (owner of CDS Luxembourg) is the official sponsor of Cirque du Soleil. { SOURCE: The Journal of Montreal } ---------------------------------------------------------- Felix & Paul to Release Alegría – A Spark Of Light This Week {Apr.29.2020} ---------------------------------------------------------- Felix & Paul Studios has a long illustrious history creating live- action immersive content, especially when it comes to working with Cirque du Soleil. The studio has now revealed its latest collaboration Alegría – A Spark of Light due for release in a couple of days. The sixth virtual reality (VR) production Felix & Paul Studios and Cirque du Soleil have made together Alegría – A Spark of Light promises to be the studios' most ambitious to date. Offering a 14-minute experience of Cirque du Soleil's iconic production, it was created with an elaborate set of over 100 cameras and mirrors; Felix & Paul Studios using its latest camera system and post-production platform. As well as several camera designs custom- built for this experience, its latest camera the Gen4 was employed for the first time on a Cirque du Soleil production. This is also the first time the pair have used CGI effects in a project, creating objects like the floating crystal seen below to increase the visual spectacle. "From the mind-bending amount of VR cameras that were used on set to create realistic reflections of the performers and acrobats, to the elaborate post-production process our team devised and forged through to produce the various tableaux of this piece, this project raises the bar for what can be accomplished through an immersive cinematic experience," said Paul Raphaël and Félix Lajeunesse, co-founders and creative directors of Felix & Paul Studios in a statement. Alegría – A Spark of Light will be made available on Thursday 30th April on the U+VR platform in South Korea, while fans around the rest of the world can use Oculus Go or Samsung Gear VR. { SOURCE: VR Focus } ---------------------------------------------------------- Felix & Paul Release "Alegría – A Spark of Light" {May.01.2020} ---------------------------------------------------------- Felix & Paul Studios announced today the release of a brand new virtual reality experience created and produced through their EMMY award-winning collaboration with Cirque du Soleil. Utilizing Felix & Paul Studios' proprietary 3D 360° camera platform, this new experience entitled Alegría – A Spark of Light takes the viewer inside the iconic Cirque du Soleil show. Powered by LG Uplus, the new production is available today on the U+VR platform in South Korea, and on Oculus Go and Oculus Gear for fans around the world. Using the power of VR to immerse audiences in the world of the show, the 14-minute virtual reality experience is a re-imagining of Cirque du Soleil's most iconic production, providing a truly fresh vantage point and unique way to internalize the wonder of Alegría. A timeless tale of resilience and hope, Alegría – A Spark of Light whisks spectators away to a disintegrating kingdom on the brink of chaos, shaken to the core by an invigorating movement borne from the street. The production was created with an elaborate set of cameras and mirrors, with over 100 cameras employed on set to create stunning visual illusions. The piece was directed by François Blouin, Paul Raphaël and Félix Lajeunesse, with immersive sound design and mix by HeadSpace Studios. "From the mind-bending amount of VR cameras that were used on set to create realistic reflections of the performers and acrobats, to the elaborate post-production process our team devised and forged through to produce the various tableaux of this piece, this project raises the bar for what can be accomplished through an immersive cinematic experience." remarks Paul Raphaël and Félix Lajeunesse, co-founders and creative directors of Felix & Paul Studios. Alegría – A Spark of Light is the sixth virtual reality production by Felix & Paul Studios with Cirque du Soleil. The two Montreal-based companies began their VR collaboration with Zarkana and then produced the critically acclaimed Inside the Box of Kurios, which won a 2016 Emmy Award in the Outstanding Interactive Media – Original Daytime Program or Series category. In October 2016, KÀ The Battle Within was introduced at the Oculus Connect 3 conference in San Jose, California and was featured at the Toronto International Film Festival as part of the Official Selection of the festival's Cutting Edge POP VR line-up. In January 2017, Cirque du Soleil and Felix & Paul Studios unveiled DREAMS OF ‘O' to critical acclaim at CES in Las Vegas, and the groundbreaking VR experience has since won an Outstanding Technical Achievement Award at SXSW 2017 and earned a Webby Award nomination. This was followed by the release of the experience Through the Masks of LUZIA and the Cirque du Soleil VR App. { SOURCE: Globe Newswire } ---------------------------------------------------------- Quebecor Eyeing Cirque du Soleil {May.02.2020} ---------------------------------------------------------- {Translated from the original French via Google Translate} On Friday, a lawyer representing Cirque du Soleil sent a formal notice to Quebecor, asking it to withdraw or correct information published this week on its media platforms. This document, which La Presse obtained, criticizes the Journal de Montréal in particular for having published on Wednesday a text indicating that Cirque is controlled from a tax haven – which Cirque denies. However, according to Cirque, this text is part of a campaign by Quebecor aimed at harming the company and its shareholders in the hope of obtaining an "unfair advantage", considering that Quebecor has twice demonstrated last month his interest in Cirque du Soleil, which he would like to "acquire". By "undue advantage", Cirque means Quebecor seeks to thwart the company's recovery plans to acquire it at a better price, according to two sources. These sources, well aware of Cirque's approach, do not wish to be identified because they are not authorized to speak publicly. Quebecor did not answer questions from La Presse regarding its interest in the Circus and did not intend to comment on the formal notice. Cirque is going through difficult times: almost all activities have stalled due to the pandemic and the debt is weighing on the finances of the company, which must examine its strategic options. The entertainment group is asking for help from governments. The option of sheltering from creditors is still on the table. In his April 29 text, Journal de Montréal columnist Michel Girard questions the relevance of governments helping the Cirque because the main shareholder, the American fund TPG, controls the company through CDS Luxembourg Holdings, a company registered in Luxembourg, a tax haven. Cirque claims that this text contains "false and misleading" information. Cirque accuses Quebecor of having a hand in that article's publishing, while also denying the information reported within. The columnist also reiterated his comments on LCN on Le Québec matin, then on Politiquement incorrect, hosted by Richard Martineau on QUB Radio. According to the formal notice, the chronicler's "declared objective" was to "hinder [Cirque's] efforts in its efforts to obtain financial assistance or financing on market terms from the governments of Canada and Quebec in the context of the current crisis." "Besides, there is reason to question Quebecor's intentions, as its subsidiaries published no less than five articles on Cirque du Soleil in less than a week, which clearly aim to disparage Cirque du Soleil and its sponsors." the publication by the Quebecor subsidiaries of no less than five chronicles or articles on Cirque du Soleil in less than a week, which clearly aim to disparage Cirque du Soleil and its sponsors." QUEBECOR "KEEN INTEREST" Still according to Cirque, the texts are part of a context where Quebecor expressed its "keen interest in acquiring Cirque du Soleil", in particular in two letters sent to Cirque financial advisers on April 5 and 10. Cirque says it has "serious reasons" to believe that Quebecor, "through its media platforms, is currently seeking to undermine the process of maximizing Cirque's value for the benefit of its stakeholders, including its creditors, lenders and employees, and to exclude interested parties from participating in "the long-term solution" [described by Quebecor], all in order to gain an unfair advantage from it." Such illegal and abusive maneuvers are marked by obvious bad faith. – Guy P. Martel, lawyer for Cirque du Soleil Friday afternoon, Quebecor director of public affairs, Marie-Josée Duhamel, told La Presse that the company had still not received a formal notice. "We will not make any comments if such a formal notice was addressed to us," she said. Mme. Duhamel has not responded to questions about Quebecor's interest in Cirque du Soleil. La Presse asked Quebecor again at the end of the day, without