======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ======================================================================= Issue #28 "If you have no hope: Invent" December 2003 ======================================================================= We're off and running again! Much of the Northern Hemisphere has finally received that blast of cold air that announces Old Man Winter is fast approaching. In many countries, that also means Christmas time. In the southern hemisphere, Old Man Winter is absent as warm, sunny skies take over. Such an interesting contrast, all thanks to the tilt of the Earth's axis. What a wonderful world, no? This month, as always, we've got a plethora of information to share with you about our favorite circus (that would be Cirque du Soleil in case anyone is confused). Solstom, Cirque du Soleil's newest television production, has premiered on Canadian television (and anywhere the CBC can be watched) and our own Wayne Leung who hails from this proud land reviews the first episode for us! He also provides us with a wonderful peek into the creation Les 7 Doigts de la Main, which we've heard so much about these last couple of months. He'll return each month for the next few issues with further episode reviews as the series progresses, as he did for the Fire Within coverage he provided months back. Also, Paul Roberts takes a look at the similarities between Cirque bands, as in their dynamics, which proves quite interesting when you think about it. Keith Johnson brings us up to date on the goings-on at Cirque Club and also invisions a great stocking that would help celebrate Cirque's 20th Anniversary. There's also an update about the Matthew Cusick case, which has literally turned the fan community upside down. Some people have renounced their fan-status against Cirque due to their alleged actions in releasing Mr. Cusick from his contract because he is HIV-positive. And it's caused quite a stir in San Francisco where organized protests have been taking place. We bring you up to date on what we know of the case and provide links to various news sources covering it. I hope you enjoy this issue of Fascination! If you have any questions or comments please feel free to email them to us using the following address: < CirqueFascination-owner@yahoogroups.com >. - Ricky =========== CONTENTS =========== * Cirque Buzz -- News, Rumours & Sightings * CRQ-TV -- Cirque on Television * CRQ.NET -- Cirque du Soleil Online * Itinéraire -- Tour/Show Information * Didyaknow? -- Facts About Cirque * Télémagik: "When the Wind Blows the Circus Will Rock: Cirque du Soleil Solstrom" By: Wayne Leung - Ottawa, Ontario (Canada) * Special Engagement: "Cirque Du-Scrimination? -- Update on the Cusick Case" By: Ricky Russo - Orlando, Florida (USA) * Cirque Musique: "Cirque Similarities du Bands" By: Paul Roberts - Hamilton, Ohio (USA) * The Cirque Connection: "Two Thumbs (and 7 fingers) way up! A Review of Les 7 Doigts de la Main" By: Wayne Leung - Ottawa, Ontario (Canada) * Le Spectateur: "A Christmas Stocking Stuffer" By: Keith Johnson - Seattle, Washington (USA) * Parting Quote * Subscription Information * Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Cirque a finalist for CIPA Award -------------------------------- In Canada, among the I.T. (Information Technology) crowd, the Canadian Information Productivity Award (CIPA) "constitutes the highest form of recognition for an organization's outstanding achievements in the strategic use of innovative information technology solutions," and Cirque du Soleil was a finalist in the run for this prestigious award for 2003! "Winning the award means you have won honour among your peers for a solution that stands our from the large number of entries submitted each year from across the country." What did Cirque do? In September 2000, Cirque's IT specialists imagined what is referred to as "Cirque Memory", a project that would allow for all Cirque employees to be able to input and access information with regard to all production aspects in real time, regardless of where they were located globally. Cirque Memory has recently gone live after 3 years in development and has been a huge success! Cirque Memory was built using Microsoft products, "including Windows 2000, Internet Information Server 5.0 and SQL Server 2000" and consists of six in-house applications: Casting (which manages the casting enterprise), Make-up (a database that holds a visual summary of make-up creations), Costume Memory (to manage and control the customized patterns and design and alteration notes), Medi-Cirque (that manages medical information on every single performer), Kin-Cirque (a physical fitness program developer) and Act Management (which enables trainers to manage the position at a precise moment in a specific act). While Cirque du Soleil did not win a CIPA, it came away with a creative and original solution to a problem that has plagued their ever-expanding entertainment empire. To learn more about the CIPA and Cirque's involvement as a finalist, please visit the CIPA website at: < http://www.cipa.com/featured_solutions/ finalists/CirqueSoleil.html > and < http://www.cipa.com/ featured_solutions/finalists/CirqueSoleil_ss.html > [Source: www.cipa.com, Wayne Leung; Ricky Russo] Prime Minister thanks Cirque ---------------------------- On the 13th of November, Liberals from across Canada gathered at the Air Canada Centre in Toronto to honor Prime Minister Jean Chrétien, who gave a farewell speech to a massive audience as he prepared to step down as Prime Minister. The speech reflected his accomplishments, goals and ideals as well as a vision of the future for Canadians. Mr. Chrétien spoke of the pride and the perils of governing a country sometimes divided by language and pride, but was proud of the accomplishments during his forty- year career. Cirque was on-hand to perform a special tribute to Mr. Chrétien. "We have worked hard to ensure that our values - Canadian values - are what have guided our government and its policies," said Prime Minister Chrétien. "We have restored the pride in who we are. Look at the cultural vitality of Canada today. We saw the wonderful artists here tonight. The magic of Le Cirque du Soleil is seducing audiences around the world, and transforming entertainment in the 21st Century." What did Cirque choose to present? An interesting routine featuring a female artist performing solo within a translucent, latex bubble. Our own Wayne Leung, who caught just a bit of this performance, described it as performing shapes and figures within the bubble only to later emerge, bursting out of her confinement. "My friends, in every field, the Canadian arts are the most vibrant and celebrated they've ever been." [Source: Canadian Government, Wayne Leung; Ricky Russo] Another Cirque in Las Vegas? ---------------------------- According to the Las Vegas Sun, rumors were flying over the Thanksgiving Holiday that Cirque du Soleil and MGM-Mirage had struck a deal to open yet another show on the Las Vegas Strip. This time Cirque would be housed in the Mirage's Siegfried & Roy theater and open in June 2005. The theater would remain dedicated to the magical duo, however. It's an amazing rumour, as this would put five Cirque shows in Las Vegas by 2005 (Mystère, "O", Zumanity, MGM 2004 and Mirage 2005) not to mention shows by Franco Dragone, Cirque's former Mise en Scene (Celine's Show at Ceasers and upcoming shows for Steve Wynn's resort). This is, however, just a rumor and we await further conformation by both Cirque du Soleil and MGM-Mirage. [Source: Las Vegas Sun; Ricky Russo] SOLSTROM Around the World ------------------------- According to Variety, the Canadian Broadcasting Corporation (CBC) has inked deals with several non-Canadian broadcasting companies to air SOLSTROM. This includes Mediacorp 12 in Singapore, Asia Television in Hong Kong, Joongang Broadcasting in South Korea, Romanian TV, and Station YLI in Finland. SOLSTOM is currently airing Sunday nights at 8:00pm EST on the CBC and will air on BRAVO USA in 2004. [Source: Variety; Ricky Russo] A Special Guest Performs in "O" ------------------------------- We knew it would happen some day, thanks to the efforts of Joan Lunden, who had a chance to perform a rehearsal in Cirque du Soleil's "O" at Bellagio, Las Vegas for her show "Behind Closed Doors" on A&E. This time, ABC News anchor Diane Sawyer got into the groove as she performed live with Cirque du Soleil on Wednesday, November 18th. "Sawyer performed in three segments," writes Timothy McDarrah of VegasBeat, a column that appears in the Las Vegas Sun. "Plus the finale, where she was dressed in a zebra suit and submerged in water. She was also dangled 100 feet above the stage." The performance, as we understand, was a ratings sweep event for ABC, which allowed the Good Morning America stars to live out their fantasies. "It was do or die for me out there," Sawyer said in VegasBeat. She had three hours to prep before she hit the stage. And, McDarrah reports, there was no announcement made to the public that Sawyer was amongst the performers. [Source: Las Vegas Sun; Ricky Russo] Ticket Prices Rise ------------------ Effective Dec. 16, Cirque is raising prices on its new "Zumanity" show. Cabaret stool prices rise from $55 to $65, theater seats from $75 to $85, love seats (for two) are now $170 and duo sofas are $210 -- more than $100 per fanny. This announcement compliments the previously reported rise in ticket prices for Mystère, which will rise from $88.00 to $95.00 effective December 19th. [Source: Treasure Island; Ricky Russo] Kia Ora, Jen ------------ Once in a while you come across someone special, a person with whom you feel comfortable talking about all sorts of things. For me, that person has been Jen