======================================================================= Fascination! Newsletter Issue #21 - May 2003 "Live to Cirque; Cirque to Live" ======================================================================= Bonjour et bienvenue! The month of April has certainly been an interesting one from all angles. From the fall of the Iraqi government to the official release of Zumanity, everything seems to be in a state of flux. Thankfully, many of us can take solstice in the wonderful performances of Cirque du Soleil we have grown to love. How about Zumanity? Did everyone see the image of the snake on the web site? If not, check out the "Human Zoo" section and take a look at the picture on the left-hand side. It's a curious little addition, but taken in context with some of the text from "Madamme's Diary" I can only conclude that a snake will be presented in the show. It should be interesting to say the least. We have a lot of interesting features in store for you this month: from an update to Zumanity to Cirque du Soleil chasing after pornographers. Also, we have a guest submission from Daniel Artelas, who reviews the HBO Latin America broadcast of Varekai for us. His views on the video presentations are somewhat more critical than others but that doesn't make him wrong; take a look and judge for yourself. Our Techie Geek is taking a siesta this month (not really, her job took her away temporarily) and Paul Roberts, our musical genius, once again shines with a piece that features all of Cirque du Soleil's singers throughout the years. - Ricky ============ Contents: ============ * Cirque Buzz: News, Rumours & Sightings * CirqueTV: Cirque du Soleil On-Screen * Oyez, Oyez!: Cirque Online * Itinéraire: Tour/Show Information * Historie: This Month in Cirque History * Anniversarie: Birthday Wishes to Cirque Alumni * Cirque Musique: "Chanteuses and Chanteurs du Cirque" (By: Paul Roberts) * Beyond the Big Top: "How do you Spell That?" (By: Keith Johnson) * Télémagik: "Varekai Goes Under the Lens" (Guest: Daniel Artelas) * Le Spectateur: "Disney Creates the Unexpected for Cirque du Soleil" (Special By: Pam Brandon) * Le Spectacle: "Le Grand Tour: Full Circle" (By: Ricky Russo) * Parting Quote * Next Issue * Subscription Information * Copyright & Disclaimer ----------------------------------------------------------------------- ======================================================================= CIRQUE BUZZ: NEWS, RUMOURS & SIGHTINGS ======================================================================= Zumanity: "Forget all your inhibitions..." ------------------------------------------ The cat was let out of the bag at a press conference held for Zumanity on the faux Brooklyn Bridge at the New York-New York Hotel-Casino on Tuesday, April 22nd. The word that comes to mind: Me-ow. Zumanity is billed as a stunning exploration of the hidden forces behind desire, and a celebration of human diversity. It's sensual, sexual, and in your face. "This show will awaken the most primal urges of generations x, y and z to a new form of eroticism, which lends dance movement, skillful acrobatics and beautiful bodies of many shapes and sizes with the sensual caress of the human voice and the pulsation of exotic rhythms and sultry tones," said Lyn Heward, creative director for Montreal-based Cirque du Soleil. "Sexuality is a touchy subject for many people, but it is something that is comprised of many things: romanticism, sensuality, love, friendship, brotherhood ... the show we are creating will celebrate all of those things... Our goal is to shatter the stereotypes of what is beautiful," said Andrew Watson (Director of Creation) at the press conference. "To make the audience more accepting when they leave the show." The production of 40 performers and 10 musicians will boldly go where no Cirque show has gone before in more ways than one. But it wasn't always going to be this risqué. In fact, this show started out to be nothing more than a clown show, or so news sources in Vegas say. "Zumanity is a show for lovers, would-be lovers and those simply fascinated by love," Heward said at the press conference. And it is the first Cirque du Soleil production to have an age limit: self-rated "R" - 18 and over only. Who set that age limit? The seven wise and gifted men and women who are responsible for creating this zoo did. You'll find a mixture of old and new in the creative ranks who came together to bring out the provocative side of Cirque du Soleil: René Richard Cyr (Writer and Director), Andrew Watson (Director of Creation), Theirry Mugler (Costume Designer), Stéphane Roy (Set Designer), Simon Carpentier (Composer), Debra Brown (Choreographer) and Luc Lafortune (Lighting Designer). The theater too has a more intimate surrounding than seen in any of Cirque's permanent shows to date with seating for 1,256 patrons in a myriad of arrangements and price tiers: * Cabaret Stools: $55.00 w/Tax * Theater Seats: $75.00 w/Tax * Love Seats: $75.00 w/Tax ($150 total, per couple) * Duo sofas: $95.00 w/Tax ($190 total, per couple) Tickets are currently on sale for Zumanity, which debuts on the evening of July 31, 2003. The 90-minute performance will then continue every Tuesday through Saturday at 7:30pm and 10:30pm. Tickets are not available for July 31st (the premiere) or September 20th (Special Gala Premiere - Official Opening). The website, zumanity.com, has blossomed quite a bit since it was first unveiled last month. There is now a Frequently Asked Questions (FAQ) list, bios of the creators, a frequently updated "Madame's Diary" section that unveils little bits to whet the appetite, and information on tickets (with an intriguing seating arrangement, but a hard-to-print map). Mailing list members have also received special page citations to pictures of costumes and a short video, all in the past month. We have to say this is the most intriguing rollout campaign we've ever seen from Cirque. Letting out little bits at a time, allowing mailing list members to be among the first to buy tickets, all are very positive steps. Why not sign up for the mailing list if you haven't already - they won't actually know if you're not 18. (grin). As always Fascination! will keep you updated with the events and news related to Zumanity. Cirque du Casino? ----------------- Last year Cirque du Soleil announced it was backing away from is "Complexes Cirque" project that it had been developing, but word from Las Vegas might mean a turn-about for Cirque. Terry Lanni, Chairman of MGM Mirage, raised a few eyebrows at the press conference unveiling Zumanity on April 22nd. In what Lanni says is an unrelated venture, "[w]e have plans - and we have not finalized these plans - for the 55 acres between the Monte Carlo and Bellagio. "We have had preliminary conversations with Guy [Laliberté] and his people about jointly developing a hotel casino complex..." Cirque du Soleil will first focus on Zumanity and on the upcoming, and as yet unnamed show (Cirque 2004, or MGM Grand 2004) at the MGM Grand due to debut Summer 2004 before turning its attentions to this possible new venture. You can read more about this in the Las Vegas Review-Journal at the following address < http://www.reviewjournal.com/ lvrj_home/2003/Apr-23-Wed-2003/news/21170217.html >. [Source: Las Vegas Review-Journal; Ricky Russo] Varekai DVD Info ---------------- There is an amazing, and highly technical, article about the Varekai DVD project that Richmond Studios worked on. While most of the article is about the technology used to record, master and create the final product, there are some interesting pieces about the DVD that caught our eye. But probably the most important is a picture of a "Meet the Artists" section: Introduction, Flight of Icarus, Characters, Clowns, Icarian Games, Triple Trapeze, Aerial Straps, Body Skating, Water Meteors, Georgian Dance, Acrobatic Pas de Deux, Solo on Crutches, Juggling, Handbalancing on Canes, Russian Swings, Singers, and Musicians. You can read the full article at the Audio Media website at the following: < http://www.audiomedia.com/redesign-2003/ regional-issues/issue-european/2002/2002-12/html/1202-fc/1202- fc.htm >. And, as a special treat, we have a review of the HBO Latin America broadcast of Varekai further in the newsletter. [Source: Audio Media Online, Wayne Leung; Ricky Russo] Varekai Honored --------------- The Drama Desk Award nominations for the 2002-2003 season were announced at 10:00am on May 1st at the New York Friars Club, and Varekai was honored with four nominations; three in individual categories and the fourth in the category of "Unique Theatrical Experience", where it shares the honor with "The Exonerated", "The Play What I Wrote" and "Russell Simmons Def Poetry Jam on Broadway." Its individual nods are: * Outstanding Set Design in a Musical - Stephane Roy Competition: Riccardo Hernandez, Batwin + Robin Productions (Radiant Baby), Catherine Martin (La Bohème), Scott Pask (Amour) and David Rockwell (Hairspray) * Outstanding Costume Design - Eiko Ishioka Competition: Michael Bottari and Ronald Case (Shanghai Moon), Jess Goldstein (Enchanted April), William Ivey Long (Harispray), Catherine Martin and Angus Strathie (La Bohème), and Catherine Zuber (Dinner at Eight) * Outstanding Sound Design - Francois Bergeron Competition: Acme Sound Partners (La Bohème), Mark Bennett (Golda's Balcony), Mark Bennett (Julius Caesar), Janet Kalas (Take Me Out), and David Meschter and Mel Mercier (Medea) The Drama Desk is an organization of theatre critics, editors and reporters. The nominees will be awarded at a ceremony taking place on May 18th to be webcast by TheaterMania (www.theatermania.com). [Source: Playbill.com; Ricky Russo] Amazon Jumps the Gun -------------------- A recent Yahoogroups emailer clued us in to a new offering from the printed world of Cirque du Soleil. But she wasn't able to find much info on it and wondered what it was about. Being the news hounds we are, we've looked into it and have the scoop! The book, "Cirque Du Soleil: A Parade of Colors" by Al Seib is listed by Amazon as being printed in January. Sorry Amazon, you're behind the times - it hasn't been printed yet! We called publisher Harry N. Abrams Co. in New York, who informed us the book is actually scheduled to print in October. The book (ISBN# 0810945150, measuring 11" x 9", and costing $16.00) will be 40- page children's concept book on colors! Author Al Seib is one of Cirque's favorite photographers (along with Veronique Vial, who has also published 2 books of Cirque photos) and is responsible for many of the images you see in Cirque's printed materials. This is another interesting stretching of the Cirque brand. Abrams wasn't sure if this is the first of a series (a book on shapes or numbers might be the next obvious choice), but in the world of Cirque there are always possibilities. Speaking of Amazon, it seems Canadian music retailer HMV has sold their HMV.com and Internet sales business to Amazon.ca. HMV was one place folks outside of Canada could easily get the three new Cirque soundtrack "re-releases" we've commented on previously. We hope this doesn't mean Americans and others won't lose the ability to get the re-releases - the Cirque boutique still has yet to stock them. [Source: Amazon.com, Harry N. Abrams Co., Keith Johnson] Alegría's 3000th Birthday ------------------------- Alegría, one of Cirque du Soleil's most respected and revered spectacles celebrated its 3000th performance on Wednesday, April 30th - Alegría! Alegría premiered in Montreal on April 21, 1994 to a home-town crowd and has traversed the world since, setting up in: North America (1994-1995), Japan (1996), Hong Kong (1996), Europe (1997-1998), Biloxi, MS (1999-2000), Australia (2001), Singapore (2002), Mexico (2002) and United States/Canada (2002+). It celebrated this milestone at the 8:00pm performance (the only performance that day) in Austin, Texas, while the show is on an extended second North American tour. [Source: Cirque du Soleil; Ricky Russo] Bravo Announces Cirque Variety Series ------------------------------------- As seen on circusnews.com: "Bravo, in cooperation with CDSi have begun work on The Cirque du Soleil Variety Show. The Cirque du Soleil Variety Show is a 13-part series that will showcase CDS and highlight some of its productions, including traveling shows, fixed location shows, upcoming acts and the CDS training programs. Filming is set to begin later this month, and the series will air in the second quarter of 2004 on Bravo." A press conference was held April 2, 2003 in New York to announce the series, which is herald as a "one-of-a-kind experience". Each episode "weaves a wondrous array of never- before-televised Cirque performances into a unique style of storytelling, leading viewers through a mesmerizing dream world of fantasy and reality. Among the thrills are highlights from the Cirque productions, Mystère, La Nouba and O, plus dazzling new acts, performers and special effects. The series also spotlights the unusual talents of Yamakasi, a real-life troupe of young French daredevils. Bravo, a cable network that reaches more than 70 million homes is currently the US home network of Cirque du Soleil. Read circusnews' other Cirque du Soleil releases here: < http://www.circusnews.com/modules.php?name=News&new_topic=1 > [Source: Steve Santos at Circusnews.com, Terry Foley, BRAVO; Ricky Russo] IBM and Cirque Come Together ---------------------------- On March 17, 2003 Cirque du Soleil and IBM announced a three- year partnership that designates IBM as Cirque's worldwide information technology sponsor through 2005. This partnership will be of a development kind, where both IBM and Cirque will introduce "innovative and creative technology solutions" to assist management and its infrastructure. IBM Global Services will Support Cirque in four key areas. "Our relationship with Cirque du Soleil highlights many shared attributes between the two organizations, including innovation, creativity and a global presence," said Rick Singer, director of worldwide sponsorship marketing, IBM. "We are proud to assist Cirque du Soleil in using information technology in creative new ways to manage its operations more effectively as it continues to entertain and enthrall audiences around the world." (IBM Press Release) As part of the sponsorship terms, IBM will use Cirque du Soleil imagery and performers in marketing efforts. Additionally, IBM plans to work with Cirque du Soleil to stage special performances at major customer and Business Partner events, and extend the entertainment experience to IBM customers and partners through benefits like hospitality and special VIP access at touring shows in North America and Asia. You can read the original press statement here: < http://www-916.ibm.com/press/prnews.nsf/jan/ 052FA5B05CE1324A85256CEC0053A6CE > [Source: www.ibm.com; Ricky Russo] Cirque does Region 3, Too ------------------------- Last issue we reported that Cirque du Soleil began releasing some of its DVD catalog in the Japanese Region 2 format. Word from a fan and reader of Fascination! alerted us to the fact that the Cirque catalog is also available in Region 3, covering Southeast and East Asia, including Hong Kong and the Philippines. -- Quidam (#04225MNWS) -- Dralion (#06105MNWS) -- Journey of Man (#07069MNWS) -- Saltimbanco (#07070MNWS) -- Le Magie Continue (#07071MNWS) -- Cirque Reinvente (#07073MNWS) -- Nouvelle Experience (#07074MNWS) -- Baroque Experience (#07075MNWS) Bonus features, run times and cover art are the same as the recent Region 01 releases, except for Quidam, which features the old Quidam DVD cover art. Thanks go out to Frederick Tuviera from Mainia, Philippines for alerting us! [Source: Frederick Tuviera; Ricky Russo] ======================================================================= CIRQUE TV: CIRQUE DU SOLEIL ON-SCREEN! ======================================================================= * CIRQUE DU SOLEIL: FIRE WITHIN ----------------------------- Network: BRAVO Footprint: United States Website: http://www.bravotv.com/Cirque_du_Soleil:_Fire_Within/ Note: Times Eastern/Pacific * General Schedule: Monday: 8:00pm & 8:30pm Tuesday: 12:00am & 12:30am Wednesday: 7:00pm & 7:30pm Thursday: 1:00am & 1:30am Saturday: 12:00pm & 12:30pm * Marathon: - Saturday, June 14th -- 1:30pm to 8:00pm * RUN AWAY WITH CIRQUE WEEK ------------------------- Network: BRAVO Footprint: United States Website: www.bravotv.com Note: Times Eastern/Pacific * June 9th (Monday): 08:00pm -- Quidam 10:00pm -- Fire Within #6 10:30pm -- Fire Within #7 11:00pm -- Quidam * June 10th (Tuesday): 01:00am -- Fire Within #6 01:30am -- Fire Within #7 04:00pm -- Quidam 08:00pm -- Dralion 10:00pm -- Fire Within #8 10:30pm -- Fire Within #9 11:00pm -- Dralion * June 11th (Wednesday): 01:00am -- Fire Within #8 01:30am -- Fire Within #9 04:00pm -- Dralion 07:00pm -- Fire Within #10 07:30pm -- Fire Within #11 08:00pm -- Alegría 10:00pm -- Fire Within #10 10:30pm -- Fire within #11 11:00pm -- Alegría * June 12th (Thursday): 01:00am -- Fire Witihn #10 01:30am -- Fire Within #11 04:00pm -- Alegría 08:00pm -- Saltimbanco 09:00pm -- Nouvelle Expérience 10:00pm -- Fire Within #12 10:30pm -- Fire Within #13 11:00pm -- Saltimbanco * June 13th (Friday): 12:00am -- Nouvelle Expérience 01:00am -- Fire Within #12 01:30am -- Fire Within #13 04:00pm -- Saltimbanco 05:00pm -- Nouvelle Expérience * June 14th (Saturday): 01:30pm -- Fire Within Marathon Starts with #1 ..:..pm -- Fire Within Marathon continues.. 