receiving any further response. Cirque confirmed to La Presse that the formal notice had been sent. In an interview with La Presse , the Cirque spokeswoman denied that the company was controlled from a tax haven. "The Cirque du Soleil Group does not do tax avoidance and does not use any tax structure to avoid some taxes whatsoever in Canada and in other jurisdictions where Cirque presents shows," said Caroline Couillard. It also maintains that Cirque is not controlled by CDS Luxembourg Holdings, that this entity is a management company which has made financial losses in the past years and that it has been in the process of liquidation for "several" months. SHAREHOLDERS INJECT 50 MILLION MORE The three main shareholders of Cirque du Soleil are ready to inject an additional 50 million into the organization. Official confirmation of this investment is expected to come in the next week, La Presse learned. According to our information, this capital injection aims to allow Cirque to continue on its path until a decision is made about its future. The financing must be made in proportion to the shares held by each of the three largest shareholders, which are the American fund TPG Capital (55%), the Chinese group Fosun (25%) and the Caisse de depot et placement du Quebec (20%). TPG therefore releases 27.5 million, Fosun commits 12.5 million, while the Caisse adds 10 million. (Caisse de depot doubled its stake in Cirque in February by buying the remaining 10% stake from founder Guy Laliberté.) Cirque has about $1 billion in debt and no longer receives any income since its activities were paralyzed by the COVID-19 crisis. The 44 shows in representation in the world were stopped. Cirque management laid off 95% of its workforce on March 19, or 4,679 employees. Placing the organization safe from its creditors is still one of the options contemplated by management, a source familiar with the matter confirmed to La Presse. This source cannot be identified because it is not authorized to speak publicly. In a report dated March 18, the credit rating agency Moody's mentions a risk of default described as "high" by the end of the year. The concentration of the company's activities in Las Vegas, where it generates around 35% of its revenues, is one of the main risks facing the Circus, it said. For the 12-month period ended last September, Cirque generated revenues of US $950 million, according to Moody's. For the next year, the company will need at least US $165 million, estimates the New York agency, while the Circus had access to US $120 million (including a credit facility) at the end of 2019. OPTION UNDER STUDY Three main options are being explored at Cirque, La Presse reported in late March. The preferred option is government assistance. Cirque management has taken steps in this direction with Quebec and Ottawa. No specific aid has yet been announced for the Circus. The second avenue is an injection of additional capital by existing shareholders, while the third avenue is the protection of creditors. The situation is so critical that the Cirque management maintains that it cannot even afford to take advantage of the wage subsidy program set up by Ottawa. Management says that it cannot afford to pay its employees even if the federal government will reimburse part of it. People with contracts with Cirque have still not been paid for work done even before the layoffs were announced in March. In some cases, these are invoices for the winter months. In other cases, the invoices date from the fall months. The Cirque had been sold in 2015 for around US $ 1.75 billion to a group led by TPG. La Presse revealed last summer that Cirque was considering going public. Last fall, CEO Daniel Lamarre confirmed that this project was on the ice "for the moment", arguing that the stock market was not favorable. { SOURCE: Richard Dufour, La Presse } ---------------------------------------------------------- Statement by Quebecor on Cirque du Soleil "Rescue" {May.04.2020} ---------------------------------------------------------- The management of the Cirque du Soleil (the Cirque) has regrettably decided to make public the proposals it has received from Quebecor, which had been sent in confidence to the various stakeholders, including numerous ranks of creditors and shareholders. This move comes at a time when the Cirque faces considerable uncertainty. Indeed, the company itself has raised the possibility of initiating proceedings to place itself under the protection of the Companies' Creditors Arrangement Act (C-36). Under the circumstances, Quebecor has no choice but to publicly clarify its desire and determination to help save the Cirque, a creative powerhouse which is an economic engine for Montréal and all of Québec, and an ambassador for Québec talent on the international stage. Like all Quebecers, we were surprised to learn of the extent of the Cirque's difficulties. Though it was known before the current health crisis that the Cirque had problems, there was no reason to suspect they were so serious that the Cirque would be unable to pay its employees and artists, who are the sinews of the company and are now being left stranded. The fact that a business of this size did not have enough cash on hand to cover the essentials is cause for concern, especially in view of the opinion issued by Moody's, which downgraded the Cirque recently: The company's financial policy that favors shareholders has increased credit risk, which together with the recent deterioration in performance has resulted in a weaker financial profile. It was against this backdrop that Quebecor decided it wanted to help save the Cirque and would, as a first step, consider extending short- term financing of several tens of millions of dollars to cover payroll for thousands of employees and meet various obligations, such as the outstanding bills of suppliers who have not been paid for months. In phase two, Quebecor would be prepared to inject several hundred million dollars to enable the Cirque to resume its activities and ensure its sustainability. To do so, however, we need access to a detailed analysis of Cirque's financial position, which we have been unable to obtain to date because our attempts have been rebuffed by Cirque management. We fail to understand the lack of urgency on the part of Cirque management. With every passing day, the company's future is being dangerously compromised and its creative forces, which involve thousands of jobs, are suffering significant harm. The time to act is now, before legal proceedings are initiated under the Companies' Creditors Arrangement Act (C-36). Such proceedings would result in a loss of control and could lead to an outcome that political authorities will regret. If the Cirque goes to the highest bidder, and no other considerations are taken into account, the presence of its head office in Montréal and the associated economic activity could disappear in the medium term, following many other Québec companies that have suffered the same fate. Quebecor wants to secure the future of the Cirque's activities in Montréal and in Québec, and we have all the assets and expertise required to do so. Quebecor is well capitalized and has the substantial financial resources required for the revival of the Cirque. Quebecor management will deploy all necessary means to close this sad episode, which is affecting the thousands of artists and cultural workers who are responsible for the Cirque's success, and ultimately to restore the self-assurance, dynamism and enthusiasm that are part of the Cirque's DNA. The time to act is now, before it is too late. { SOURCE: Quebecor Press Release } ---------------------------------------------------------- Cirque Gets US$50 Million in Emergency Funds {May.05.2020} ---------------------------------------------------------- The Cirque du Soleil has received an emergency injection of US$50 million from its three main shareholders to try to keep it afloat, chairman Mitch Garber said. The shareholders are American private equity investment firm TPG Capital, Chinese investment company Fosun and the Caisse de dépôt et placement du Québec. Garber said each put in cash equal to their ownership percentages. That would mean TPG ponied up $27.5 million (55 per cent), Fosun $12.5 million (25 per cent) and the Caisse $10 million (20 per cent). In late March, the Cirque du Soleil shuttered nearly all of its operations and laid off 95 per cent of its staff, which adds up to 4,679 employees around the world. All of the Cirque's shows around the globe have been cancelled due to the COVID-19 pandemic. Around the same time, Moody's Investors Service cut the Cirque's credit rating into junk territory, saying there was a "high risk" the Montreal-based company would default on its debt. The Cirque has debt in the range of US$900 million, a figure confirmed by Garber. In an interview Tuesday, Garber said the company is exploring all options, including possibly seeking