Waldman, our resident Techie Geek. Over the short years we've known each other, she has been a wonderful friend and a great contributor to Fascination, and well... let her tell you... Dear all you lovely readers: Well, I had fun being your Techie Geek for a while, but the time has come to move on. I am leaving the USA to attend graduate school in New Zealand and since I am focusing on Library Studies, I will have less opportunity to investigate technical theatre. I'll still contribute from time to time, either as a Research Geek (once a geek, always a geek) or as a reporter on Cirque's Asia-Pacific doings, but for a while I will not be a full-time staff member of Fascination. Thanks to Ricky and Keith and Wayne and Paul and all, and to everyone who ever sent me questions. And thanks to you readers, without whom we wouldn't have this nifty newsletter. Keep on smiling. We wish you good luck in your endeavors in New Zealand (see, I told you it'd work out!) and we hope to have you aboard again real soon! Errata ------ Last issue we mistakenly said the CBC was the Canadian Broadcasting Company, when in fact the abbreviation stands for the Canadian Broadcasting Corporation. And, we accidentally transplanted our own Wayne Leung -- he's from Ottawa, Ontario not Quebec City, Quebec (Sorry Wayne!). ======================================================================= CRQ-TV -- CIRQUE ON TELEVISION! ======================================================================= * NEW YEARS WITH CIRQUE! ---------------------- Network: Bravo Footprint: United States Website: http://www.bravo.tv/ Note: All times are Eastern * December 25th (Thursday): 11:00am -- Le Cirque Reinvente 12:00pm -- Saltimbanco 01:00pm -- Quidam 03:00pm -- Varekai * December 26th (Friday): 05:00am -- Saltimbanco 06:00am -- Le Cirque Reinvente * December 31st (Wednesday): 07:00pm -- Quidam 09:00pm -- Varekai 11:00pm -- Alegría * January 1st (Thursday): 01:00am -- Varekai 03:00am -- Quidam 05:00am -- Saltimbanco * CIRQUE ON CANADIAN TV --------------------- Network: CBC Footprint: Canada Website: http://www.cbc.ca/cirquedusoleil/ * Sunday's at 8:00pm -- SOLSTROM! * CIRQUE DU SOLEIL: FIRE WITHIN ----------------------------- Network: Vitaya Footprint: Belgium (Europe) Website: http://www.vitaya.be/ Note: Every Thursday at 9:00pm Network: Odyssey Television Footprint: Australia Website: http://www.odysseytelevision.com/html/default.asp Note: Every Wednesday at 9:30pm * NOTE: Check your local listings for complete information. Schedule is subject to change. ======================================================================= CRQ.NET -- CIRQUE DU SOLEIL ONLINE ======================================================================= This Month in Cirque Club (By: Keith Johnson) ------------------------- Those folks at Cirque Intl. H-Q have been busy this month! Firstly, in Press Releases is an item about the Varekai release on DVD in Canada. Though the press release is dated Nov 30, the DVD actually released on Nov 4, so Cirque is a little behind the times with this one. More current and interesting are the items from CirqueClub. A short writeup on the Cirque For Life premiere in Portland comes first (not to toot our own horn too much, but Fascination! covered this sooner and in more detail last issue). And they've put a new wallpaper in the Goodies section, showing a layout of vintage photographs. There's also a fun article on cultural impressions of Mexico from a member of Dralion, a hello from Japan by Shayne Courtright, German Wheel artist in Quidam, and a historical look at Varekai's Georgian Dance. In the "Will it Ever Stop?!" department, we have a summary of artists impressions of touring home country Canada. And in a small "Surprise!" mention of the Alegria Musicians In-Store in Vancouver, BC, the "Alegria Musicians" write, "Two people even traveled all the way from Seattle with Applets and Cotlets to share with us. Amazing!" Allright Cirque folks, *stop* already with the Applets and Cotlets mentions!. We know they made an impression, but really... Most months, this would be about it. But with the Canadian premiere of Solstrom, they've debuted a new section on the show, accessible off the Club Homepage. Each episode gets its own writeup (though they'll come online only as each episode is aired). They also have a "challenge" that is said to be able to unlock special footage, interviews, music clips and extra content. Each week involves a different game.. We're told the "special content" will vary from week to week. Though from the looks of it you don't necessarily have to play the challenge to get the extra content, but that could be because we played the game and "won" first, then logged back in to check. But the best part of the months offerings is the return of special holiday e-cards, including special animated ones! This will be major fun for Cirque fans. There are three kinds: two "Animated" cards (one of a dreamy tableau, and the other a fun snippet featuring character heads), four "Poetic" cards (scenes and atmospheres), and four "Creative" cards (focusing on a Cirque character). It's the Creative cards that are the most exciting, as these allow you to add a specific written Cirque-ey tone to your card. (We discussed how wonderful these cards were when they originally appeared a year or so ago and lamented their disappearance when heavy usage dragged down the Cirque servers. Their return is most welcome.) All cards allow you to add your own text, and you can send them to one or a number of people. This is a great seasonal addition, and cap off a fun, busy month for the folks in Montreal. La Presse: Links to the News ---------------------------- 1) [ Man Rips Cover off Advocate Magazine -- Associated Press ] < http://www.wavy.com/Global/story.asp?S=1538328&nav=23iiJJ2j > 2) [Kung-Fu Under the Big Top -- Kung-Fu Magazine ] < http://ezine.kungfumagazine.com/magazine/article.php?article=265 > 3) [Peep Show: Cirque du Soleil's Zumanity -- Entertainment Design ] < http://entertainmentdesignmag.com/ar/show_business_peep_show/index.htm > 4) [Cirque Update: Let the Show Begin -- Inside Gymnastics ] < http://www.insidegymnastics.com/news/article.asp?article=00373 > ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= Note that any information in brackets [] is UN-official information and subject to change. [Touring Shows] Alegría: * San Francisco, California -- Pacific Bell Park Dates: Nov 6, 2003 to Dec 21, 2003 **EXTENDED** * Miami, Florida -- Bicentennial Park (Downtown) Dates: Jan 9, 2004 to Jan 25, 2004 [May extend to Feb 8, 2004] * St. Petersburg, Florida -- Tropicana Field Dates: Feb 19, 2004 to Mar 7, 2004 [May extend to March 14, 2004] * Atlanta, Georgia -- Cumberland Galleria Dates: Mar 25, 2004 to Apr 11, 2004 [May extend to Apr 18, 2004] * New York City, New York -- Randall's Island Park Dates: May 6, 2003 to June 6, 2004 * Philadelphia, Pennsylvania -- Avenue of the Arts Dates: July 8, 2004 to July 25, 2004 * Toronto, Ontario -- Ontario Place Dates: Aug 19, 2004 to Sep 12, 2004 [* Japan Possible Dates: Oct, 2004 to Nov 2005] Dralion: * Mexico City, Mexico -- Gran Carpa Sante Fe Dates: Oct 2, 2003 - Dec 14, 2003 **EXTENDED** * London, United Kingdom -- Royal Albert Hall Dates: Jan 9, 2004 to Feb 8, 2004 * Amsterdam, Netherlands -- Next to Amsterdam Arena (P2) Dates: Feb 27, 2004 to May 2, 2004 * Vienna, Austria -- TBA **UPDATED** Dates: Jun 3, 2004 to Jul 11, 2004 * Antwerp, Belgium -- TBA **UPDATED** Dates: Aug 12, 2004, to Sep 19, 2004 Quidam: * Tokyo, Japan Dates: Dec 24, 2004 to Apr 4, 2004 **EXTENDED** * Vancouver, BC, Canada -- Concord Pacific Place Dates: May 6, 2004 to May 30, 2004 [May extend to June 13, 2004] * Calgary, Alberta, Canada -- Currie Barracks Dates: June 24, 2004 to July 18, 2004 [May extend to August 1, 2004] Saltimbanco: * Valencia, Spain -- Valencia Port Dates: Nov 28, 2003 to Dec 21, 2003 [May extend to Jan 04, 2004] * Seville, Spain -- Recinto Ferial **NEW!** Dates: Jan 16, 2004 to Feb 6, 2004 * Lyon, France -- Clos Layat Dates: Mar 5, 2004 to Mar 18, 2004 **UPDATED** * Milan, Italy -- Area Spettacoli di Milano Dates: Apr 29, 2004 to May 16, 2004 **UPDATED** * Marseille, France -- TBA **NEW!!** * Basel, Switzerland -- TBA * Rome, Italy -- TBA * Lille, France -- TBA **NEW!!** Varekai: * Pomona, California -- Fairplex Dates: Dec 4, 2003 to Dec 28, 2003 * Orange County, California -- Orange Co Fair Grounds Dates: Jan 16, 2004 to Feb 8, 2004 [May extend to March 7, 2004] * San Diego, California -- Qualcomm Stadium Dates: Mar 18, 2004 to Apr 4, 2004 [May extend to Apr 18, 2004] * Phoenix, Arizona -- Westworld of Scottsdale Dates: April 29, 2004 to May 16, 2004 [May Extend to May 23, 2004] * Denver, Colorado -- Pepsi Center Dates: June 3, 2004 to June 27, 2004 [May extend to July 11, 2004] * Boston, Massachusetts -- Suffolk Downs [Possible Dates: July 28, 2004 to Sep 5, 2004] * Washington, DC -- TBA [Possible Dates: Sep 16, 2004 to Oct 24, 2004 / Tickets may go on sale Mid Mar, 2004] * Dallas, Texas -- Fair Park Dates: Nov 10, 2004 to Dec 5, 2004 [May Extend to Dec 19, 2004] [Resident Shows] La Nouba: * Two shows Nightly - 6:00pm and 9:00pm * Performs: Tuesday through Saturday, Dark Sunday/Monday * Location: Walt Disney World Resort, Orlando (USA) * 2003 Dark Dates: - December 7th through 15th * 2004 Dark Dates: - February 1st through 4th - March 14th through 17th - May 2nd through 5th - June 20th through July 5th - August 22nd through 25th - October 17th through 20th - December 5th through 13th Mystère: * Two shows Nightly - 7:30pm and 10:30pm * Performs: Friday through Tuesday, Dark Wednesday/Thursday * Location: Treasure Island, Las Vegas (USA) * 2003 Dark Dates: - December 3rd through 18th "O": * Two shows Nightly - 7:30pm and 10:30pm * Performs: Wednesday through Sunday, Dark Monday/Tuesday * Location: Bellagio, Las Vegas (USA) * 2003 Dark Dates: - December 1st through 16th Zumanity: * Two Shows Nightly - 7:30pm and 10:30pm * Performs: Tuesday through Saturday, Dark: Sunday/Monday * Location: New York-New York, Las Vegas (USA) * 2003 Dark Dates: Not Available ======================================================================= DIDYAKNOW? -- FACTS ABOUT CIRQUE ======================================================================= -- Did you know that one of the members of the creative team on the new Cirque MGM 2004 show is Michael Curry out of Portland, Oregon? Among other things, he has designed puppets for "The Lion King" on Broadway, as well as a number of Disney parades and shows (including "Tapestry of Nations" parade for the Millennium Celebration at EPCOT and Mickey's Jammin' Jungle Parade at Disney's Animal Kingdom Park in Orlando). You can see some of his work at www.michaelcurreydesign.com. -- Did you know that 80-percent of the fabric used in Cirque du Soleil costumes is custom-dyed? Silk is the most-used fabric because it wears and dies well. -- Did you know that the ring-like apparatus used in Dralion to allow performers to fly around stage and to allow the singer to ascend to the stars is called "The Sun"? The Sun is one of three pieces used during the show. The other two are used as a catwalk and to encompass an enormous lantern. -- Did you know that the March 5, 2004 showing of Saltimbanco in Lyon, France would mark Cirque du Soleil's first return to French soil in 14 years? Cirque du Soleil last visited France in 1990 with Le Cirque Reinvente, which was performed in Paris from October 2nd through December 30th. ======================================================================= TÉLÉMAGIK: "When the Wind Blows the Circus Will Rock: CDS Solstrom" By: Wayne Leung - Ottawa, Ontario (Canada) ======================================================================= Following hard on the heels of last season's groundbreaking documentary series, Cirque du Soleil once again aims to prove its prowess in the realm of television. After the ratings success, critical acclaim and Emmy and Gemini awards garnered by "Fire Within" it's no surprise the company seeks to repeat its success this year with a new 13-part variety series entitled "Solstrom". Solstrom (the title means solar wind), is described as a hybrid form of entertainment which draws inspiration from film, situation comedy, burlesque theatre, circus, and of course the live shows of Cirque du Soleil. In the concept of the show, the solar wind is a magical energy force that descends upon unsuspecting characters and turns ordinary life into an extraordinary fantasy world changing the mundane into the marvelous. The series is produced by Conte 11 (a subsidiary of Cirque du Soleil Images). Marie Côté, Vincent Gagné and Martin Bolduc serve as the show's producers. It is currently showing every Sunday at 8:00PM Eastern on the CBC (Canadian Broadcasting Corporation). Each episode is approximately 44 minutes in length without commercials. The show premiered Sunday, November 30, 2003 on the CBC in Canada. I looked forward to the pilot episode with anticipation, guardedly optimistic that I would be impressed. Guarded because I've been disappointed by some of the company's more "popular" projects intended for a wide audience. However, I also realize that to enjoy Cirque's media projects one must understand that they are entities unto their own, targeted to completely different audiences than the theatrical shows. To obtain a sense of the target "family" audience of Solstrom, consider its strategic place within CBC's programming line-up, on Sunday nights immediately following The Wonderful World of Disney. One can infer that the show is therefore targeted to young children and their parents. As much as Zumanity is a show for adults Solstrom is really for the kids. To enjoy the series it is perhaps best to shed any pre- conceived notions of Cirque du Soleil, since Solstrom is directed to a different audience and in no way resembles Cirque's live shows. Admittedly at first this was a let down. Upon first viewing I saw a show with low production values, no sense of cohesive theme, lacking in artistry and feeling very rough by Cirque standards. The set and costumes are minimal and uninspired, the music is recycled or canned (despite the presence of the "orchestra" in the first episode most of the accompanying music is pre-recorded), the Cirque performers are underused and the characters underdeveloped. I especially dislike the fact that the acts are put in the context of a contrived story sacrificing much of the interpretive elements, artistry and mystique inherent in the live shows. Solstrom is not a bad show; it just doesn't live up to the level of artistry that we've come to expect from Cirque du Soleil. Solstrom was filmed in a studio in Montreal on a set that is very obviously a television studio. The style of the show is a quasi-live production. The series does not entirely go for the realism of television nor does it belong entirely to the world of the stage, it sits somewhere between in a weird limbo. Consequently the energy level of the show is uneven and the viewer is left unsure of what context the show is supposed to be taken in. I would have liked to see the tapings done in front of a live studio audience. I think it would have greatly improved the performance dynamic, energy level and pacing and I surely would have attended! A quick glance at the credits may hold part of the answer as to why the series is sub-par; the show is produced by a team virtually unknown to Cirque fans. The first episode is directed by newcomer Pierre Séguin. None of Cirque's live show creators are involved in Solstrom. The resultant overall feel of the show is much less professional than we've come to expect from Cirque du Soleil. Solstrom comes off as more of a variety show. It seems as if the producers raided the files of Cirque's casting department and phoned all the performers on record whose acts did not fit in the context of any of the live shows. Solstrom seems to be a showcase for the mismatches. Consequently, there is inconsistency in the calibre of the individual acts as well. While some are amazing, others kind of fall flat. The non-Cirque acts are never as polished as the ones borrowed from the live shows and they are not given any special treatment with regards to costume, music or choreography. The end result is a series that aims to be whimsical but falls short and at times lands in the area of downright goofy. Nonetheless, the show is not without its charms. Taken for what it is the show is a fun and carefree collection of some extraordinary circus talent and the kids will love it. The following is a synopsis of the first episode. Episode 1: "Rockin' Wind" ------------------------- Fans of John Gilkey, one of Cirque's most prolific artists as a veteran of Quidam, Dralion and Varekai, will be delighted to see John in his newest incarnation; a mad scientist character named Fogus Punch. Fogus looks like a cross between La Vigie in Varekai and Beakman from Beakman's World (for those who remember the zany kid's science show). Fogus is our guide throughout the series, an astronomer who serendipitously discovers life on the sun. A magical solar life force has been beamed to Earth and personifies itself as a series of recognizable Cirque du Soleil characters. A little bit irritating though is the inane narration that permeates the episode. Fogus' voice-over (which is not done by John) describes the happenings in a banal, everyday manner, not poetically or inventively at all. The narration adds nothing to the show and in fact detracts from it. While the images speak vividly in Cirque's live shows; the narration in Solstrom seems an unfit substitute for well thought-out images and staging. The first episode of Solstrom, entitled "Rockin' Wind," features the Baron character from Saltimbanco (originally created by renowned mime René Bazinet, in Solstrom the character is played by Martin Boisvert). The Baron descends upon an orchestra rehearsal where nothing is going well. A look at the conductor and first violin gives a clue as to why; they are played by Dralion clowns Gonzalo Munoz Ferrer and Colin Wesley Gee respectively. Unfortunately, their antics are no less tiresome here than in Dralion. Gonzalo plays Maestro Von Pom Pom Pom (the "Poms" are set to the first four notes of Beethoven's Fifth Symphony). He is the cantankerous and temperamental tyrant of the orchestra. While desperately trying to get his musicians in order a latecomer stumbles in chaotically and disrupts the proceedings. The Maestro begins to chide him when the Baron blows a puff of the magical Solstrom at the latecomer. The latecomer is actually extreme contortionist and dislocation artist Daniel Browning Smith. Smith contorts into unbelievable shapes. He squeezes his flexible body through a tennis racket and inverts himself in many impossible poses, often by dislocating his joints. The performance is jaw dropping though slightly grotesque. For his finale Smith contorts into a small ball and fits himself inside a 20" x 20" x 24" box where he stays for the remainder of the show, sometimes popping up to watch the proceedings. After the initial commotion the first violin (Colin Gee) is distracted by an attractive female orchestra member. She approaches and kisses him passionately on the lips. The Baron's puff of Solstrom transforms her into a wild temptress dressed in red. The first of the acts adapted from live Cirque du Soleil shows featured in the pilot episode is Genviève Bessette's stunning solo aerial hoop number from Dralion. Originally part of a trio of aerial hoop