07:30pm -- Fire Within Marathon ends with #13 08:00pm -- Varekai 10:00pm -- Varekai * June 25th (Wednesday): 08:00pm -- Varekai 11:00pm -- Varekai * June 26th (Thursday): 04:00pm -- Varekai * VAREKAI IN LATIN AMERICA ------------------------ Network: HBO Latin America Footprint: South America, Central America Website: http://www.hbo-la.tv/sinopsis.asp?prog=GMG081540 May 6th: 5:30pm HBO East 7:30pm HBO West May 21st: 8:00am HBO East 10:00am HBO West ======================================================================= OYEZ, OYEZ(*)!: CIRQUE ONLINE ======================================================================= This Month at Cirque Club (By: Keith Johnson) ------------------------- After a month of relative quiet, Cirque's Internet offerings have fairly exploded this month! In addition to the intriguing zumanity.com site and its mailing list emails (covered elsewhere this issue), CirqueClub itself has several changes. This month there are interesting articles on their new tent "jump kit" for Dralion, a fond farewell to John Gilkey (nicely done), an article on the German Wheel with bios of Cirque's current "wheelers," and (just posted) a mention of Alegría's 3000th performance with some performer Q&A. On the organizational front, they've gathered their wallpapers and screensavers into a section titled "Goodies." It's nice to put these items in their own section, where they can be kept long-term. It would also be nice to have the fun "E-Cards" set up here as well, perhaps that may come later. The biggest change this month is a change in policy to their CirqueClub Member Profile, which (among other things) allows you to be notified of advance tickets sales in cities you choose. Where before you could select as many cities as you might like, you're now restricted to a maximum of six. Whereas this might not be a problem for most Cirque fans, it might become a problem if you're keeping watch for ticket pre-sales for friends in other parts of the country or world. On the surface such a change doesn't seem to have much merit. Their e-mail detailing the change states in part, "With a growing number of shows, numerous members have requested to receive fewer emails." If that's the problem, why not tell those members to reduce the number of cities they've selected on their own, rather than restricting the choices of every Cirque Club member? But looking beneath the surface, we can find some clues as to another reason. Consider that since its inception, CirqueClub's membership has grown exponentially. One need only look at the traffic on their discussion board to see that - they yield 40+ messages per day average compared to yahoogroups 10+ average. On a busy day, when several shows are offering ticket pre-sales, they could be sending out hundreds of thousands of emails. All this can put quite a load on their computer systems. (And has - a recent Alegría pre-sale announcement for Seattle reached Ricky in Orlando a full two hours before it got to me here in Seattle.) So it makes sense to lower the amount of emails (and thus system strain) by lowering the amount of cities you can choose. By also reducing the number of choices, Cirque can also lower the amount of "spam" coming to your Inbox, even if it's spam you *chose* to receive. On the Web (By: Ricky Russo) ---------------------- 1) < http://www.cio.com/archive/110102/cirque.html > Have you ever wondered about the Information Technology (IT) side of Cirque du Soleil? If so, wonder no more. The November 1, 2002 issue of CIO magazine explored every facet of traveling with Cirque's IT guru's when Quidam came to Boston. It's a fascinating article written by CIO's Alice Dragoon. 2) < http://www.niu.edu/northerntoday/2002/nov18/brentroman.shtml > Here is an article from the NIU School of Music speaking with Brent Roman, a recent graduate of the school who found himself in Cirque du Soleil's Dralion as a percussionist. 3) < http://www2.odn.ne.jp/~cba57390/QU-chara.html > Check out this interesting artists rendition of characters of Quidam! The site is Japanese so be advised that navigation might be difficult. Also, check out this artist's other renditions at the following addresses: -- "O": < http://www2.odn.ne.jp/~cba57390/O-chara.html > -- Fascination: < http://www2.odn.ne.jp/~cba57390/fa-chara.html > -- La Nouba: < http://www2.odn.ne.jp/~cba57390/la-chara.html > -- Mystère: < http://www2.odn.ne.jp/~cba57390/MY-chara.html > -- Saltimbanco: < http://www2.odn.ne.jp/~cba57390/sal-chara.html > -- Alegría: < http://www2.odn.ne.jp/~cba57390/artistes1.html > -- Mix: < http://www2.odn.ne.jp/~cba57390/artistes-duo.html > -- Mix #2: < http://www2.odn.ne.jp/~cba57390/artistes-solo2.html > -- Mix #3: < http://www2.odn.ne.jp/~cba57390/artistes-solo.html > ======================================================================= ITINÉRAIRE: TOUR/SHOW INFORMATION ======================================================================= [Touring Shows] Alegría: * Austin, Texas -- Robert Mueller Airport **EXTENDED** Dates: Apr 24, 2003 to May 18, 2003 * Calgary, Alberta -- Currie Barracks on Parade Square Dates: June 4, 2003 to June 29, 2003 * Vancouver, BC -- Concord Pacific Place Dates: July 10, 2003 to July 27, 2003 * Seattle, Washington -- Next to Renton Boeing Plant Dates: August 21, 2003 to September 14, 2003 * Portland, Oregon -- SW Moody Avenue (South of Marquam Bridge) Dates: October 2, 2003 to October 26, 2003 * San Francisco, California: Fall 2003 Dralion: * Baltimore, Maryland -- Harbor Point Dates: Apr 11, 2003 to May 4, 2003 * Montreal, Quebec -- Jacques-Cartier Pier Dates: May 15, 2003 to Jun 15, 2003 * Hartford, Connecticut -- Market Street (I-84 and I-91) Dates: June 24, 2003 to July 6, 2003 * Columbus, Ohio -- Arena District **UPDATED** Dates: Jul 24, 2003 to Aug 10, 2003 * St. Louis, Missouri: Summer 2003 * Mexico City, Mexico: Fall 2003 * London, United Kingdom: Royal Albert Hall Dates: Jan 9, 2004 to Feb 1, 2003 Quidam: * Tokyo, Japan -- Yoyogi Stadium in Harajuku Dates: Feb 7, 2003 to May 5, 2003 * Nagoya, Japan Dates: May 21, 2003 to Jul 6, 2003 * Osaka, Japan Dates: Jul 19, 2003 to Aug 31, 2003 * Fukuoka, Japan Dates: Oct 22, 2003 to Dec 7, 2003 Saltimbanco: * Geneva, Switzerland -- Plainpalais **EXTENDED** Dates: Apr 18, 2003 to May 25, 2003 * Cologne, Germany -- Cologne-Deutz Dates: Jun 5, 2003 to Jun 29, 2003 * Oostenade, Belgium -- To Be Determined Dates: Jul 24, 2003 to Aug 17, 2003 * Zürich, Switzerland -- Glatt Shopping Center Dates: Sep 19, 2003 to Oct 19, 2003 Varekai: * New York, New York -- Randall's Island Park Dates: April 24, 2003 to June 15, 2003 * Chicago, Illinois -- The United Center Dates: Jul 17, 2003 to Aug 17, 2003 * Los Angeles, California -- Staples Center **UPDATED** Dates: Sep 12, 2003 to Oct 5, 2003 * Pomona, California -- Fairplex **NEW!** Dates: Dec 4, 2003 to Dec 28, 2003 * Orange County, California -- at Orange Country Fair Grounds Dates: Jan 16, 2004 to Feb 8, 2004 [Resident Shows] La Nouba: * Two shows Nightly - Tuesday through Saturday * Times: 6:00pm and 9:00pm * Location: Walt Disney World, Orlando * No performances Sunday and Monday * 2003 Dark Dates: - March 23rd through 25th - May 11th through 25th - July 13th through 16th - September 7th through 9th - October 26th through 29th - December 7th through 15th Mystère: * Two shows Nightly - Wednesday through Sunday * Times: 7:30pm and 10:30pm * Location: Treasure Island, Las Vegas * No performances on Monday or Tuesday * 2003 Dark Dates: - March 2nd through 5th - April 13th through 15th - June 2nd through 10th - August 3rd through 6th - October 5th through 8th - December 1st through 16th "O": * Two shows Nightly - Friday through Tuesday * Times: 7:30pm and 10:30pm * Location: Bellagio, Las Vegas * No performances on Wednesday or Thursday * 2003 Dark Dates: - April 21st through 24th - June 18th through 26th - August 10th through 13th - October 12th through 15th - December 1st through 16th * NOTE: Beginning June 30, 2003 - performances will be from Wednesday through Sunday at 7:30pm and 10:30pm. There will be no performances on Mondays and Tuesdays. Zumanity: * Two Shows Nightly - Tuesday through Saturday * Times: 7:30pm and 10:30pm * Location: New York-New York, Las Vegas * No performances on Sunday or Monday * 2003 Dark Dates: Not Available ======================================================================= HISTORIE: THIS MONTH IN CIRQUE HISTORY ======================================================================= * May 01, 1986 -- Cirque Performed at Expo 86 in Vancouver * May 02, 2000 -- Journey of Man (IMAX) premiered in USA * May 02, 2000 -- Journey of Man CD Released * May 07, 1987 -- Le Cirque Réinventé premiered in La Salle * May 08, 1990 -- Nouvelle Expérience premiered in Montréal * May 09, 2002 -- Quidam opened Pittsburgh, Pennsylvania * May 11, 1986 -- Cirque leaves Expo 86 * May 11, 2000 -- Saltimbanco Pacific-Northwest Tour Began (Portland) * May 14, 1985 -- 1985 Tour Began in Montréal [Vieux-Port de Montréal] * May 15, 2003 -- Dralion opened Montréal [Vieux-Port] * May 18, 1986 -- Le Magie Continue opened Sherbrooke * May 18, 1987 -- Le Cirque Réinventé opened Sherbrooke * May 19, 1995 -- Saltimbanco opened