bankruptcy protection. "The next phase is likely that the Cirque is going to be seeking additional capital," Garber said. "It could come in an offer to purchase the Cirque. It could come in the form of an offer to finance the Cirque, and I can confirm to you that the existing shareholders will be among those that want to continue to fund and own the Cirque du Soleil. I would say that everything is on the table (in terms of options), given the uncertainty and the length of time of the uncertainty." On Monday, Québecor announced in a statement that it was interested in trying to "help save the Cirque" and that it would "as a first step, consider extending short-term financing of several tens of millions of dollars to cover payroll for thousands of employees and meet various obligations, such as the outstanding bills of suppliers who have not been paid for months. In phase two, Québecor would be prepared to inject several hundred million dollars to enable the Cirque to resume its activities and ensure its sustainability." But Québecor added that to do so, it would need to examine the Cirque's financial files and that attempts to see the books "have been rebuffed by Cirque management." Garber said the Cirque wouldn't allow Québecor executives to see the numbers because Québecor refused to sign a non-disclosure agreement. Garber has been very public in his criticism of Québecor CEO Pierre Karl Péladeau in the past, but sounded a conciliatory note Tuesday. "I think my personal feelings about Pierre Karl Péladeau are well known, and I shouldn't let them enter into a process where I owe a fiduciary duty of governance to a board of directors that has shareholders and creditors," Garber said. "So, to the extent that Québecor will be a fair player in any process that might come in the not-too-distant future, then I'm going to do my job and govern over that process and look at whatever anyone is going to offer, including Québecor. Of course, I won't appreciate the process being fought in the newspapers, but we'll cross that bridge when we come to it." On Friday, the Cirque sent Québecor a letter warning of legal action if the company didn't retract comments made in a column in the Québecor-owned Journal de Montréal. The comments alleged the TPG subsidiary that owns shares in the Cirque has its legal headquarters in Luxembourg, considered to be a tax haven. The Cirque's letter alleged that Québecor was publishing this information to try to drive down the sale price of the Cirque. Garber didn't deny the subsidiary is based in Luxembourg, but said the Cirque pays all applicable taxes in the countries it operates in, including Canada and the U.S. The Cirque has also been slammed by critics and many laid-off employees and artists who say the company should have had enough cash on hand to help unemployed staffers. Garber said that when the new investors bought the Cirque from founder Guy Laliberté in 2015 for a reported US$1.5 billion, the owners decided to go into expansion mode. According to Garber, the Cirque has spent around US$550 million since 2015 on new show creation, buying companies like the Blue Man Group, and on refreshing existing shows, like the ones in Las Vegas. "So there was huge investment in the Cirque, and a lot of it was going to come to fruition at the end of (the) 2020-2021 fiscal year," Garber said. "Then COVID came and country by country, day after day, we were closing down show after show. … Before long, 100 per cent of the Cirque's business was shut down. So we go from selling 15 million tickets and over $1 billion of revenue for the Cirque to zero. "Our salary costs for the Cirque du Soleil annually are $400 million Canadian. So of course we can't afford to pay the employees, sadly, when the business is completely shut down." { SOURCE: Brendan Kelly, The Montreal Gazette } ---------------------------------------------------------- Reinventing Cirque du Soleil {May.06.2020} ---------------------------------------------------------- {Translated from the original French via Google Translate} The buyer, with his deep pockets, will take "the business to new heights", we promise. Which is unfortunately not often the case! In 2015, when Guy Laliberté sold 90% of the shares of his company for a sum estimated at 1.5 billion, the founder of Cirque du Soleil knew that, since 2005, efforts to stretch the sauce had not produced results. convincing. GOLDEN AGE The 20 years that followed the shows of the Échassiers de Baie-Saint- Paul in 1984 were the golden age of the Circus. A team of creators has reinvented the magic of the circus by moving away from European (Zavatta, Pinder, Bouglione) and American (Barnum & Bailey) formulas. Twenty shows and no notable failures. The Cirque's trademark was to give meaning to the work of acrobats, jugglers and equilibrists who performed in a unique theatrical setting. We bet that the public could do without tigers and elephants tired of spinning balloons on their noses ... Opera magic and Cirque du Soleil became a major global brand in the entertainment field. Like Céline Dion, the Circus was present at planetary events. CLEVER MANAGERS FOLLOWED THE CREATORS TO COLLECT INCOME FROM DERIVATIVE PRODUCTS AND THE COMPANY'S ACTIVITIES Everything Guy Laliberté received became profitable. In 2000, the businessman went to the Caisse de depot to borrow for the redemption of his partner Daniel Gauthier; he flatly refused to file his personal bankruptcy. It was that or no transaction… As Bombardier has noted, it is a tour de force to climb the coveted list of world giants, but the challenge is to stay there as long as possible. Creators from here and elsewhere were bubbling with ideas. Cirque showed that Quebecers could succeed in one of the most sophisticated and competitive markets in the world: Las Vegas. Until the recent cessation of activities, half of the major shows in the city of games carried the icon of the Montreal group. In search of new ideas, Cirque du Soleil managers looked for sources of inspiration in all directions. We wanted to use the great characters of the American and international scene (Elvis, Michael Jackson, the Beatles). The Cirque landed in New York to get closer to Broadway. To exploit its magical image, we signed agreements with major cities, but also with Quebec and Trois-Rivières. For American families, the formula of the ice show was resumed without much success. The management teamed up with the creation of a thematic village in Nuevo Vallarta. The China tour did not meet expected expectations. For baby boomers children, was offered a show hot with motorbikes, but RUN not walk either. Then, still in a 101 management approach, we launched into partnerships (media, theater) and the new Cirque du Soleil bosses went to look for ideas elsewhere by acquiring businesses at high prices. But the public still did not find the magic of Alegría. THE STRATEGY PURSUED SINCE 2015 DOES NOT WORK With a debt of more than 1 billion, the company must carry a huge cost structure and must generate income by repeating memorable shows for decades. The company issued bonds to private investors who were not at all reassured by Moody's comments on the "continuing difficulties" in its operation. MANAGING THE DECLINE? Unless you simply manage the decline of Cirque du Soleil's still profitable brand, the future must rest on a new business model. A new conductor must instill, after 35 years of existence, a new vision for Cirque du Soleil, which, after confinement, the explosion of digital communication technologies and a certain prudence regarding the Chinese market, will have to reinvent itself . This success will have created a cluster of the performing industry in Quebec. It is essential to maintain these lungs and this heart of the entertainment world. The Caisse can play a certain role, but Cirque du Soleil can only be controlled by financial investors. It is essential to count on the presence of a strategic operator who knows both the complexity of a global industry and the Quebec creative community. Recall that the entertainment industry is now controlled by firms elsewhere after the purchase of Just for Laughs by ICM Partners and control of Evenko by Live Nation. Before signing a check, the Minister of Economy and Innovation, Pierre Fitzgibbon, and the President of the Caisse de depot et placement, Charles Émond, will need to ensure that a new business model is in place and includes a strong local presence, but also one or more interested partners, for example MGM and its Vegas casinos. Saint-Michel's business needs less money and management than creative ideas and remarkable talents that will make the crowd grow in the big tent. By proposing to us, every two years, a new princess with the flavor of the month, Disney has shown that a cultural enterprise can withstand the wear and tear of repeated wonder. But it is not easy to amuse, dazzle and surprise an audience that has become more demanding due to the prowess