performers featured in Quidam, Genviève refined a solo version of the act for incorporation into Dralion as an act in rotation. When I saw this act last spring (performed by another Quidam alumna, Marie-Eve Bisson) it was a shining moment in an otherwise lackluster performance. The breathtaking choreography, set to the Spanish flavoured song "Anima", is full of passion and emotion, perfectly fitting the fire element that it represents in Dralion. Although when taken in Solstrom's context the emotional gravity is subdued, it is nonetheless a treat to finally see a filmed version of this magnificent act. No sooner has the orchestra been successfully called to order than someones watch chimes and the musicians break for lunch. The guitarist sits at his music stand and falls asleep. Fogus does a "brain scan" and monitors his dream. The guitarist dreams of playing rock chords on an electric guitar. He falls backward only to spring right back up. The guitarist proceeds to execute flips on a trampoline all the while playing his guitar. The performer is actually Domenic Dagenais, a former Canadian trampoline champion. Next, to the horror of the first violin, a spotlight burns out and he realizes the Maestro will be furious unless someone fixes it. He stops a stagehand but a puff of the solar wind transforms the stagehand into a balance artist. Vladimir Dubovsky uses an array of boards and aluminum pipes stacked precariously like a deck of cards in a daring balancing act. Vladimir executes this act with a more than a hint of Chaplin. His presentation and music are reminiscent of the Vaudeville stage. Before the Maestro can regain order he is stricken by a beautiful prima donna who has entered the hall with her accompanist. She prepares to sing but a puff of the Solstrom and we find her hanging in the air supported by white silks. Our diva is Béo Da Silva and with a sultry voice she belts out a sassy jazz song entitled "New Attitude" written by former La Nouba singer Dessy Di Lauro. While singing live she performs some beautiful aerial silk work. This unique combination number has a slightly surreal Moulin Rouge feel and is one of the most enjoyable of the episode. When the dust settles there is still the matter of the burnt out spotlight to attend to. A group of stagehands climb up a set of scaffolds but the Baron works his magic and they become daredevil high wire performers. The Navas Family (three brothers) scamper and dance across a high wire before performing death-defying leaps and pyramids all while remaining perfectly balanced on the thin wire. Then we observe a metronome slowly ticking back and forth. The Baron works his magic and the pendulum transforms into a trapeze artist. The orchestra watches as Anja Wyttenbach perched on a Washington trapeze, carefully balanced on her head while going through a series of poses. This act, taken from "O" is performed to a piece of music credited as "Debbie" but more commonly known as the Journey of Man theme. The trapeze number is cut short. In "O" there is a static as well as swinging portion but only the static is shown here. Disappointing given the amount of time allotted to each episode, there is no need to truncate such a beautiful and well-crafted act. As if another interruption was needed, the rehearsal is invaded by wacky Michel Lauzière who aims to play music of his own on bicycle horns of different pitch strapped all over his body. He executes a wild choreography to play the horns and serenades the orchestra with his rendition of the Danube Waltz, The Four Seasons and other classical selections. Finally the Maestro gives in and the rehearsal descends into chaos as the musicians, stagehands and house staff transform. If there were to be one act I considered to be Cirque du Soleil's signature it would be Banquine from Quidam. This act has been proudly showcased by the company in a variety of different competitions, media projects and special events including Journey of Man and the 2002 Oscar performance. The first episode of Solstrom closes with the Banquine troupe performing a number called "Tribute to Rock 'n Roll" Though much of the choreography is the same as the routine from Quidam, the troupe appears sans make-up and wearing different costumes; black pants and coloured t-shirts for the guys, simple black dresses for the ladies. This elite acrobatic group has only improved with age and now performs some skills that are far more spectacular than the ones we've previously seen on film. Among the new tricks is a super jump where four performers are launched simultaneously, cross paths in mid-air barely avoiding collision and are caught again by the able porters. Though stripped of the dramatic intensity of the live show the Banquine act still shines as an amazing acrobatic display. Overall I was slightly disappointed with the initial offering of Solstrom. I would have preferred to see Cirque invest the time, effort and money to produce a television series every bit as evocative as their stage shows. Though there is such a thing as being over- produced, the generally low production values of Solstrom make it feel almost amateurish. I don't feel it is at all representative of what Cirque du Soleil is truly capable of and I expected more. Having said that though, the show is not completely unenjoyable. It certainly has its moments and I'm willing to give the series time to develop and hit its stride in future episodes. Did I find the first episode entertaining? Absolutely! Despite its shortcomings the show is energetic (in a random, chaotic sort of way) and infused with a light- hearted sense of fun. Was I engaged emotionally and challenged intellectually to explore deeper themes and meaning behind the show? Well, not really. This is not thinking-man's theatre, it is in essence a kid's TV show but a good one at that. Solstrom is a trifle in Cirque du Soleil's mighty repertoire but worth a look if only for the few high-calibre acts featured in each episode. ======================================================================= SPECIAL ENGAGEMENT: "Cirque du-Scrimination? -- Update on the Cusick Case" By: Ricky Russo - Orlando, Florida (USA) ======================================================================= It's a catchy title, and perhaps a well deserved pun, but unfortunately it describes a possible action by Cirque du Soleil against Matthew Cusick, a 32-year old gymnast from Silver Spring, Maryland. By now, many of our readers have heard the name Cusick and why his name is in the news -- Cirque du Soleil has been accused (and formally served thereof) of discriminatory practices in the firing of Mr. Cusick because, as he has stated, of hishis HIV-positive status. Whether the accusations are true or false is not something we at Fascination! currently know. But here is what we do know, or rather, what we think we know regarding the case: In July, 2002 Mr. Cusick was invited by Cirque du Soleil for a general training program, and he trained with Cirque for a period of a few months at Cirque's headquarters in Montreal. Toward the end of his training session, he was offered a 2-month contract to perform both as a catcher in the High-Bar number and in the Chinese Poles act in Mystère at Treasure Island, Las Vegas. In April 2003, just a few days before he was to begin performing with the show, Mr. Cusick was dismissed on the grounds that he could prove hazardous to his colleagues, the audience, and coaches if he had an accident. Three months later, on July 15, 2003, a press release by Lambda Legal, an organization formed to advancinge and protecting the civil rights of people with HIV and AIDS, was made public stating that Cirque du Soleil had descriminated against Mr. Cusick by firing him due to his HIV-positive status. We reprinted the press release verbatim in our August 2003 issue (#24) and at the time, Cirque du Soleil remained eerily silent. Many questions and rumors cropped up and the fan community was turned upside-down because of the accusations -- did Mr. Cusick bleed on a performer/coach during training, which lead to his dismisal? Was he offered (and then turned down) another job offer by the Cirque? Did Cirque really know he was HIV positive? Why was he doing this? Since then, a protest of Cirque du Soleil in San Francisco on November 20th (before a sold-out performance of "Alegría") has lifted the vail of secrecy and we're finally beginning to hear more details about this case. But there are still more questions than answers. Here, you can read for yourself the full text of Cirque du Soleil's response to Lamba Legal's actions: Cirque du Soleil is dedicated to the creation, production and performance of artistic works, and relies greatly upon the skills and expertise of our artists. At the same time, we are committed to safeguarding the well-being of each of our employees. Several months ago, we made a decision to terminate a 2-month employment contract with an HIV-positive acrobat who was to perform an aerial act. Our extensive experience with high-level acrobatics demonstrated that the risk of injury attendant to an aerial flying act is very real. With this very important consideration in mind, we believed the risk of exposing fellow artists, technicians, and/or spectators to HIV as a consequence of injurious physical contact was too great. Our employment decision was made solely for safety reasons, which is a paramount concern for us. Since that decision, however, the acrobat and his attorneys have chosen to publicize this highly sensitive and complex situation through various media outlets. The individual also filed a Charge with the U.S. Equal Employment Opportunity Commission. We have responded to the Charge, and we have been fully cooperative with the investigation presently being