Munich * May 18, 1989 -- Le Cirque Réinventé opened Chicago, Illinois * May 20, 1999 -- Alegría premiered "permanently" in Biloxi, Miss. * May 21, 2003 -- Quidam opened Nagoya, Japan * May 22, 1992 -- Fascination Premiered in Tokyo (Until September) * May 24, 2002 -- Mystère reaches 4000th performance (7:30pm) * May 25, 1988 -- Le Cirque Réinventé opened New York City * May 27, 1999 -- Alegría: Le Film premiered in Netherlands * May 28, 1999 -- Saltimbanco opened Brisbane, Australia * May 29, 1986 -- Le Magie Continue opened Montréal * May 28, 1987 -- Le Cirque Réinventé opened Montréal * May 29, 2001 -- Alegría opened Sydney, Australia * May 31, 1996 -- Saltimbanco opened Stuggart * May 31, 2001 -- Quidam opened Hamburg, Germany * May xx, 2001 -- Dralion opened Toronto, Canada ======================================================================= ANNIVERSAIRE: BIRTHDAY WISHES TO CIRQUE ALUMNI! ======================================================================= * May 01, 1962 -- Camita Lorador (Statue/Quidam) * May 02, 1968 -- Chris Lashua (German Wheel/Quidam) * May 02, 1964 -- Doug White (Cycles/La Nouba) * May 03, 1965 -- Marie-Elizabeth Cornet (Clown/Quidam) * May 08, 1976 -- Jinny Jacinto (Contortion/Nouvelle Expérience) * May 11, 1977 -- Fikri Tallih (Character/"O") * May 14, 1969 -- Serguei Rissouev (Russian Swings/Varekai) * May 14, 1973 -- Jeffrey Gallant (Multiple/Mystère) * May 15, 1973 -- Suzannah Bianco (Synchro Swimming/"O") * May 16, 1976 -- Mathieu Laplante (Russian Swings/"O") * May 17, 1970 -- Vladimir Komissarov (High Bar/Alegría) * May 19, 1972 -- Adir Ionov (Batteau/"O") * May 20, 1971 -- Vadim Podoleanu (Russian Swings/Varekai) * May 21, 1956 -- Rodrigue Proteau (Character/Varekai) * May 22, 1932 -- Brian Dewhurst (Clown/Mystère) * May 23, 1978 -- Benoit Beaufils (Cadre/"O") * May 27, 1975 -- Stella Umeh (Triple Trapeze/Varekai) * May 29, 1977 -- Krystian Sawicki (Le Titan/La Nouba) * May 29, 1978 -- Florence Tabary (Silk/La Nouba) * May 30, 1985 -- Irina Koliktsionova (Body Skating/Varekai) * May 31, 1962 -- Sun Hongli (Tightrope/Saltimbanco) ======================================================================= CIRQUE MUSIQUE: "Chanteusses and Chanteurs du Cirque" (By: Paul Roberts) ======================================================================= In 1996, while planning a trip to Las Vegas, my mom and sister demanded that I see a show called "Mystère" by Cirque du Soleil. I reluctantly decided to do so even though I had a phobia about circuses, stemming from a childhood scare watching a tight rope act. Mom let me borrow the "Mystère" soundtrack and, knowing my musical tastes of alternative rock (Letters To Cleo, XTC) and jam rock (Dave Matthews Band, Phish), she heeded a warning. "I think you'll like the music, but you may not like the singing." She was right; I didn't like the singing...at first. After several listenings and experiencing the show, I felt that the operatic-like vocals fit perfectly. Soon, the music of Cirque du Soleil grew on me like no other music had before. Initially, Cirque du Soleil mainly used instrumental music with the occasional ooh, aah, or la la la such as in the song "Entr'acte" sung by Martine Brisson on the first CD. The famous imaginary language appeared first in the whimsical "Havi Vahlia" from "Nouvelle Experience" sung by Cècile Ardail, currently playing the character, La Mariée, in "O." When "Saltimbanco" arrived a new musical trend evolved with a full- time singer in Francine Poitras, who also performed a few background voices in "Nouvelle Experience." Francine provided a strong operatic voice over a rocking score and also became a lead character in the show, an aspect still used by Cirque du Soleil. Francine left "Saltimbanco" in the mid-nineties and her character evolved into a duo that provided dynamic harmonies to the themes. Several singers have since come and gone: (to name a few) Isabelle Corradi, Nicola Dawn, Laur Fugére, Chantal Hamel, and presently Susan Daly and Nicole Sieger. The duo singer concept actually began with "Mystère" as the vocals of Élise Gouin and Nathalie Gauvin appeared in the original soundtrack. As mentioned in the first paragraph, they also contributed a strong operatic presence. Élise left the show soon after its beginnings and her role has been replaced by Dina Emerson, Wendy Talley, Chantal Hamel, and last I know of: Stacey Beth Sanford. I have heard a rumor that Nathalie had recently departed the show. Maintaining the opera motif, Cirque introduced one of its most popular singers of all time in the show "Alegría." The White Singer, Francesca Gagnon's distinctive style is as recognizable as any voice ever used by Cirque du Soleil. Her voice quality's wide range, vibrato, and subtle raspiness evoke a sensuous charm that is spine tingling, and her bewitching stage presence became a focal point of the show. Francesca leaves the show frequently, but tends to reappear and I was lucky enough to experience her genius in Minneapolis last year. Like "Saltimbanco," a second singer was integrated a few years after its beginning and became The Black Singer, The White Singer's alter ego. There are usually a trio of singers that rotate the two parts. Last year they consisted of Francesca, Eve Montpetit, and Nathalie Noël. Several incarnations of singers have performed in "Alegría" including Pierrette Arseneau; Isabelle Corradi; Andrée Simard; Irene Marc (who provided vocals for the "Alegría" film soundtrack); and Julie Cox (The Red Singer-just kidding). "Quidam" provided a major change by combining the voices of a young girl and the first male. Audrey Brisson-Jutras beautifully performed the original Zoë; a lonely girl with a vivid imagination. Mathieu Lavoie contributed the male vocal. The initial tour also included Emily Duncan-Brown to rotate with Audrey. Zoë has gone through several replacements as the girls are in the habit of outgrowing the role. Zoë has been played by Gabrielle Cloutier (I was lucky enough to witness her emotional final performance in Detroit last summer), Amélie Landry, Kathy Samman and Shilôh Sheray Gagnon, who is credited in a program as being a singer, but apparently never preformed. Currently, Denise Gonzalas and Catherine Downey rotate the role. I read from a reliable source that an interesting obligation for casting a girl is necessary: the singer is required to not use any vibrato in her voice; this is to preserve Zoë's child-like characteristic. Mathieu left "Quidam" in the late nineties and was replaced by a rotation of Richard D. Price and Craig Jennings. The male singer is rarely in the spotlight like Zoë, but when "Let Me Fall" accompanies the Aerial Contortion in Silk act, he shines (just like young opera great, Josh Groban, who has covered the song). Continuing with the male and female combination that runs through the next four shows, "O" introduced Toumany Kouyaté, an African singer and Kora player, and Roxane Potvin, who also plays the flute. Toumany's unusual voice consists of a nasal tone that enhances the World-Beat- like score. Occasionally, Roxane also uses a nasal tone to harmonize with Toumany, but when she sings "Journey of Man" (in both "O" and the IMAX film), her voice takes on an operatic beauty that warms the soul. The mesmerizing "O" is and will probably always be my favorite Cirque du Soleil soundtrack. "La Nouba" included Cirque's first male countertenor, a vocal styling that requires singing in a high register. Sometimes it is difficult to differentiate the male or female voice. Like my original dislike of the operatic voices in "Mystère," it really took some time to accept O'Neill Langlois' voice. I now can't imagine "La Nouba" with any other type of singer. Also, for the first time, the show cast a female singer with a soul/r & b style in Dessy Di Lauro. This strange combination worked very well for the "Generation-X"-like show. Odessa Thornhill replaced Dessy a few years ago and presently a native Florida singer, Sisaundra Lewis - who has a very impressive résumé as a backup singer for Celine Dion, Peabo Bryson, Sting and many other top performers - fills the role. Isabeau Proulx Lemire took over the male part around the same time as Odessa and I believe is still in the show. "Dralion" also enlisted a countertenor with the outlandish Erik Karol and matched him nicely with the operatic-like Agnès Sohier. Erik performed as an androgynous character with his voice ranging from super sub timbres to high-flying altitudes. He has been a very tough act to follow as three replacements have already been used. First, there was Frank Irving, then "Beaver," and presently Calvin Braxton. Among many past projects, Mr. Braxton performed with the Middletown, Ohio (just minutes from my home) Civic Chorus. Agnès, who remains the female singer with an expressive and versatile voice, has to sometimes fill in for the male vocal parts during