of digital fiction. Keeping children's eyes wide open is not easy. This is why clowns are often sad. { SOURCE: LaPresse } ---------------------------------------------------------- Las Vegas favorite Cirque du Soleil in financial battle {May.12.2020} ---------------------------------------------------------- Cirque CEO Daniel Lamarre mapped the company's ongoing revenue challenges during a phone chat last week. Most recently, the company has been thrown a lifeline from ownership partners TPG Capital, Chinese investment company Fosun and the Canadian government pension fund Caisse de dépôt et placement du Québec (CPCQ). All are multibillion-dollar entities. Classified as "emergency funds," $50 million split among those three interests was a message to the international entertainment community that the company plans to be back, beginning with its six shows in Las Vegas. "The good news, though, for the Vegas situation, compared to our touring situation, is about 100 percent of our artists, the cast and crew of each show, lives in Las Vegas," Lamarre says. "At least in Las Vegas we don't have to deal with trying to regroup our touring people from a different side of the world." Lamarre says Cirque shows would be able to return to performance after three or four weeks of rehearsals, provided its theaters practice all COVID-19 safety measures implemented by their host hotels. Cirque is following the reopening plans at Treasure Island (home of "Mystere") and MGM Resorts International, its primary partner in Las Vegas. MGM Resorts has announced plans to start reopening on the Strip in early June. Acting CEO and President Bill Hornbuckle said in the company's most recent earnings call that Bellagio (home of "O"), New York-New York (home of "Zumanity") and a third unspecified property would be first to begin returning to business. MGM's theaters, such as those staging Cirque shows, would open later as properties gradually restart room reservations, then segments of the casino floor and smaller food and beverage areas. Treasure Island has moved its phased-in reopening to Memorial Day weekend. When asked if the general timeline across the Strip meant it Cirque could conceivably be back on stage in August or in the fall, Lamarre said, "That is reasonable, yes." Meantime, the company's 4,700 cast and crew around the world, including 1,300 in Las Vegas, remain out of work. The company's current financial strategy is to build an environment where the company can put its shows back on stage. "The fact that our actual shareholders put back $50 million in the company to go through the refinancing process … that was to send a clear signal to the market and to our partners and employees that they want to remain owner of the company," said Lamarre, who joined Cirque in 2001. Lamarre qualified that the money has actually bought time. "Right now we're going to go through the process to see all the options that we have ahead of us, to bring sustainable financing," Lamarre said, "because $50 million is quite a bit of money, but it's far from enough to make our organization sustainable." The new revenue infusion was announced last week, just after the Canadian telecommunications conglomerate Québecor Inc. went public with its plans to "help save the Cirque." The company said its plan included tens of millions of dollars to cover the payrolls for thousands of sidelined employees, along with paying vendors past-due money. Then, in a second phase, Québecor said it was ready to invest several hundred million to allow Cirque to resume its operations. This has not been a smooth negotiation, complicated by Québecor's public statements that is actively planning to rescue the company, while claiming Cirque has blocked a formal review of its finances. Lamarre and Cirque du Soleil Chairman Mitch Garber both counter that Québecor is not permitted to look at the books because it has declined to sign a confidentiality agreement during the talks. But Québecor is not alone among potential Cirque suitors. Lamarre says there are companies interested in buying Cirque that have signed confidentiality agreements. "There are other parties that are interested, big companies as well," he says. "So, right now we're going to go through the process to see all the options that we have ahead of us. … But unfortunately, the reason you're only hearing about Québecor is because they haven't signed yet the confidentiality agreement." Lamarre adds, "They didn't sign it because I think they wanted to get some publicity before they do and that is their strategy, but all the others bidders that are interested that signed the NDA so therefore I cannot unveil their identity." While reviewing possible investors, Cirque since late March has been investigating Chapter 11 bankruptcy protection to renegotiate its $900 million debt load. "Yes, it is possible we will go with that option," Lamarre says. "I cannot tell you what percentage odds are, to use the Las Vegas terminology, but it's a scenario. It's one of a few scenarios that we are exploring." The company's financial standing has also taken a hit from Moody's Investors Service, which cut Cirque's credit rating into "junk" designation, claiming a "high risk" the company would have to default on its debt. Lamarre says that rating can and will be improved. "One day I will come to them with refinancing in place that is robust and solid," he says. "Obviously they will review and hopefully upgrade the rating of the company." Lamarre says restarting the company and putting its nearly 5,000 employees back to work "gives me a lot of energy." He still believes in Cirque's du Soleil's commercial appeal and artistic equity. "The reasons why I'm not anxious or nervous is that because the brand is so, so strong," Lamarre says. "We have a lot of interest from a lot of people that want to make sure that Cirque will come back with a financial situation that is going to ensure not only next month, but ensure many years to come." { SOURCE: John Katsilometes, Las Vegas Review-Journal } ---------------------------------------------------------- Opinion: Ensuring a bright future for Cirque du Soleil {May.12.2020} ---------------------------------------------------------- (By Guy Laliberte) The paralysis of Cirque du Soleil's activities due to the pandemic has been making waves, and for me, has triggered a flood of emotions. Even though I'm no longer the company's owner, I will always be its founder; I have devoted half of my life to Cirque, and its success will always be close to my heart. As we head into a period that could be crucial for Cirque's future, I have decided to share my thoughts, driven by the desire to protect the Cirque family and to give back after having received so much, in the hope that these reflections will help ensure the best possible future for the company and its stakeholders … The audience's love for Cirque is the company's raison-d'être, and few true ambassadors of Quebec culture can pride themselves on shining as Cirque has done throughout the world. Two months after operations ground to a halt, as Cirque faces the biggest challenge of its existence, we're about to see a wrestling match involving a number of players. From my point of view, we're in for a battle royal: o) At the front of the ring are the current shareholders (TPG, Fosun and the Caisse de dépôt), led by my friend Mitch Garber, for whom I have tremendous respect. My heart goes out to them. o) In the left corner, the debt holders, who took the risk of financing Cirque. o) In the right corner, the different levels of government, sitting in an interesting strategic position, watching the events unfold, analyzing the situation, and wishing to keep the headquarters and jobs in Quebec. They want what is best for Cirque … and rightly so! o) A little further away, some of the major players in the entertainment industry, both from here and abroad, are weighing the opportunities. In Cirque, they see the possibility of expanding their content portfolio and/or securing priority access to Cirque performances once they can reopen their halls and theatres. But for the most part, they're more or less in the same predicament as Cirque. Will they make our Quebec icon their priority and give all the love and energy needed to bring it back to life? o) Standing right beside them are the sharks, who have no knowledge of the entertainment industry and dream of buying Cirque for a song. o) And at the very back of the ring are the others … Those who have no skills or experience in managing cultural organizations of this scale. Those are the ones who pose the greatest threat to Cirque's future. What is at stake in this fight? What do we want for Cirque? What does the company's future look like? Does the pandemic provide an opportunity for Cirque to rise from its ashes, like the phoenix? Cirque is a living organism — with a heart, a soul and a spirit — that lives, grows and recharges through its artists, its audience