conducted by the EEOC. However, the individual and his legal representatives are apparently not content to allow that investigative process to run its course, as evidenced by their continued attempt to focus media attention on this matter. In addition, they have made very clear their position that they are completely unwilling to attempt to resolve this matter amicably, despite our previous efforts to do so. Contrary to the allegations, Cirque du Soleil has not discriminated against this particular acrobat. Our decision was premised upon our concern for the safety and well- being of our artists, employees and patrons. That is always our foremost priority. In that spirit, at all times, we must assess any and all risks that could compromise someone's safety. This has been a very difficult decision for Cirque du Soleil, because we support many HIV-related educational programs and fundraising efforts, and have contributed extensively to these causes for many years. We are also very sensitive to respecting individual rights and liberties. Over the years, we have been recognized worldwide as a progressive and non-discriminatory employer, and still are today. We do not discriminate against individuals on the basis of disability or any other protected characteristic. In fact, we employ a number of performers and non-performers alike with physical limitations and conditions. Sincerely, Renée-Claude Ménard "As for what happened behind the scenes to set off the current situation," writes Pat Donnelly, of the Gazette in Montreal, who interviewed Cirque du Soleil communications director Renée-Claude Ménard on the subject, is "Ménard's complicated explanation [laying] the blame on Canada's Privacy Act. She contends the legislation prevented the Cirque's one hand - the training department, which knew Cusick was HIV-positive - from telling the other hand, the casting department, what they were doing." In effect, Ms. Ménard is acknowledging that Mr. Cusick did tell the training department he was HIV-positive. But the casting department was never told, and thus placed Mr. Cusick in a potential hazardous role, according to Cirque. We understand that the training department had no qualms about Mr. Cusick's HIV positive status, having had medical doctors examine him and state he was perfectly healthy. We also understand that Cusick was offered an alternative to performing the dangerous High-Bar and Chinese Poles acts by becoming a coach for the Cirque. But here's where the confusion lies: Cirque said they offered and he refused, which led to his dismissal, and he says they never offered in the first place. This is an ongoing escalating situation that doesn't appear to be ending anytime soon. Mr. Cusick filed a charge with the U.S. Equal Employment Opportunity Comission (www.EEOC.gov), which was established by Title VII of the Civil Rights Act of 1964. This Title allows the EEOC to oversee and enforce many U.S. Government statues regarding Americans in the workplace, such as: prohibiting employment discrimination based on race, color, religion, sex or national origin and prohibiting discrimination based on age, gender, and disibility amongst others. While Cirque du Soleil is a Canadian company, their efforts in the United States make them succeptable to US Law. But this isn't Cirque's only legal issue right now. Lambda Legal delivered a petition to Cirque with signatures and notes from people in all 50 United States on World AIDS Day, Monday, December 1st - the day before Cirque must respond to an investigation by the San Francisco Human Rights Comission. This investigation is important because if they find Cirque did discriminate, the comission could levy fines, terminate Cirque's contract and bar the company from coming back to San Francisco, since Cirque is leasing public property for "Alegria". As we go to press, more protests possibly will have taken place, and hopefully Cirque will have responded to the San Francisco Human Rights Commission to calm the fears of fans. While only 15 protestors (50 according to the San Francisco Gazette) were reported to have demonstrated at Alegría on the 20th of November, those numbers are sure to climb as this legal case continues to build. Cirque du Soleil has assured the public that it is taking the litigation quite seriously and they are currently working to remedy the unfortunate situation. We at Fascination! do not currently offer an opinion one way or the other regarding this case, as we are determined to bring you all the facts of the case as un-biased as we can. You can learn more about the case from Lambda Legal and various news outlets that have picked up on the story by viewing the links below: 1) http://www.foxnews.com/story/0,2933,103999,00.html 2) http://www.canada.com/montreal/montrealgazette/story.asp? id=69ECEE96-1878-42DC-AB41-6D440309D831 3) http://www.lambdalegal.org/cgi-bin/iowa/cases/record?record=185 4) http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/ 2003/11/20/BAGSE36DTE1.DTL 5) http://www.kron4.com/Global/story.asp?S=1534648 6) http://www.hollywoodreporter.com/thr/brief_display.jsp? vnu_content_id=2034799 7) http://www.sfgate.com/cgi-bin/article.cgi?file=/news/archive/ 2003/11/20/state1701EST0122.DTL 8) http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/ 2003/11/20/BAGSE36DTE1.DTL ======================================================================= CIRQUE MUSIQUE: "Cirque Similarities du Bands" By: Paul Roberts - Hamilton, Ohio (USA) ======================================================================= On November Twenty-seventh I celebrated the seventh anniversary of a life-changing event: my first experience of Cirque du Soleil with Mystère. Even though I had heard the soundtrack prior to seeing the show, the music subliminally controlled my emotions as intended. Two years later I again saw Mystère, this time paying closer attention to the musicians than to the performers. I truly absorbed the incredible musical arrangements and my obsession with Cirque's music was born. In 2000 I began a quest to own all the CDs and videos and to see all the shows. After seeing Mystère for a third time I saw "O", then Dralion, La Nouba, Quidam, Alegrìa, and finally Varekai. My quest continues as I must still see Saltimbanco, Zumanity, and the new show coming to the MGM Grand. With the various shows (live and on video), I noticed similarities and differences in the live bands. Nearly every band has at least two keyboardists and two singers. Some have a guitarist, a bassist, and almost always multiple percussionists. There is always a bandleader, though I prefer calling them a conductor. Some bands are easily visible and some are nearly invisible. The Saltimbanco band consists of two female singers, keyboard player, guitar/keyboard/ percussionist, bass/keyboardist (conductor), a saxophone/keyboardist, and two drummer/ percussionists. With this scaled-down band, several members are multi-instrumentalists and also provide backing vocals. Their children-show-like costumes match their whimsy performance of dancing around with the high energy music. They are visibly located center-stage under the colorful light-filled canopy. The Mystère band consists of two female singers, two keyboardists, guitarist, bass/Stick player (conductor), woodwind player, violinist, and two drummer/percussionists. Also included are about twenty Taïko drummers consisting of show performers. The band's rainbow-colored costumes match the multi-layered dynamics of the soundtrack. The band is divided between two balconies overseeing the stage. The left balcony includes the percussionists and the singers, the right includes the rest of the band. Both balconies are in clear view. The Alegrìa band consists of two female singers, two keyboardists (one is the conductor and one mainly plays the accordion), bassist (assistant conductor), saxophone player, and two drummer/ percussionists. There used to be a violinist, which I feel should still be included because of the prevalent use of the instrument in the studio soundtrack. The shimmering white costumes also include ski-slope noses (a la Richard Nixon and Bob Hope), high-water trousers, and fountain-top wigs. They look pretty silly but play very seriously. Similar to Saltimbanco, they are visibly located center stage under an arched canopy. The Quidam band consists of a young female singer, male singer, keyboardist (conductor), guitarist, sax/keyboardist, cellist, violinist, and two drums/percussionists. The band's new cobalt-blue zoot suits seem to fit in better with the show's overall color scheme than the original gold vested costumes. They're not as visible as earlier shows with their locations of stage right and left towards the rear of the set. The large "O" band consists of a female singer/flutist, male singer/kora player, keyboardist (conductor), Chinese violinist (also known as an Erhu), sax/keyboardist, cello/acoustic guitarist, bass/keyboardist, woodwind/bagpipes player, and two drums/percussionists. They are dressed in mostly white costumes to coincide with the wedding theme throughout the show. The musicians are located in glassed-in booths above each side of the stage. The glass is necessary to keep stage pool moisture from seeping into the instruments that could cause tuning problems or ultimately cause warping, especially to the stringed instruments. The booths are sometimes dark making visibility difficult. The La Nouba band consists of a female singer, (contra-alto) male singer, trumpet player/ keyboardist (conductor), another keyboardist, guitarist, sax/keyboardist, bassist, and one drummer/percussionist. Their all-white costumes are accentuated with white turbans and dark eyeliner. The band is located high above each side of the stage and are not very visible. About