replacements' training. A year ago, "Varekai" was born to include Zara Tellander and the return of Mathieu Lavoie after the creators' first choice, Adrian Berinde, could not provide a powerful enough emotion for the show. Another female with a wide pitch range, Zara's voice also features a resonance and vibrato that could do well in today's pop scene, evident in the song "El Péndulo" from the soundtrack recording. Mathieu is welcome addition as his trill-filled style is perfect for some of the Latin-influenced songs in "Varekai." Zara and Mathieu also harmonize well together as they frolic around on stage. Cirque du Soleil's newest creation, "Zumanity" - slated to open in New York-New York, Las Vegas on July 31, 2003 - has cast Kinnie Starr as the singer. Kinnie is an interesting, controversial artist that should be just right for this alleged risqué show. She growls, she hisses, she raps, she curses, she has a 'tude with a touch of soul, she's a poetic beatnik, and when she actually sings, her voice features an airy, ethereal quality. She also plays guitar. Will new composer Simon Carpentier have Kinnie rap in Cirquese? Many Cirque du Soleil singers have come and gone. Some have left their distinctive mark, while others filled the role of the original artist. It appears that they can be expendable, a replaceable cog in the circuitry of the show. Some singers stay in the background, some perform lead roles, and some even stay in the background of lead role singers. But no matter who lends their voice, their reverence is essential to the Spirit du Cirque du Soleil. ======================================================================= BEYOND THE BIG TOP: "How do you Spell That?" (By: Keith Johnson) ======================================================================= Thank goodness for Spellcheck! On-line spelling dictionaries have saved many a writer (including this one) from an unintended mistake. But sometimes misspelling gets by your computer, and can lead to some embarrassing outcomes. Case in point? A common American English spelling rule is, "I before E except after C." This means whenever you have an "ie" vowel combination in a word, if the letter before it is anything other than "c" the combination is always spelled "ie" (such as in "verified")." If the letter before is a "c" then the combination is "ei" (such as in "receive"). (Don't go asking me about "weird" or "Einstein", there are always exceptions.) So what happens if one were to think this rule applies to French? In this case, you'd spell Cirque Du Soleil as "Cirque Du Soliel" (see the ei-ie switch?). And what would happen if you typed "CirqueDuSoliel.com" into your browser? Until recently, you'd come to a porn site! How'd that happen? Therein lies the tale we tell in our second "Cirque du Legal" article (also see our article on Cirque versus State of New York over admissions tax in our October 2002 issue). Cirque was quick to register the "cirquedusoleil.com" domain name back in the early boom days of the Internet. But it wasn't so quick to capitalize on mis-spellings or like spellings of its name. Domains often register common misspellings of their names and then re-direct them to the company's official correctly spelled site; in Internet-dom it's referred to as a "domain strategy." Doing this keeps your name and trademarks out of the hands of folks interested in mis-leading the Internet public. But Cirque didn't, and has left many mis-spellings of its name available. Including "cirquedusoliel.com" which was snatched up in January 2002. The person doing the snatching was one Richard Mandanice, who does business under the catchy name of "Domain Strategy, Inc," in Bury, Canada. He registered the name "cirquedusoliel.com" on January 13, 2002, and set it to resolve to a pornographic website entitled "Tina's Free Live Cam," located at internetcam.net. (The lady's name changes often from "Tina" to "Cindy" and now to "Tawny"). To quote from the case later filed with the National Arbitration Forum, "Internet users who attempt to exit the aforementioned website are subjected to a barrage of additional browser windows and pop-up advertisements opening sequentially to pornographic and casino websites." Not surprisingly, Cirque du Soleil didn't like this, and in December 2002 took their case to the National Arbitration Forum. The Honorable Charles K. McCotter, Jr. (Ret.) handled the case. In their submission to the Forum, Cirque made the case that the "cirquedusoliel.com" name was "confusingly similar" to their "cirquedusoleil.com" registered mark, that Mandanice did not have "any rights or legitimate interests" in the name, and that he used the domain name in "bad faith." Panelist McCotter found that "the simple transposition of two adjacent letters ("e" and "i") does not distinguish the domain name" from the properly spelled name. And the policy by which Mandanice was bound due to his registration of his domain with OnlineNIC (a policy titled, *ahem*, "ICANN's Uniform Domain Name Dispute Resolution Policy"), couldn't be bypassed simply because of the switch of a couple of letters. In addition, McCotter found that Mandanice had no "rights or legitimate interests" in the name, and that there was a "likelihood of confusion" with the "cirquedusoleil.com" name (no kidding!). In fact, Mandanice registered several mis-spellings of names of major corporations, and set them all to resolve to his little porn site, which is really just a forum for advertisers. Mandanice stopped using "cirquedusoliel.com" shortly after being notified of the claim, which he never responded to. Since he never made his case to Cirque, the Forum, or McCotter, the Forum found in favor of Cirque and, on January 23, 2003, granted them rights to the "cirquedusoliel.com" name (which now resolves to the correctly-spelled name). But this wasn't the end of Mandanice's troubles, as several other companies have also brought actions against him for the same reasons Cirque did. In each case we could find Mandanice never responded, and lost. So mind your P's and Q's, and I's and E's out there on the Web. You never know where they'll take you. The entire Decision in Claim # FA0212000137097 can be found at < http://www.arbforum.com/domains/decisions/137097.htm >. ======================================================================= TÉLÉMAGIK: "Varekai Goes Under the Lens..." (By: Daniel Artelas) ======================================================================= "... and comes away losing a bit of its heart but not its body." It's never quite the same is it? Watching a Cirque du Soleil performance at home on the 'small screen.' There's no substitute for the feeling of being under the big top: music thundering, just a stones throw from the stage, squeezed into tiny seats like sardines. Unfortunately, the tent is not always within reach, so sometimes a video is the best you can do. Varekai is the latest Cirque du Soleil production to go in front of the cameras, and the result is a mixed bag. What follows is a look at the Varekai presentation that was shown on HBO in Latin America. There has been some question as to whether this is the final version that will be shown on Bravo and eventually make its way to DVD, and since we won't know the answer to that until June 14th, for now let's just assume it is. Nick Morris, who previously helmed the Alegría video, also directs this video production. Although he treats Varekai with a bit more respect, the abhorrent style he used previously still lingers through much of the show. Watching this presentation I sometimes felt as though I was watching a music video. He uses a lot of camera tricks and every angle imaginable to capture and 'enhance' the action on stage. The problem with this approach is that a Cirque du Soleil production is not a music video. Having seen Varekai live, I can say that the show does very well on its own and doesn't need a bunch of cheap camera tricks to help it along. Still, Varekai's recording is an improvement over the awful work he did on Alegría, and leagues better than the monstrously disastrous work of David Mallet on Dralion. One thing I will give Morris credit for is his almost complete elimination of audience shots, which were used to the point of exhaustion in both of the aforementioned productions. First the good: the most effectively filmed portions of the show are the Water Meteors, Georgian Dance, Acrobatic Pas de Deux, Juggling and Aerial Straps. They are captured in a simple and straightforward way; angles are tight and change appropriately, the cameras stay with the performers for the most part, and you get a good overall feel for these acts. The Aerial Straps come across as the most striking and it is the best example of how the thrill and wonder of a live show can be captured, if only a little, on video. Now the not so good: although it may not be one of Varekai's most thrilling acts, Triple