and its employees. It's a tightly woven community built little by little, through hard work, commitment and honest relationships. Cirque's social involvement is an integral part of the pride that artists and employees take in their work, and it's reflected in the way the public rallies behind its creations. That's why the discussion should not only take place on the financial level, but on the human level as well. And the nature of the beast should not be underestimated. Cirque has its own personality and ways of reacting. It feeds off the love and support of the audience as well as the creative strength and pride of its artists and employees. Of course, long-term financial viability is necessary for its survival, as well as a good mix of experience and know-how from the veterans, combined with the creative and managerial forces of the future. It's clear to me that Cirque's future will depend on patient investors who will step into the ring and be in for the long haul. Creators will have to be given leeway to reinvent themselves so they can put out shows that touch people and capture the imagination. Investors who want to jump into the ring driven only by the urge to set the wheels in motion again too quickly will have to be avoided at all costs. Patience will lead to victory — that's my prediction. You can't win the Stanley Cup 36 years in a row, but with patience, heart and hard work, you can dream of holding it in your hands once again. A few days before the registration deadline for the battle royal, I am deciding whether or not I'm going to jump into that wrestling ring. { SOURCE: Montreal Gazette } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ---------------------------------------------------------- Fayolle, the High-Flying Freestyler {Apr.30.2020} ---------------------------------------------------------- For Gautier Fayolle, everything began online. A football fanatic, his passion for all things freestyle was fired by the videos he used to watch. "I taught myself, training for hours and hours on my own with a ball outside my house," the Frenchman told FIFA.com. "I wasn't much of a natural to begin with. I worked at it and was more motivated than anything else," said the Paris Saint-Germain fan, who drew inspiration in his younger years from master entertainer Ronaldinho. "I really got a kick out of it and when I started out I wasn't necessarily the best. But with a bit of patience and passion, I was able to keep progressing." It has proved to be a winning combination for Gautier, who is now one of the world's top freestylers and the winner of seven straight world titles in the Routine category. The YouTube channel of his Footstyle collective has amassed nearly 800,000 subscribers and chalked up tens of millions of views. Last year saw him embark on a new chapter in his life by joining Le Cirque du Soleil as one of the stars of its Messi 10 show, which tells the story of the Argentinian star. "I've put my competitive career on hold to fulfil this dream," he explained. "It was a bit out of the blue too: a show on Lionel Messi! He was there at the opening night and I had the pleasure of being on the red carpet with him. He was very emotional and moved to get a standing ovation at the end of the show too." FREESTYLE IN LOCKDOWN "There were a lot of technical demands involved when in my playing career, so it was a big release for me to be able to work on my skills at the very highest level, doing live shows and circus work. I hope it goes on for as long as possible." Sadly for Gautier and Cirque du Soleil, the tour, which should have reached its conclusion in Buenos Aires during the Copa America, has been put on hold because of the Covid-19 pandemic. Having played to 3,000 people a night, he now finds himself in lockdown at home, a situation that is perhaps less frustrating for a freestyler like him than it is for football players. "Yes, there's no doubt that freestyle is a very practical sport right now," he said with a smile. "A lot of people have been doing challenges, doing ‘around the worlds' with toilet rolls and the like. All you need to do freestyle is a ball and bit of flat ground. I'm training on the terrace at the moment. It's only two metres by two but it's big enough for me to practice." So in these days of lockdown, what would his advice be to anyone looking to take up freestyle? "There are lots of really good online tutorials but my best piece of advice would be to have confidence in yourself and to stick at it. I know it's very easy to give it a try and then to say that it's difficult and that you need to have a gift for it, but a lot of it is about working at it. Everyone can learn a trick or two with a bit of training." Gautier's career, which has taken him the world over and has seen him meet some of the biggest stars in world football, is glittering proof of that. THE LOWDOWN ON GAUTIER FAYOLLE Q. You've met a few famous players. Which ones have stood out for you? "I've met the Barcelona players twice at events and meeting Zinedine Zidane was another highlight for me. I was eight when France won the World Cup in 1998 and he was a childhood hero of mine. I also met Kylian Mbappe at the unveiling of his waxwork statue at the Musee Grevin in Paris. It was the day the France squad for the 2018 World Cup was announced." Q. Which players make the best freestylers? "You might not have guessed it but two Bayern Munich players in particular have impressed me: Franck Ribery and Robert Lewandowski. Then there's Neymar, of course. He's really interested in freestyle and he's got a feel for the whole culture. If you ask me, he's a bit like Ronaldinho's spiritual heir when it comes to entertaining on the pitch." Q. What do you feel when you play football? "When you're a freestyler and you pull on your shoes, you have a lot of fun doing things a footballer can't do. People get blown away when they see something like this, though I don't really like to show off. That's not my style. I prefer to pass the ball and play as a team (laughs). Obviously, my skills help when it comes to controlling the ball, passing and moving around. The fact you can use any part of your body to control the ball creates some pretty unusual situations." { SOURCE: Fifa.com } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria, Bazzar, Koozå, Kurios, Luzia, Totem, Under the Same Sky, and Volta} o) ARENA - In Stadium-like venues {OVO, Crystal, Corteo, AXEL, Messi10} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA, Paramour X: The Land of Fantasy, Drawn to Life, and NYSA } 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-In a New Light: Portland, OR -- Jun 4, 2021 to Jul 18, 2021 Denver, CO -- Aug 6, 2021 to Sep 12, 2021 Bazzar: Not Currently Scheduled Koozå: Zurich, CH -- Sep 4, 2020 to Sep 27, 2020 Brussels, BE -- Oct 22 2020 to Nov 27, 2020 Washington, DC -- Jul 21, 2021 to Sep 19, 2021 Kurios: Not Currently Scheduled Luzia: Valencia, ES -- Sep 11, 2020 to Sep 27, 2020 Madrid, ES -- Oct 22, 2020 to Nov 22, 2020 Barcelona, ES -- Jan 21, 2021 to Feb 21, 2021 Totem: Prague, CZ -- Jul 17, 2020 to Aug 2, 2020 Rome, IT -- Mar 17 2021 to Apr 25, 2021 Milan, IT -- May 5, 2021 to Jun 20, 2021 Under the Same Sky: Montreal, QC -- Apr 22, 2021 to Aug 15, 2021 VOLTA: Not Currently Scheduled ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ OVO: Beijing, CN -- TBA Shanghai, CN -- TBA Shenzhen, CN -- TBA Guangzhou, CN -- TBA CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Paris, FR -- Sep 1, 2020 to Sep 6, 2020 Lausanne, CH -- Sep 9, 2020 to Sep 13, 2020 Hanover, DE -- Sep 16, 2020 to Sep 20, 2020 Leipzig, DE -- Sep 23, 2020 to Sep 27, 2020 Florence, IT -- Oct 1, 2020 to Oct 4, 2020 Stuttgart, DE -- Oct 7, 2020 to Oct 11, 2020 Nuremberg, DE -- Oct 14, 2020 to Oct 18, 2020 Munich, DE -- Oct 22, 2020 to Oct 25, 2020 Frankfurt, DE -- Nov 13, 2020 to Nov 21, 2020 Cologne, DE -- Nov 25, 2020 to Nov 29, 2020 Oberhausen, DE -- Dec 2, 2020 to Dec 6, 2020 Bologna, IT -- Dec 17, 2020 to Dec 20, 2020 Seville, ES -- Dec 25, 2020 to Jan 3, 2021 CORTEO: Palma de Mallorca, ES -- Aug 7, 2020 to Aug 16, 2020 Nice, FR -- Aug 20, 2020 to Aug 23, 2020 Dublin, IE -- Jul 21, 2020 to Jul 26, 2020 Trondheim, NO -- Sep 18, 2020 to Sep 20, 2020 Oslo, NO -- Sep 25, 2020 to Sep 27, 2020 Helsinki, FI -- Oct 1, 2020 to Oct 4, 2020 Turku, FI -- Nov 18, 2020 to Nov 22, 2020 Vilnius, LT -- Nov 26, 2020 to Nov 29, 2020 Toulouse, FR -- Dec 17, 2020 to Dec 20, 2020 Pamplona, ES -- Dec 25, 2020 to Dec 30, 2020 Vienna, AS -- Jan 2, 2021 to Jan 9, 2021 London, UK -- Jun 30, 2021 to Jul 11, 2021 AXEL: Not Currently Scheduled Messi10: Buenos Aires -- Being Rescheduled --------------------------------- RESIDENT - en Le Théâtre --------------------------------- All Resident Shows Currently Closed ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) CIRQUECONNECT SPECIALS Enjoy a front-row seat to awe-inspiring moments of the larger- than-life shows, with never-before seen angles that can