this time, Cirque started a pattern of hiding the musicians. The Dralion band consists of a female singer, (contra-alto) male singer, two keyboardists (one is the conductor), guitarist, woodwind player, bass/Stick player, violinist/cellist, and two drummer/percussionists. They are donned in maroon-colored silk and polyester costumes and are located in shrunken pits near the rear of the stage. Once again they are sometimes hard to see. The Varekai band consists of a female singer, male singer, two keyboardists (one is the conductor), woodwind and other assorted blown-instrument player, bassist, violinist, and two drummer/ percussionists. Their attractive lavender costumes basically can only be seen during the opening procession, as during the show the band is pretty much hidden behind the forest. At certain times, during solos or featured passages, a musician appears in the spotlight in an opening located on the right side of the stage. The vast Zumanity band consists of a female singer (there used to be two, which will probably occur again if not already), a male singer (well he's a crossdresser), two keyboardists (one is the conductor and one mainly plays the piano), guitarist, woodwind player, bassist, violinist, trombone player, trumpet/flügelhorn player, and one drummer/percussionist. Since I have not seen Zumanity, I'm not sure of the musicians' costumes, but am aware that they are located on a platform above the stage that moves. The conductor for each band plays an important role, as they are responsible for watching the performers and making sure all cues are met on and in time. If there's a mistake or an acrobatic re-try or a technical mishap, the conductor gives instructions through headsets or ear plugs worn by each musician. I once saw a La Nouba show where a trapeze bar swung too high and got stuck in the scaffolding. A crew member had to climb out on the scaffold to release the bar while the band played an extended version of the accompanying song, "Queens." During the ten minute technical glitch, the musicians improvised on solos that were probably unrehearsed. I think I might have been the only person in the theatre that enjoyed the delay. If you are lucky enough to own or have heard the Alegrìa Live in Fairfax CDs, you can hear the conductor barking out timing instructions during the soft passages. There are several countdowns in French throughout the recording. With similarities and differences in the live bands one thing remains constant, expertise and perfection. Out of the twenty-six Cirque du Soleil shows I have witnessed, I have yet to hear a sour note or a missed beat or a vocal hiccup escape from the musicians or singers. ======================================================================= THE CIRQUE CONNECTION: "Two Thumbs (and 7 fingers) way up! A Review of Les 7 Doigts de la Main" By: Wayne Leung - Ottawa, Ontario (Canada) ======================================================================= What happens when a group of Cirque du Soleil alumni decide to go it alone and spin off their own brand of theatrical circus show? The result, Les 7 Doigts de la Main (The Seven Fingers of the Hand; derived from a French expression about working in unison with dexterity and coordination) is a masterpiece of theatre, acrobatics, dance, performance art, multimedia and comedy as wildly entertaining as anything Cirque du Soleil has put out but on a much more intimate and independent scale. This show is never derivative, hokey or childish like some Cirque copycats. Instead, 7 Doigts is artfully inventive, original, hip, contemporary and sexy. The amazingly multi-talented performers are vibrant, playful and energetic; they infuse the show with a great sense of fun. I was fortunate to have the opportunity to catch the show this past September while it was in Montreal playing at a venue called Station C; an old building located in the heart of Montreal's Gay Village. Station C has a unique history; once a post office depot, it was converted into an eclectic bohemian den, art gallery and performance space. Its sombre corridors are adorned with the wares of numerous local artisans. The brick showroom has a gritty urban feel; clotheslines draped with sheets served as curtains, bleachers with folding chairs served as seating with a capacity of about 600 or so. The auditorium really has no "stage," the performance area was just set up at the front of the room. The mise-en-scene made for a very intimate show experience. Instead of the performance "breaking the fourth wall" the audience is actually seated within it. When the showroom opened for the performance, the ushers lead the waiting crowd of about 400 on an interesting expedition through a narrow corridor that ran along the side of the make-shift auditorium, around to the back of the building, past the bathrooms and stopped at an area behind the stage. "Hmm, where are they leading us?" I wondered. After our tickets were taken we were lead one by one through a tiny, Alice in Wonderland rabbit hole. Emerging on the other side I found that I had walked out of an open refrigerator and now found myself smack in the middle of an industrial loft apartment (the show's set). The inhabitants of the loft, dressed in undergarments, welcomed me and the rest of the guests warmly, and told us to make ourselves at home. The seven inhabitants are actually the performers/writers/directors/ choreographers who collaborated to create the show; they are the "doigts" referred to in the show's title. They are fairly well known in Cirque du Soleil circles: Shana Carroll, a beautiful blonde San Francisco native; veteran of the Pickle Family Circus and former Solo Trapeze artist in Saltimbanco. The solidly built Frenchman Sébastien Soldevilla is an accomplished sports acrobat who competed with the French National team and performed as a character, dancer, acrobat and solo-diabolist with Saltimbanco. Samuel Tetreault has performed in Cirque Eloize's Orchestra show, the Pomp Duck and Circumstance cabaret, and as a solo hand balancer in Alegría. However, he is perhaps most recognizable from Cirque's documentary series Fire Within as Varekai trapezist Stella Umeh's (ex) boyfriend. The hyperkinetic and child-like Patrick Leonard, a former Canadian roller figureskating champion, performed in the San Francisco cabaret Teatro Zinzanni and with Cirque du Soleil in the German cabaret Pomp, Duck and Circumstance. Fiery redhead Gypsy Snyder of San Francisco also performed with the Pickle Family Circus, Teatro Zinzanni, Pomp Duck and Circumstance as well as Saltimbanco. She has also directed shows for the San Francisco Circus and is a regular teacher at the San Francisco Circus Center's Clown Conservatory. Faon Shane is a performer of many acrobatic disciplines; hand-to- hand, chair balancing, artistic cycling, vertical rope, trampoline and Korean cradle. She is best known to Cirque fans as one of Quidam's Spanish Web artists featured on that show's DVD. Also featured on the Quidam DVD and needing no introduction to Cirque fans is the seventh doigt, renowned contortionist Isabelle Chassé known as a member of the famed contortion quartet featured in Nouvelle Expérience and Saltimbanco as well as for her solo Aerial Contortion in Silk act in Quidam. Rounding out the cast and providing musical support is Montreal's own DJ Pocket, a talented mix artist who provides the upbeat and energetic musical accompaniment to the show by spinning and mixing pre-recorded music, singing, rapping, beat-boxing and playing synthesizers. The music featured in the show is an eclectic mix of hip-hop, house, electronica, swing, fusion tango and various other urban styles as well as some live musical numbers performed by the artists themselves. DJ Pocket watches over the proceedings from his DJ booth located on the upper tier of the loft next to a large blank wall used as a video screen to display the shows frequent multimedia elements. While the audience is getting settled the loft mates circulate making sure everybody is comfortable, treating us as if we were guests at a small get-together. Shana wanders over and offers me some of her potato chips. Faon and Gypsy both introduce themselves to me and shake my hand warmly. The guys are still busy greeting guests at the door...er...fridge. When everyone is settled in their seats the loft mates proceed to go about their daily lives. Sam is busily writing at a desk at the back of the stage, Isabelle is soaking in the tub, Shana sits by the TV, Gypsy reads a magazine on the kitchen table. Meanwhile, Patrick, a fireball of energy is finding amusement with a large foam pillow shaped like a staircase. What ensues is a wild and chaotic tumbling routine as Pat climbs, jumps, rolls and crashes repeatedly against the stairs while his roommates, in contrast, obliviously go about their daily routine. The comedic, kinetic and slightly spasmodic nature of the routine helps set the tone of the show and brings it to the high energy level where it stays for most of the evening. After Patrick finishes his kamikaze stair dance, Gypsy officially opens the show with a monologue (speaking French for the Montreal crowd), and waxes poetically about an apple in her hand asking a member of the audience, whom she singled out before the show, whether he would take a bite if she offered. However, if he did, Gypsy warned, it would be the end of our story. As she gazes reflectively at the apple Patrick distracts her with a kiss on the cheek, steals the apple from her hand and hurls it into the kitchen. The lights come up and we find the rest of the lofters seated around the kitchen table beating their cutlery rhythmically. Isabelle, seated on the table, appears to have caught the tossed apple in her mouth. She wraps herself