Trapeze is breathtaking, and despite the flawed nature of its editing really shines. This is an act that doesn't stop, there is movement from beginning to end; so it may surprise you to learn that the camera cuts away from the artists quite a lot during their performance. As a viewer of this type OF presentation, your perspective is forced wherever the director takes it. You would think that with a production such as Varekai, the director would focus your attention on the central action occurring on stage. Watching the Triple Trapeze you find yourself entranced by the movements of the performers when all of a sudden the camera cuts to a character, or a singer. The characters and singers of Varekai have many moments throughout the show in which the spotlight is on them. For the artists of the acts, their act is their moment. With the Triple Trapeze the artists' movements are ongoing, and when the camera cuts away you know you're missing something. It gets pretty frustrating. Still, the grace and flow of the choreography comes through, and it is really quite beautiful. Flight of Icarus is filmed similarly, and although this act is not quite as involved as Triple Trapeze, the same downfall applies. A quick side note on one particular character before I continue: crutch boy. I don't know what he did to get the amount of screen time he is given, but he must have really earned it. Up until his performance just before the Aerial Straps, the camera cuts to him a lot. It almost seems as though he's a central character, and unless I missed something when I saw the show, he's not. What's even more bothersome is the fact that he is totally banal; the same forlorn expression on his face throughout the show. Also, of all the characters of Varekai, he has to be one of the least visually compelling as far as costume and makeup go. It really makes you wonder, 'Why him?' Other acts that become frustrating are Icarian Games, the Russian Swings, and Hand-balancing, three of Varekai's strongest. For starters, there are just too many angles in which they are presented, and a number of them just don't work. In the Icarian Games and Hand- balancing, for example, there is an angle that seems to be taken from the stage floor, looking up at the performers at an extreme angle. The main problem with this is that at times there are stage lights right in the path of the shot, which blind the camera. Russian Swings has an angle that is shot from the swing's perspective. While this might have made for a great supplement on the DVD, for the sake of presentation it's just distracting. There's also an overhead floor shot which is used often throughout the show, and while it gives you a great look at the design of the stage floor, it doesn't give you an effective look at the action occurring on it. Slow motion is also used throughout Icarian Games and Russian Swings, but not at the expense of the acts. Instead of using the effect during the performance, the pause between moves in the show is used to cut away from the performance and go back a few seconds to what you just saw, only this time replayed in slow motion. While this maintains the integrity of the acts, it still feels unnecessary, and doesn't add anything to what you're seeing. Another disappointing aspect to the Hand-balancing act is that many of Olga's movements are captured in the same way they were in Quidam. It would have been nice to get some new perspectives on her act. Claudio and Mooky's comedy acts do all right, but their second, the running spotlight, could have used some help. In the tent there is ambient light, which allows you to see Claudio chasing after the spotlight. Here, when the spotlight goes out the screen goes to black, so it doesn't work nearly as well. Also, their little cameos throughout the show have been cut, so their presence in the show feels random, but they're still funny. The theatrical portions of the show are done fairly well, and the scenes between Icarus and Olga are the most effective. The opening is handled adequately, but comes across flat. It feels rushed, and an over-indulgent use of close-ups, which is a problem that plagues the show throughout this presentation, never really gives you a good look or feel for the costumes, the characters or the setting. While the portions of the show that were captured leave much to be desired, it's what was left out that really hurts this presentation of Varekai. The 2-hour plus show has been condensed to 90 minutes. In the process Varekai has lost an act, Body Skating, and its theatrical sequences have been shortened or cut out entirely. Much like the two previous recordings from Cirque du Soleil, Alegría and Dralion, the essence and emotion of the show are lost. This becomes more evident as the show progresses, things become choppy and there is little or no flow between the acts. This video production is essentially a showcase of Varekai's acts with some of the theatrical portions of the show thrown in for good measure. While I would still choose the acts over the theatrics, I don't see why the running time can't be increased to allow for both. In the end it all feels a bit incomplete and lacking. Despite its shortcomings this is an adequate production that serves its purpose. To end on a positive note, if you long for the live music of Varekai, you're in for a real treat. The DVD is poised to have a killer soundtrack, so get ready to turn up the volume for this one. A few final thoughts on the recordings in general. I realize that there are people who feel that you cannot capture the magic of Cirque du Soleil on video. To those I would suggest a viewing of Quidam, their most dynamic video production. While it too could have used a bit more time to cut down on the editing of the acts, it masterfully captures the overall ambience of the live show by retaining much of the theatrical elements that make Cirque du Soleil productions what they are. As far as the technical aspect goes, I wish that Cirque du Soleil would look no further than the people behind their marvelous trailers to work on the video productions. If you've never seen the trailer for Varekai, follow this link: < http://www.cirquedusoleil.com/CirqueDuSoleil/en/clubcirque/ atlanta_video.htm > or < http://www.sf2night.com/articles/cirque.html >. Although the images are fleeting, when comparing the trailer's images to those of the recording, there is an obvious difference in quality. The images from the trailer have much richer and bolder color and the angles are much more striking. The same can be said about Dralion. You might want to brace yourself, watching the trailer you realize how much more that video production could have been. Questions or comments? email: absolutcirque@aol.com ======================================================================= LE SPECTATEUR: "Disney Creates the Unexpected for Cirque du Soleil" (Special By: Pam Brandon) ======================================================================= What happens when two world-class, creative giants--Walt Disney World Resort and Cirque du Soleil--join forces for a party? When Cirque du Soleil opened a permanent venue at Downtown Disney West Side at Walt Disney World Resort, Walt Disney Entertainment was tapped to create the opening night party. Cirque du Soleil, known around the world for its fearless corps of acrobats and enigmatic performances, was a daunting client, even to the Walt Disney Entertainment masters. "Cirque du Soleil expectations are extremely high, their parties are wildly unique," says Alan Bruun, show director for Walt Disney Entertainment. "We had to blend both brands into a marriage." Disney pulled together its core creative team with a producer, show director, production manager, technical director, art director, lighting designer, audio designer, graphic designer, talent casting, creative costuming and food and beverage. Getting started, the team was critical to the success of the event. "It was important to us to step away from the expected and exceed expectations," says Bruun. "When we met, we made sure we were all on the same page, that we all had the same objectives. We made sure everybody really got it. The detail came out of the grain of an idea that was big enough to encompass all disciplines. Then we let everyone run wild." The party was to follow the premiere of La Nouba, a brand new show for Cirque du Soleil, so it needed to be a continuation of what the guests had just experienced. "La Nouba is artistic and emotionally satisfying, with a thrilling element that keeps people on the edge of their seats," says Jacques Marois, general manager of the Americas division of Cirque du Soleil. The dream-like spectacle is full of strong urban images, so the grand opening party's working concept became "construction and art." "The idea was to immerse the guests in an urban landscape in the process of being built and torn down," Bruun