only be experienced on your screen. - SPECIAL #1: KURIOS, "O", and LUZIA {Mar.27} https://youtu.be/nQ5eUJNXrMw - SPECIAL #2: AMALUNA, BAZZAR, and VOLTA {Apr.03} https://youtu.be/allVFq3P-48 - SPECIAL #3: ALEGRIA: INAL, KOOZA, and KÀ {Apr.10} https://youtu.be/VL0TG_nCqzE - SPECIAL #4: ZED IN JAPAN {Apr.17} https://youtu.be/3zuBpFgxDCI - SPECIAL #5: SINGALONG {Apr.24} https://youtu.be/1RDoJp1Sea8 - SPECIAL #6: ONE NIGHT FOR ONE DROP (2015/2017) {May.01} https://youtu.be/BlTCkMMJM6o - SPECIAL #7: BEHIND THE CURTAIN OF LUZIA {May.08} https://youtu.be/NWjVaAvXWEo o) OTHER SPECIALS & VIDEOS - BEHIND THE CURTAIN OF LUZIA {May.08} https://youtu.be/NWjVaAvXWEo - LUZIA CAST AND CREW REIMAGINED THE SHOW TRAILER https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/790236041382103/ - FULL VERSION OF PERFORMANCE FOR STRONGER TOGETHER https://www.facebook.com/CirqueduSoleil/videos/165867561386293/ ======================================================================= FASCINATION! FEATURES ======================================================================= o) "A Peek into the Eccentric Worlds of Axel" By: Richard Russo - Atlanta, Georgia (USA) o) "Australian Acrobat to Sue Cirque du Soleil" By: Alice Matthews as Published in SBS's The Feed ------------------------------------------------------------ "A Peek into the Eccentric Worlds of Axel" By: Richard Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ On May 22, 2019, Cirque du Soleil was proud to announce its return on ice with a new creation that would spin us into a vibrant world. This unique experience would showcase world-class acrobatic skating performances set in fantastical universes combining full-spectrum visual effects and awesome live music that seamlessly integrated popular songs with new original scores. Cirque du Soleil AXEL. "The success of our first creation on ice (Crystal) has reinforced our ambition to further explore the extensive creative possibilities of a frozen playground," said Daniel Fortin, Vice President Creation. "With Cirque du Soleil AXEL, we 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." AXEL would go on to previews on October 4, 2019 and hold its Gala Premiere on December 19, 2019 in Montreal, and yet much of the show has remained a mystery... until now. Thanks to a timely release of the show's Press Kit, we can explore a bit about the show whilst we wait for it to return to performances... WHAT IS AXEL? Axel is inspired by his first love, the mysterious Lei. She turns his world upside down, creating an unreal space for him where she will be his heroine. As the leader of a band of rebellious youngsters, The Syndicates, Lei is the keeper of a precious talisman. Giving strength and courage to whoever possesses its light, the Shining Star is coveted by Vï, a super-villain supported by his gang, The Corporation. Vï is focused on just one goal: stealing the legendary talisman's light! In this epic fantasy, Axel will realize that love is the source of the light that will give him the courage and strength he needs to overcome any obstacle and make his wildest dreams come true. AXEL is a truly inspiring experience for the whole family, reminding each of us how important it is to believe in our dreams. As well as stunning figure skating and circus arts on ice, AXEL is a show set to an upbeat musical score packed with original pop compositions and a handful of unique takes on famous hits, all performed live by Axel and his band. COSTUMES & CHARACTERS --------------------- Collectively, the costumes for AXEL send a clear message: we are in a colourful, modern world where different clans clash and mingle. Whether worn by the good or the evil, AXEL's costumes are more than simple clothes: they shape the characters and build strong personalities for them, while clearly showing each one's affiliation. Red dominates on the side of good (Lei and The Syndicates), while a colour from the other end of the spectrum, green, is part of each villain's costume (Vï and The Corporation). Wait, who? o) AXEL - Axel is an introverted young artist with a passion for drawing and music. He is the story's narrator, and the show immerses us in his world and vision. o) QUARTZ - Awkward, extraverted and over-confident, Quartz is a superhero straight out of Axel's imagination. o) LEI - The Keeper of a talisman called the Shining Star and leader of The Syndicates, Lei is a young woman with mysterious powers. Axel falls madly in love with her. o) STEEL - Steel is a protective and very affectionate robotic dog that Axel created to replace the real dog he lost as a child. o) VI - Vi is an egomaniacal and malevolent character created by Axel. He represents the dark side of the world. Like a black hole, he feeds on our fears and energy. He is the leader of The Corporation. He seeks to steal light to enhance his power. o) THE SYNDICATES - The group of freestylers and Samurais who accompany and protect Lei and the Shining Star o) THE CORPORATION - Vi's army of stylish, narcissistic, power-hungry henchmen. o) KEEPERS OF THE LIGHT - The mystical keepers of the eternal light are giants who live at the top of the world. While the character of Axel – grounded in the real world – wears jeans, a t-shirt, a leather jacket and a hat, other wardrobe choices, like those associated with evil Vï, take us instead into a fantasy world. The villain's pants, shirt, jacket and colourfully sequined velvet cape recall a scaly snake – his emblematic animal, often reinterpreted on his different costumes, most notably as a print on his black jacket. The rather glamorous eveningwear (in the GALA world) seems to come from a futuristic runway show, complete with hats in the form of bright fluorescent triangles. The world of manga and the ethnic origins of the Lei character guided the creative process. The result: there are many Asian references, in several silhouettes and costumes. Consider, for example, Lei's floral- print jacket, reminiscent of Japanese kimonos, while the costumes worn by Lei's group evoke both Samurai armour and all-black ninja garb. The colours used are similarly suggestive of Asian inspiration: red, yellow and orange predominate. Occasional subtle references to the world of music remind us of the fact that Axel is also a musical epic inspired by big arena concerts. For example, the lightning bolt on the Quartz's costume recalls David Bowie's Ziggy Stardust character. The golden helmets worn by the members of The Corporation can be seen as a nod to the masks worn by the electronic music duo Daft Punk. There are also numerous references to video games. For example, the flame print on the suits (MASTERS CHALLENGE world) is rendered as a large-format pixilation. Considerable effort went into carefully selecting materials that would protect the artists from the cold and humidity of the arenas while facilitating their performance. Acrobatic movements and circus arts drove the final choices, and some of the costumes benefit from the very latest innovations in textiles. For example, for the aerial chains routine (MASTERS CHALLENGE world), the outfits were made with a shock-resistant material that stiffens on impact. That feature allows it to last longer before showing signs of wear. The large dresses (GALA world) encapsulate the considerations that come into play when making any costume for Cirque du Soleil: while the dresses are grandiose on the ice, they go in an ordinary washing machine and can be disassembled for easy packing for truck transport. THE MUSIC --------- The soundtrack to AXEL is almost a character in its own right, since it plays such an integral part in this new show. With its symphonic, pop, hip-hop and electronic music, AXEL's score does much more than simply "set the mood": Philippe Brault's compositions and arrangements provide substantial support for the story. The music's power resides in the way it aptly accompanies the characters' adventures. AXEL's music is multifaceted: it sweetly highlights emotions, amps up the excitement of an aerial acrobatics routine, or punctuates an astonishing plot twist. In AXEL, music proves that it is possible to excite and captivate a crowd, even in a cavernous arena. How? By taking inspiration from the concerts put on by the world's biggest stars. Five musicians play and sing live (drums, guitar, bass, keyboard, cello) and electrify the crowd, amplifying the energy created by the action. In other words, the music of Axel helps spectators make a strong connection with the characters. It injects adrenaline into a celebration on ice that's already bursting with energy. SCENOGRAPHY ----------- The scenography for AXEL breaks with the conventions usually associated with ice shows. How is it possible to abandon the standard format and push the envelope? By immersing the spectators, as soon as they arrive, in a surprising and original ambiance, light years away from conventional arenas. The ice surface has been reshaped, rejecting the rectangular surface used for