around the red tablecloth and magically rises above the stage to perform her Aerial Contortion in Silk act. Though executing many skills identical to her act in Quidam, the aerial contortion here is presented in a very different context. As a rock song about temptation plays the sexy contortionist writhes and flexes her body while flirtatiously eating the apple and dangling from her feet in the silk. The intention of the act is clear; her serpentine movements and the playful act of eating an apple hark back to the original sin. She is a sexy temptress; at once Eve and the snake in the Garden of Eden beckoning us to taste the forbidden fruit. The flirtatious, fun and sexually charged presentation of the act is a stark contrast to the mournful and melodramatic version performed in Quidam, which belies not only Isabelle's physical flexibility but her artistic flexibility as well. Isabelle returns later in the show to perform a more grounded contortion act on a dark stage; the only illumination emanating from flashlights strapped to the contortionist's lithe body. This act produces some fascinating imagery. From there the show continues with one high caliber performance following another and, in the style of Cirque du Soleil, all the acrobatic elements are seamlessly integrated with dance and choreography. The dance in 7 Doigts is influenced much more by modern dance and is less classical in style than in most Cirque shows. The resultant style of movement is quite avant-garde. Sometimes as a group, sometimes in pairs and at times individually the performers execute very physically demanding choreography. In one interlude Seb and Faon perform an acrobatic pas de deux with influences from sport acrobatics mixed pairs. After an interlude where Gypsy mimics the speech of a self- help/relaxation guru ending in a nervous breakdown, Shana flies upward to perform poses and balances in a breathtaking static trapeze number. Later in the show, she soars across the stage and performs thrilling dives on a swinging trapeze. At one point in the evening Sam gathers everyone's attention and tells us that the poem hes been writing during the course of the show is complete. His roommates gather around as he pours out his soul in the form of a heart-wrenching poem entitled "Solitude". However, his companions snicker under their breath at his sappy, sentimental poem. Eventually Sam finds himself alone on stage, as a projection of his image appears overhead. He makes his way over to the kitchen table where the tabletop has been removed and a set of balancing canes is found in its place. Sam proceeds to perform a hand balancing routine of extraordinary strength and dexterity. One by one his housemates take away the lighted canes until he is perched on the lone remaining cane. Another of the shows highlights comes in the form of Faon's original aerial act using a series of metal chains executing skills usually performed in a much more giving medium like silk. Faon balances, twists and turns in the air while wrapped in the metal chains producing some amazing images. This act also has a distinctive sexual undertone, and presented in a different context would be perfectly suited for Zumanity. The real show-stopper of the evening comes when Seb and Pat manipulate what appear to be marionette puppets from behind the television set. When the TV is removed we see that they are actually twirling diabolos (Chinese yo-yos). To a rousing big band swing score the pair toss the diabolos high in the air performing spectacular acrobatic tumbling routines before catching them. This high-energy act brings down the house. If the acts are unforgettable, the interludes between are no less so. The impeccably timed comedic vignettes mixed with hip modern choreography make inventive use of props as diverse as kitchen knives, lampshades and Barbie dolls. In one memorable vignette, Gypsy stands on the loft's bathtub, holding the showerhead like a microphone and croons the Peggy Lee standard "Waitin' for the Train to Come In". Meanwhile her loft mates, sitting on easy chairs, lying on top of the TV or sitting in the tub, link together to form a train being pulled across the stage by Seb who puffs on a cigarette. And as rthe caboose, Patrick rolls on roller skates strumming a ukulelea, an inventive comic image. When it's all over the small crowd leaps to its feet in an enthusiastic ovation that would match the volume of the one given by the thousands in the big top. Gypsy produces a final treat; she has baked us an apple pie and invites the audience down to the stage to have a slice and mingle with the performers. The crowd enthusiastically obliges and soon the scene in the loft resembles a house party as guests crowd to the stage to congratulate the artists on an excellent job. In many ways Les 7 Doigts de la Main is the anti-Cirque du Soleil. Take a Cirque show and strip away the over-the-top costumes, world beat score and large, mechanized set pieces and you're left with the heart of the performance, the artists and the acrobatics. The gritty, raw, bohemian nature of the show makes it the purest form of theatrical circus, where the acrobatics can be presented in an artistic context without being burdened by the structure and process of a large company or the rigors of a single director's vision. The group's wildly fresh independent style, boundless creativity and keen eye for artistry is refreshing and at times makes Cirque du Soleil look as corporate and over-produced as Disney on Ice by comparison. It is this air of independence that makes Les 7 Doigts de la Main so unique; a true diamond in the rough. This show really is a treasure not to be missed. I cannot recommend it highly enough. Les 7 Doigts de la Main plays a limited engagement in San Francisco, CA from December 15-31, 2003 at the Palace of Fine Arts. For reservations sales call City Box Office (415-392-4400). For more information visit < http://www.les7doigtsdelamain.com >. ======================================================================= LE SPECTATEUR: "A Christmas Stocking Stuffer" By: Keith Johnson - Seattle, Washington (USA) ======================================================================= Next Summer marks the 20th anniversary of Cirque du Soleil. While I assume there will be some official marking of the anniversary by Cirque, we're not currently aware of any major plans. This got me to thinking; what would make a proper celebration of Cirque's 20th year? What kind of celebration would be grandiose enough, dramatic enough, "Cirque-ey" enough to properly pay tribute to such an inventive, imaginative organization? As a small "stocking stuffer for the imagination" for our Christmas issue, I invite you to fantasize with me as we envision just such an event. Just imagine this... Saturday, June 19, 2004 - Montreal, Quebec - On this warm partly cloudy evening, spotlights sweep the sky over downtown Montreal. They herald the arrival of the biggest social and cultural event of the summer season. If you were to follow them to their source you'd find the Place des Arts, the cultural center of the city. A complex of theatres there hold host to a number of artistic companies. And the main centerpiece is the Salle Wilfrid Pelletier, at almost 3,000 seats the largest multi-purpose hall in Canada. It is from the halls front plaza that our spotlights broadcast their light. While on any other night a ballet or opera might be playing, tonight it is the Orchestre Symphonique de Montreal which shall take center stage. And as the patrons make their way past the spotlights and into the entrance, we see nothing out of the ordinary. Dressed in their evening finest are the crème de la crème of Montreal society clutching tickets in hand. It's only when we give our tickets over to the ushers that tonights purpose becomes more clear, as all the ushers and theater staff are wearing...Cirque du Soleil jester hats! For tonight is no ordinary night. For this one night, one performance only, the Place des Arts and the Montreal Symphony (celebrating it's own 70th anniversary) will be transformed and infused by the magic of Cirque du Soleil. For this is the culmination of Cirque's 20th anniversary celebration, a date carefully chosen to be as close as possible to Cirque du Soleil's first official performance, on June 16, 1984. And as we glide past the ushers and into the lobby, we take another glance at our tickets, trying hard not to notice the $500.00 CDN price tag each. Yes, we're in the right place on the right night, for "Cirque du Soleil: An Orchestral Celebration" - a salute to the music and magic of Cirque du Soleil presented as a benefit for Oxfam and Cirque du Monde. Even before we enter the auditorium, we're aware of subtle touches meant to alter our mood. Hawkers stand atop boxes hawking souvenier programs. Deep red velvet curtains decorate the entrance area. And the din of conversation takes on a higher pitch of anticipation than usual. Upon entering the auditorium, we are enveloped in Cirque atmosphere. Several Cirque clowns and characters hustle through the aisles, engaging theater goers in pre-show "animation", several scenarios going on simultaneously. Down one aisle Alegria's clowns play with popcorn, while down another Varekai's "ushers" try to sit people. Brian le Petit from Mystere is also here, performing his mischief. It's a chaotic scene but we're able to make our way to our seats safely. Once seated we have a chance to fully appreciate one of the decorations - onto the main curtain is projected the Cirque du Soleil "sun" corporate symbol, smiling serenely over the audience. Other clues also reveal the special-ness of the evening. Camera crews, including cameras on dollys and cranes abound, ready to record each exciting moment