says. "We made a connection between construction, demolition and the creation of art." The party set was a demolition zone, complete with scaffolding, debris and construction sounds. The creative pitch to Cirque du Soleil executives in Montreal was by telephone, with no visual support, no ability to read faces and assess how the idea was being received. "We made the presentation on speakerphone and waited for a response. Silence...then 'Wow!' They were delighted that Disney incorporated the Cirque du Soleil brand so well into the party concept," says Doug Klug, producer for Walt Disney Entertainment. "Like any event, the time spent defining the idea was critical, and once the their team bought the idea, we began to work on the details and simmer it to its essence." "This shows the importance of taking the time to understand your client and their expectations," says Bruun. In Disney's case, the client liked the idea on first pass, illustrating how far you can go with a strong vision and idea--and if the idea doesn't carry, it won't matter how fancy a presentation is and what visual aids you have. Making It Happen ---------------- Budget, as always, was an issue, so as the boiling down of ideas began, each was judged on its "wow" merits. Planning took about three months. Inspired by Cirque du Soleil's traveling big tops, the permanent home at Downtown Disney is a striking tent-like building by Cirque du Soleil set designer Michel Crête, Montreal-based Scéno Plus, Walt Disney Imagineers and architect David Rockwell. The opening night extravaganza was staged in a 100' x 200' tent in a large, open field on the waterfront adjacent to the new Cirque du Soleil structure. Around the tent Disney created a garden space and a wharf on the waterfront, expanding the party both inside and outside. The goal was to immerse partygoers in another world and the two key Disney teams, Walt Disney Entertainment and Walt Disney World Food & Beverage, made sure all five senses were stimulated. "Entertainment drove the visual, the sound and touch," says Bruun. "Food & Beverage incorporated smell and taste." The party theme became Carpe Noctum (Seize the Night). The guest list included more than 1,500 media, celebrities, the show's cast and crew, Cirque du Soleil VIPs from Montreal and Disney executives. As the La Nouba performance ended with a joyous standing ovation, the crowds headed with great anticipation to the adjoining tent. "Entrance played an important role," says Bruun. As guests approached the party tent, a welder on scaffolding sparked fireworks 30 feet in the air spelling "Carpe Noctum" in lights. The doors to the "city" were opened. Creating an Evocative Look -------------------------- Inside the tent, four levels of scaffolding with untreated plywood floors created four distinct vertical environments within the single space. The bottom level was a re-creation of a subway tunnel, complete with the sound effects of an approaching ghost train, bats flying and water dripping. Throughout the next two floors were vignettes of urban life--comfortable, faded couches and chairs, '70s dinettes, a makeshift bar in the corner. "We looked for junk," says Bruun. "We scoured barricade companies for road signs, and rented from a local furniture rental company's showroom. Very little had to be designed or created." Mannequins, some half-dressed or missing arms, perched on couches or in the middle of the room, "like a disused department store," says Bruun. The fourth level was a 20' x 20' space for VIPs. "There was this overwhelming sense of a weird, dream-like existence," says one of the partygoers. "Everything was unmasked," says Bruun. Guests could see the genie lifts that took staff from one floor to the next and all the air conditioning ducts. Walls and floors were raw wood and metal. Custodial attendants became performers, cleaning up and emptying trashcans around the guests. Entertainment was an integral part of the experience. Inside, guests danced to live electronic bands. In the garden there were living statues, "slam poetry" readings and a lone guitarist. Characters from street bums to chic models mingled with the crowd. A welder created art out of sheet metal, two dancing women painted one another's bodysuits, further immersing the guests in a surreal, unexpected environment. "A party like this is about excess, about sensory overload," says Bruun. "We wanted to assault the senses on every level." Guests were continually surprised. The ambience outside was in sharp contrast to the sounds and environment inside. The garden was serene, while the wharf had a barge positioned in the water providing the appropriate sounds of gulls and a lonely foghorn. Each scene was married to the next, all fantastic and bizarre. "Texture was everything," says Bruun "Things overlapped on top of things. The impact was created by juxtaposition. We wanted total immersion, sensory overload, too much to take in." The Disney culinary team further enhanced the affair with servers in hardhats and food themed to each of the areas. Inside, for instance, Chinese food was served in takeout cartons and Caesar salad was heaped into martini glasses. On the wharf, crab cakes were frying in giant skillets, lobsters steamed in pots and sushi chefs worked furiously to keep up with the demand. In the garden, petit fours, chocolate-dipped strawberries and other decadent desserts were served with coffee and after-dinner drinks. "It was an environment that allowed guests to experience the celebration at any level," says Bruun. "They could participate or not, and create their own experience. People like that freedom at a party. So much of a great party is created by the guests creating their own experience." "The Cirque du Soleil opening party was the absolute highlight of my Disney projects," says Bruun with a smile. "No one wanted to leave." (Pam Brandon is a freelance writer based in Winter Park, Fla. This artcile was reprinted with Ms. Brandon's permission.) ======================================================================= LE SPECTACLE: "Le Grand Tour: Full Circle" (By: Ricky Russo) ======================================================================= This is it, my friends. The end of Le Grand Tour has finally come and this column will be the last in its series. For those of you who have followed my adventures from the very beginning, you might have an idea how very sad this is. I have shared my adventures as they have happened -- hopping from show to show and place to place. You know this journey, this Grand Tour, has been all about my quest to see all of Cirque's creations before one year could pass. That was the challenge; that was the goal. And now it's done, it's over. The culmination of months of planning and almost a year spent executing the tour has finally come to an end. It is with some irony that I have brought the Grand Tour full circle, having spent a wonderful evening at Varekai in Atlanta on March 8th. What a way to bid farewell to this extraordinary event, no? To be where it all started at its very end? At the beginning I said I wasn't doing this to become an ultimate fan or prove that I was the ultimate fan. This still reads true today. The Grand Tour has been an amazing journey that has extended my knowledge of the world, expanded my Cirque du Soleil fandom and provided a sense of purpose to my life. It's a journey that I sometimes do not have the appropriate words to express, but now that I'm at the end of this incredible experience I have found that I feel somewhat different -- a bit wiser perhaps. It's a feeling that is very hard to describe. There's a sense of accomplishment but also one of emptiness. It's as if a huge dream has been fulfilled (and it has) and now I'm left wondering, what's next? Of course, I could never have guessed how many people I would meet and make life-long friendships with over the span of this past year. There's Keith Johnson and Paul Roberts, whom I first asked to join me on a project called Fascination! I met them for the first time face- to-face during this past year and they have been close and valued friends. There's Gary and Jill Chapman, who some would call the ultimate tour fans - having finally met them in Montreal. There's all of you, our readers, and dozens of folks I can't mention. You all have made this Grand Tour what it has been: a wonderful experience I shall never forget! So, in order to bring closure to the Grand Tour I thought I'd attempt to answer a few lingering questions. Some of them I brought up to myself as the tour went on and others I've had asked throughout the year. But I've held answers until know because the final answers weren't available. But now, if you'll bear with me, I'll attempt to answer them all! Q. Where did the Tour take you? A. The Grand Tour made seven stops along the way, allowing me to see cities across North America and Europe (many