hockey and conventional figure skating shows. By changing their perception of the space from the moment of arrival, the spectators immediately sense that the show and the journey are already underway. Particular attention was also paid to the set, to ensure that it would allow interesting views from the three sides of the ice where the audience is seated. The result is unobstructed views not only of the ice surface but of the entire performance space. The other elements of AXEL's scenography are more like an art installation than a traditional stage-set. Several slim, rectangular LED screens are set up on each side of the ice, on the ground and in the air. The monumental structure resembles two giant wings. It is an ultramodern, even highly futuristic, scenographic device. It is a minimalist setting that comes spectacularly to life through original video projections. It also shows that the scenography and videos were produced in close collaboration. VIDEO PROJECTIONS ----------------- Because Axel is an artist, the ice surface is conceived as a page in his notebook. It is a blank page decorated, animated and drawn on with colourful and intense contemporary video projections. By turns playful and restrained, but always sublime, the projections captivate the audience. The subtly blended and perfectly combined projections enhance the artists' performances. The designers understand that it is the artists who create the show's energy, and the projections' role is to amplify it. The video animations, both on the ice and on the LED screens, combine genres: the black and white graphics seen at the beginning grow more colourful and animated as the story progresses. Then, the colour palette becomes dark and menacing when Vï appears, or subtler and softer when Axel conveys his feelings for Lei to the crowd. The visual animations in AXEL owe their success to their rhythm: the projections were created to build a crescendo in sync with the main characters' storyline. Without a doubt, these animations help make AXEL a visually powerful and, especially, unique experience! THAT UNIQUE EXPERIENCE ---------------------- AXEL comprises multiple worlds full of action and emotion. Imaginary places take shape in the pages of Axel's sketchbook, some with an arena-concert ambiance, others with a video game feel. FIRST PART MADWORLD -- Inspired by graphic arts and Japanese manga, AXEL draws the world around him. As he sketches with his pencil, a city takes shape and materializes: a bustling metropolis where good and evil do battle every day. In a freestyle skating routine, The Syndicates pace the action with thrilling acrobatics. In this wild world, Axel will meet the mysterious Lei and the Shining Star. Love blossoms… but a threat looms. {Freestyle Skating} THE STORM -- Vï, the essence of evil and leader of The Corporation, makes a cataclysmic entrance and tries to steal the talisman from Lei. There's a chase and an ambush. There's a battle between The Syndicates and The Corporation during which a powerless Axel witnesses the theft of the Shining Star. The forces of nature are unleashed in a fearsome tumult. Will Vï achieve invincibility? Will Axel save the day? FAME -- To quell the storm created by Vï, Axel draws a character called Quartz, an awkward superhero who comes to life in a colourful and vibrant world. Set to catchy music, a diabolo routine on skates pushes the envelope as it leaves the ice and continues in midair! {Diabolo} GALA & UNDERWORLD -- In a figure skating routine, the members of The Corporation gather for a lavish ball to celebrate their power over the city. {Figure Skating} UNDERWORLD -- After a flamboyant entrance, their leader, Vï, savours his grip on society's elite, and shows off the extent of his power with a virtuoso balancing-act on a rotating platform surrounded by lasers. {Handbalancing} RISING SUN -- An underground alleyway becomes the scene of a secret meeting when Lei and The Syndicates try to recover the light of the talisman stolen by Vï. The Syndicates demonstrate their mastery of wushu, a martial art discipline. {Aerial Sphere & Wushu} THE RITUAL -- The Syndicates perform an aerial contortion ritual to bring forth the sacred light. The Corporation interrupts the gathering, which turns into a battle between the two clans that will take an unexpected turn. Will our heroes finally take back the Shining Star? {Aerial Contortion in Silk & Russian Swings} SECOND PART STARMAN -- Axel creates a new character, the Starman. In a poetic balance ladder act, the Starman succeeds in collecting the light of the Shining Star. But once he has it, he casts it away because Axel is the one who must learn to reach the star, and to surpass himself. His quest is not over. {Acrobatic Ladder} MASTERS CHALLENGE -- The virtual game continues, but the stakes are more perilous than ever. In this spectacular and intense aerial chains number, Vï, like a computer virus, imposes his terror. The challenge is set: between Vï and Lei, who will gain possession of the light? After a stunning denouement, there's just one question left: is it necessary to cheat to succeed? Some doubt lingers. {Aerial Chains} TOP OF THE WORLD -- To find himself and see more clearly, Axel takes a coming-of-age trip to a sacred place, the very origin of the Shining Star. Far from anywhere familiar, at the other side of the world, Axel contemplates a strange land of mystical giants. The journey allows Axel to return to the basic sources of life, in a tableau featuring a pair of trapeze artists and skaters on stilts, in harmony. {Duo Trapeze} SKY -- Lei's love has taken deep root in Axel. She fills his every thought. How do you express your love in the real world? How do you reach the one you love? Like a waking dream, like a kite on a beautiful summer day, Axel imagines flying away with Lei, his faraway star. Axel will have to find the strength to face the real world, so that his love can thrive. {Kites} BURN -- Carried by the power of light, Vï reappears triumphantly in a spectacular figure skating routine. But his moment of glory is short, because Quartz, Steel, Lei and The Syndicates join forces to face Vï in a final battle. By the opposition of forces, between fire and ice, the light fades then bursts, showering a thousand stars into the heart of each and every one. {Figure Skating} LEAP OF FAITH -- In a spectacular explosion of energy and music, Axel and all the skaters and acrobats celebrate the power of life that unites us all. With bungee jumps on skates to wow us, the acrobatic finale makes this an unforgettable on-ice experience. {Bungees} * * * And there you have it! ---------------------------------------------------------- "Australian Acrobat to Sue Cirque du Soleil" By: Alice Matthews as Published in SBS's The Feed ---------------------------------------------------------- A star acrobat who was once a poster boy for Cirque du Soleil, is now preparing to sue the company, alleging negligence by failing to provide a safe workplace. Daniel Crispin says he has been in an endless battle to have his work-related spinal injuries covered by insurance. After years of feeling pressured by Cirque du Soleil to stay quiet, he is speaking out. A star acrobat who was once a poster boy for Cirque du Soleil is now preparing to sue the company, after being left to foot the bill for multiple spinal operations and procedures. 32-year-old Daniel Crispin worked for Cirque du Soleil between 2015 and 2017 as a principal character and soloist in the record-breaking arena show Toruk - The First Flight, a production inspired by James Cameron's Avatar. Nominated for Australian of the Year twice, Daniel had been working towards that goal for more than a decade. He says at first, travelling the world and performing with the company was everything he could have hoped for. "It gave me the opportunity to have just the most incredible life that most people would never dream of," he told The Feed. "I FELT LIKE I WAS IN THE HUNGER GAMES" --------------------------------------- But Daniel says behind the scenes Cirque du Soleil was a mess. It started with sprained and broken ankles. "The set around the edges was made to look like grey rocks...They were kind of just velcroed so if you stepped in the wrong spot or if the air mat wasn't blown up properly, you would just go through it," he said. "It was very easy for you to just lose an ankle during that." But the accidents got more serious. Daniel later sustained a traumatic brain injury from three concussions in the space of two weeks. Daniel alleges two of the concussions happened during the same show as a result of faults by another performer. He took a two week break. But after his first show back, he blacked out at home in the early hours of the morning and hit his head again. Despite that, Daniel says he was cleared to perform the same day in the ensemble. "I'd go on stage and I just didn't know what direction I was, it was the weirdest feeling because I'd done the show hundreds of times but I couldn't orientate myself," he said. Daniel says Cirque du Soleil did not have his head or neck scanned and claimed the company later directed him to delete any videos he had of the knocks. Cirque du Soleil initially declined to send footage to Daniel's doctors, requesting more time and incident dates to be specified. But he was given more time off to get better. "By the end of the run I felt like I was in the Hunger Games and I just remember the start of each show saying to myself, 'just get through,'" Daniel said. "IT'S NOT GOING TO MAKE IT WORSE" --------------------------------- After a gruelling recovery process that took months, Daniel was reintegrated into the show. After his return, he says a whiplash incident left him dazed and unsure if he could finish the show. Daniel claims he was later berated for not being able to communicate his capability to finish clearly enough. Then new issues began plaguing him. His bicep and hip were in chronic pain, he couldn't feel his fingers and his leg was giving way at random, causing him to fall. He was taking painkillers after every show. "It just felt like a melting pot of hurt...And I'd been logging all this at work and they kept saying 'it's just neural tension, it's tightness in your neck, it's tightness here that's why it's getting numb,'" he said. "I got told [by Cirque du Soleil] it's not going to make it any worse if I keep going," he said. Daniel did keep going and it did get worse. He says he wanted to make it home for the Brisbane show so his family and friends, particularly his dad, could see him perform. "My dad was hearing impaired like profoundly deaf his whole life so for him to be able to see me perform for the first time as the main character in a show that's visually appealing, I wasn't going to get that chance again because his cancer was pretty bad and while he'd defied the doctors by 10 years, his time was running out." His dad died months after seeing him in Toruk in Brisbane in 2017. That show was Daniel's last. Scans showed Daniel had seven injured spinal discs, as well as nerve damage, a torn bicep and osteoarthritis. "One of the worst things as an acrobat that you can imagine," said David Carberry, Daniel's friend. Another friend Alice Muntz says seeing Daniel's condition was shocking. "Not even being able to respond to someone calling his name without hesitation or walk without pain was quite upsetting," she said. CIRQUE DU SOLEIL "JUST VANISHED" -------------------------------- Cirque du Soleil paid for Daniel's first lumbar spinal surgery in 2017 and some associated rehab, but that was it. "It was almost like the carnival model of business where they pulled up stumps and then... just vanished," Daniel said. He says he has since had at least seven operations and procedures for his spine as well as continuous rehab, most of which he's paid for himself. Despite Daniel's repeated pleas, Cirque du Soleil refused to acknowledge that his spinal injuries came from his time with the company. He was told 'no specific accidental event was reported' in relation to his pain and injuries. That's made it difficult - and at times impossible - for him to claim insurance or get compensation. "[The symptoms were] legs not working, incontinence issues, can't feel my hand, I walk with a limp and [Cirque du Soleil are] just like, it's between you and the insurer," he said. Cirque du Soleil refused to comment for legal reasons. However, in a general statement, Cirque du Soleil says it provides the highest level of medical care and support available to its artists, who are also provided with injury risk reduction strategies, strength and conditioning support and other training adjuncts. The statement added artists also have support with specialist care or injury rehabilitation for the duration of their contracts. Cirque du Soleil says medical support does not stop at the end of a contract. "If an artist requires medical support for a work-related injury, they continue to receive this care through our third party insurance administrators, who make decisions on whether care is required or not based on independent medical doctor recommendations, and therefore removed from Cirque du Soleil influence," the company said. After being contacted by The Feed in April, one insurer, Cigna, reimbursed Daniel just under $5,000 for claims related to his first lumbar surgery in 2017. But it would not comment on the matter. Liberty Mutual, the insurer that denied Daniel's claims for costs related to his upper spine and bicep injuries told The Feed it does not publicly discuss individual claims. A PAINFUL RECOVERY ------------------ Daniel's physiotherapist, Dorothy Hawkins from Inspire Health Services in Brisbane, was the first female physio on an Australian Olympic medical team and the first female physio in the NRL. he says Daniel was the most elite athlete she'd come across and his injuries were among the worst she'd seen. "I think that most people that have those types of injuries at the level...would probably not return to the level of sport that they were at," she told The Feed. But Dorothy Hawkins says Daniel is not a "lay down and lie" kind of person. "He's just got so much strength of character and mental toughness that I thought, 'no matter what happens he's going to try and come back.'" And for a long time, Daniel's recovery was defying his rehab team's best expectations. He even returned to working as a primary school teacher and circus coach. But Daniel was recently dealt a major blow. Doctors told him he needs to have his lumbar spine fused. Despite the surgery being categorised as an emergency by Daniel's doctors, he was forced to wait nearly two months for icare (the service that replaced WorkCover NSW) to independently assess and approve the operation. icare told The Feed once it was made aware of Daniel's situation it contacted its claims management service provider, EML, to follow up on the matter. But Daniel says he was falling apart during the delay. He had to start taking opiods and using a walking stick again. "It's like drowning in a swimming pool and everyone is standing around with a life raft. I'm asking if I can have one and they say 'hold on we need another meeting' and I continue drowning." "I got off the physio table and I just said it wasn't worth it. Dorthy said 'what do you mean?' I said that lifestyle, the whole career wasn't worth it because this is just hell." Daniel says he may never return to the stage. "You've got to have hope but I don't foresee that as a possibility. I want to, but sometimes want isn't enough," he said. AN UNSAFE WORKSPACE ------------------- Daniel has now been in recovery for longer than he performed with Cirque du Soleil. He says he is out of pocket up to $100,000 from medical expenses, home modifications and lost wages. He is now preparing to sue Cirque du Soleil. "I paid for my medical insurance out of my own wage. It was explicitly told to me and I have it in writing and recording that I'm going to be looked after for my show conditions and the injuries that happened in the show," he said. "I don't want anything other than what was agreed upon and I don't think that that's too much to ask. I went into a show that physically maimed me." Lawyer James Chrara from Shine alleges Cirque du Soleil was negligent by failing to provide a safe workplace. He says the company didn't adequately monitor or document Daniel's condition. "When you're at that level it's all about pushing yourself and pushing your limits," he said. But he adds it was Cirque du Soleil's responsibility to moderate that. Mr Chrara alleges the environment was one where performers were dispensable and not inclined to reveal any weaknesses. "Because if someone comes in and takes your spot, performs better and has an ability to continue in that, then you lose your spot." He says Daniel's case could set a precedent for big companies like Cirque du Soleil. "I believe it should. Fundamentally what we want to do is ensure the safety of all performers, irrespective of whatever jurisdiction they're in... and to avoid this from happening to the next person." SPEAKING OUT ------------ Daniel says he had always felt pressured to keep quiet because of confidentiality clauses in contracts and emails from the company. "But I think it's an important conversation...and I think it adds a lot of value to the industry. I don't think that it should be something that's hidden," he said. "I know there is going to be a fall out from this. And that's ok because this is important for people to see and it's not OK to harass and bully and dispose of people. "Sometimes you've just got to say something." ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 20, Number 5 (Issue #196) - May 2020 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2020 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. { May.13.2020 } =======================================================================