of them for the first time). A summary of the journey is below, as well as the dates and the shows seen on each stop: #1) Montréal (Varekai): April 24-29, 2002 #2) Las Vegas (Mystère & "O"): May 22-29, 2002 #3) Denver (Alegría): June 21-24, 2002 #4) Orlando (La Nouba & Journey of Man): July 7, 2002 #5) Seattle (Dralion): August 16-19, 2002 #6) St. Petersburg (Quidam): November 24, 2002 #7) London/Europe (Saltimbanco): January 17 - February 16, 2003 Q. What was the cost involved? A. Having been in a position whose job it is to analyze data, I kept a record of the cost of the Grand Tour as it happened. Since you want to know how much it cost to make this dream a reality I'm prepared to share those figures. You might want to sit down first. Not that it's hundreds of thousands of dollars but it did cost quite a bit - for one person. To tell you the truth I was pleasantly surprised and amazed at how I was able to keep the costs relatively low (compared to my estimations). *) Montréal = $1075.20 *) Travel Cost: $2529.42 *) Las Vegas = $607.87 *) Show Tickets: $509.10 *) Denver = $637.33 *) Other Costs: $3425.50 *) Orlando = $80.00 *) Seattle = $361.16 *) GRAND TOTAL: $6464.12 *) St. Petersburg: $140.00 *) London/Europe: $3562.56 As you can see, the GRAND TOTAL of the tour weighed in at just under $6500.00. The column to the right shows where the majority of the money was spent. Travel Cost is the total of the Airline and/or Train tickets needed (this does not include the Chunnel tickets from London to Paris and back, but does include the Eurail Pass). Show Tickets includes the total cost of all Cirque tickets purchased. Other catches the left-overs like Food, Lodging, Souvenirs, and other expenses on the trip. Q. What expectations did you have before starting? Were they met? A. Many of the expectations I had were general - would I have a good time, would I easily be able to get money there, would I be able to use my laptop, would I be able to afford it, etc. Since I was visiting many places for first time, first-time jitters were most common. Not surprisingly I found that you could get cash virtually anywhere and it was easy to exchange funds from American Dollars to British Pounds to Euros to Czech Crowns and back again. I found that I could use my laptop, and did so on a daily basis to write a journal, download my pictures (and view them) and even played games just before bed. I also found that the cost was lower than expected. I had estimated at least $5000.00 alone for the European leg with an overall cost of $8000.00 or more for the entire Grand Tour. I suppose that if you compare that figure with the relative cost of a family of four at Disney world (per person), I rather lucked out. All my expectations were met brilliantly and any trepidation I have about going overseas again has completely melted away. Q. What experience was most memorable? A. Each leg of this journey brought with it a new experience. Home base for me is Orlando, Florida, and while I have been in many cities and states across the Eastern United States, my travels west have been somewhat limited. This year brought me to cities across the continent that I had never before visited: Montréal, Quebec, Denver, Colorado, and Seattle, Washington. Each of those stops has provided me a trove of memories and experiences I will treasure for the rest of my life. And let's not forget some of the places I have been before, like Las Vegas, Nevada and St. Petersburg, Florida. They're just as exciting and memorable! For example, the chance to play a Cirque character (Quidam) at Keith's wedding ranks as one of my most memorable moments from the tour. Getting to watch the fountains at the Bellagio over and over and over before and after "O" was exciting (not to mention leading my parents, for whom it had been 20 years since their last visit, around Vegas). In Europe, I'd have to say the Coliseum (Roma), the Leaning Tower (Pisa) and Stonehenge (Salisbury) rank as some of the more memorable. Let's not even mention the fact that I saw priceless works of art and architecture throughout Europe. In fact, many times I was so overwhelmed with the sense of history there that when I got back I found my soul was empty. There isn't that rich sense of history here in the States that I found throughout Europe. Q. What events do you think will outlast time? A. Wow, that's a good question. I mentioned some of the most memorable, and there's no doubt that they'll last the test of time. But there are less impressive things that made an even lasting impression. One of them happened after my friends and I watched Phantom of the Opera in Her Magesty's theater, London. As we were walking out to the tube station I spotted a man huddled up against one of the walls of the theater. He was elderly and obviously homeless. Whether we want to admit it or not we rarely think about the homeless, and I'm guilty of it too. But that night something about that old man struck a chord in me and it took many days for me to forget him. He shook in the cold as he huddled himself up. I wondered what happened in his life to place him there and how a society as rich as England's can allow such a thing to happen. Q. Now that you've experienced all the shows, what's your favorite? A. I've never kept it secret that my favorite show of all time has been, is currently and will be Mystère. But, with that in mind I haven't always been able to rank the shows from what I feel are most strong to least strong. With the conclusion of the Grand Tour I am now able to do so and answer that question once and for all. Of course, this list will change as new shows come out but as of this moment, I would rank the current shows as follows: 1) Mystère 2) Varekai (tie) 5) "O" 7) Saltimbanco 2) Alegría 4) Quidam 6) La Nouba 8) Dralion Q. Do you still enjoy Cirque du Soleil? A. One of the questions I asked myself back in July when I was forced to review my status in the Cirque du Soleil fandom world, was this very question: would I still enjoy Cirque once I had seen them all? The answer is... YES. But not necessarily for the reasons I thought of then. Today I have a better appreciation for each troupe and how the show is put on, butmoreover, the fact is I have a little different perspective on the world, arts in general, and how Cirque du Soleil as an art form has evolved. But my view of Cirque du Soleil and my relationship to its fandom will always be one of change. As I mature so will my views of it and how it is perceived. Right now I am still as involved as ever but not necessarily for the corporate aspect of it or to see what makes Cirque tick, but to appreciate each performance and to show the performers just how much I appreciate their efforts. Q. Would you ever consider doing this again? A. In a heartbeat, without doubt. I would do something like this again without hesitation. Perhaps it wouldn't be as grand, but I know my traveling days are not yet over. In fact, they're just beginning! One day I'm hoping to return to Montreal to explore the city's history more than I was able to last time. I'm flying to Seattle in August to visit Keith and take part in a one-year wedding anniversary party (not to mention Alegría). I'm still hoping to get to Las Vegas for Zumanity's premiere but that looks less and less likely. And you never know what might come my way... Then, there's still Japan, New Zealand, Hong Kong, and the various other places I still want to see! If you have any further questions about the Grand Tour, feel free to drop me us email: < CirqueFasincation-owner@yahoogroups.com >. ======================================================================= PARTING QUOTE ======================================================================= "You have to go too far before you know what too far is." - Andrew Watson, Director of Creation for Zumanity. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly newsletter, available only through sub- scription. To subscribe, please send an email to: < CirqueFascination- subscribe@yahoogroups.com >. To unsubscribe, please send an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. To view back issues, please visit our Yahoo! Group address at: < http://groups.yahoo.com/group/CirqueFascination/ >, login using your Yahoo! ID (required) and select the Files menu option. If you have any questions, feel free to email us at: < CirqueFascination- owner@yahoogroups.com >. Have a comment, question or concern? Email the Fascination! Newsletter staff at: < CirqueFasincation-owner@yahoogroups.com >. We are anxious to hear any and all comments! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= "Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, Jen Waldman and Wayne Leung. "Fascination! Newsletter" Copyright (c) 2003 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., and Créations Méandres, Inc. All Rights Reserved. No copyright infringement intended.