from all possible angles for later release on home video (how else to recoup the expense?). And several recognizable faces are scattered throughout the audience, from political life to the arts to old-time Cirque veterans. At approximately the stated start time of 8:00pm the house lights dim, and a deep-voice narrator intones, "Ladies and gentlemen, the Prime Minister of Canada, Mr. Paul Martin." (Since this is my fantasy, we'll just assume everybody speaks English, sorry Francophiles). Mr. Martin takes the stage to a round of applause and commences to speak. "For 20 years, the Cirque du Soleil has enchanted audiences the world over..." (We won't bore you with his full speech.) "And tonight is the culmination of their 20th year anniversary celebration, as we present..." But he isn't allowed to finish, as at that moment Dennis Lacombe, in his "Conductor" character from "Cirque Reinvente" bursts onstage waving his baton. He shoos Mr. Martin offstage and steps back to center stage to ponder the sun-emblazoned curtain. With a dramatic flailing of his baton arm, the curtain parts to reveal the Montreal Symphony, decked out in tie and tails. Mr. Lacombe steps to the podium and begins to do his famous bit with the "unfolding score" of music he has brought on stage with him, finally duct taping it to his music stand - just like in the video. But as he raises his baton hand to start the first number, he himself is also interrupted by a blast of brass and drums from offstage! All Lacombe can do is look on as onstage strut a rag-tag band of musicians - La Fanfafonie, Cirque's first "official" band. They take the stage playing Cirque's early theme march, "Le Cirque du Soleil." The members all look older, true, but still play their instruments with vigor. As they parade across the stage, one of the band members waits behind. He motions to Lacombe to leave the podium, which he does blustering and sputtering. The narrator voice appears again, "Ladies and gentlemen, your conductor for the first half of tonights program, the first Musical Director of Cirque du Soleil, Rene Dupere!" Mr. Dupere turns around and bows to the audience, and receives the first of what will be many of the nights standing ovations. When the applause dies down, Mr. Dupere brings the orchestra to ready, and the first musical selection of the night begins, "Ouverture" from the rare first version of the "Cirque du Soleil" album. As the selection continues, another feature of the show makes it's appearance. In synchronization with the music, a video screen placed above the orchestra plays video taken from Cirque shows. Highlighting the act that the music accompanies, they add a beautiful visual component to the compelling music. After hearty applause for "Ouverture," Mr. Dupere begins his second selection, "Eclipse" from "Nouvelle Experience," again accompanied by projected video. Then he starts "Saltimbanco." As it begins, a set of Chinese Poles are wheeled on stage. After it come a half-dozen or so Chinese Pole performers, who proceed to perform their act flawlessly to the musical accompanyment. The music as played by the Montreal Symphony is overpowering. The orchestral arrangements, all specially created for this evening, bring out the power and nuance of the music and utilize the orchestra to the fullest. It brings tingles to the audience spines, a feeling of electicity. And at appropriate moments, a 100-voice chorus behind the orchestra is called upon to add to the orchestras power. And so the selections continue, some blending into one another, others standing on their own - each accompanied either by projected video or live performances. Since this is fantasy, we each have our own ideas of what Cirque songs we might like to see played by a full symphony orchestra. You can imagine your own, in whatever order you choose. Some ideas of music from Dupere's canon that might best lend themselves to orchestral arrangement are... From "Nouvelle Experience" - Meandres, Bolero, Ballant (with it's chorus). From "Saltimbanco" - Kumbalawe, Pokinoi (another one for the chorus), Il Sogno di Volare, and especially Adagio (with a guest performance by the Adagio act family). From "Alegria" - Querer, Irna, Icare, Cerceaux (with manipulation artist Elena Lev making a brief return to perform her magic). From "Mystere" - Ulysse, Kalimondo (another great chorus) But he isn't restricted to his own compositons. During the concert we're treated to some of the selections of Violaine Corradi... From "Dralion" - Stella Errans, Ballare (either would be accompanied with a cameo by Erik Karol), Ninkou Latora From "Varekai" - Vocea, Euphoria (with a performance by the Icarians games artists), Mutationis (with Olga balancing on those canes), Patzivota, Funambol (both great for the chorus). And then it is intermission. As we make our way to the lobby to stretch our legs we are again greeted with Cirque characters. Several who have appeared in the Tapis Rouge of various Cirque shows are present here, mingling with guests and causing laughter and havoc. After the audience settles in for the second half of the show, the hall lights dim once again. "Ladies and Gentlemen, your conductor for the second half of tonights concert, Mr. Benoit Jutras." Mr. Jutras strides onstage to rapturous applause. His selections begin more quietly, with "Jeux d' Eau" from "O". The fragile melody is slowly carried from the cello to strings to a gentle accompanyment of horns. It raises goose bumps. As before, what else might you wish to hear? They are all here, including perhaps... From "Quidam" - Incantation, Reveil, Misere (with a performance by the Banquine troup). Also from "Quidam" - "Let Me Fall" with an audience-astonishing special appearance by Josh Groban (yeah, he covered the tune, but wouldn't it be cool to have him here, paying back a little of the debt he owes to Cirque?) From "La Nouba" - La Nouba, Liama (featuring a great cameo vocal by Dessy) From "Journey of Man" (and also "O") - Journey of Man (sung in English), while a trapeze artist gently sways over the orchestra. From "O" - Remeus, Desert. The last selection of Mr. Jutras portion of the concert comes all too quickly. A specially-written piece, called "Celebration" makes it's world-premiere here under his conducting hand. As small quotes and themes from music written for Cirque over the last 20 years weaves it's way through the air, the projections illustrate in brief the last 20 years of Cirque's rise to prominence. Bookending Mr. Jutras's portion of the show is another selection from "O", the beautiful "O". As the last strains of the song fade into the hall, the audience erupts into an emotional standing ovation. Every person in the hall is on their feet clapping and cheering. It is into this maelstrom of noise that another figure makes his way on stage, Guy Laliberte, Owner and CEO of Cirque du Soleil. The audience renews its enthusiasm and the cheering begins anew. When it finally dies down, Mr. Laliberte addresses the audience. "We had no idea when we started 20 years ago that we would be where we are today. Our success is due in no small part to the countless numbers of artists, staff, and support people that made the Cirque run. It is to these people that we dedicate tonights show. (applause) I'd also like to take a moment to thank the many creators who have helped shape our shows, the costume, lighting, movement and sound designers and others, who take the directors vision and bring it into physical form. (applause). Each production starts out as a very simple idea - let's put on a show. That simple idea is then given to our Directors of Creation, who oversee the entire creative process. We are forever endebted to Andrew Watson and Gilles Ste Croix and Guy Carron. Would you stand please?" The three of them stand and are applauded by the audience. "Even when we decide to create a show, we don't know what form it will take. For that we turn to our directors, who bring to us the spark, the germ, that we use to create the world of each show. I would like to thank Robert Lapage, Rene Richard Cyr, Dominic Champagne, Guy Caron, and especially Franco Dragone for giving us a bit of their soul that we put up on stage each night" (In succession, each stand for recognition). "As you have heard tonight, music is one of the key elements that separates Cirque shows from others. And for that we have to thank the two men you have seen onstage tonight, Rene and Benoit, as well as Violaine Corradi, and Simon Carpentier. Their sounds expound upon the beauty of the artists and creators work." (hearty applause) "Finally, we would not be able to do what we do without our most important ingredient, our audience. They are the reason for our existance, why we choose to live the vagabond life, why we train, why we hurt, and why we try. It is for you, most of all, that we dedicate our efforts. We would not be here if not for you." As the applause of the audience dies down, we hear the beginnings of the last song of the evening. The melody is true and instantly recognizable. We can't think it would get any better than this, but it does. For out from the side stage appears Francesca Gagnon, complete in White Singer costume, to sing "Alegria." As she sings, all of the evenings guest stars and performers come back on stage to join in the chorus. The audience doesn't get the chance to sit back down, as they stay standing throughout the entire song. Upon the final drop of Mr. Jutras baton, the hall erupts again, continuing the standing ovation for several minutes. Several curtain calls later, the sun-emblazoned curtain falls for the final time on the evening. We have indeed witnessed something special and unique, if only in our minds eye. And as we wander outside into the night, we can only look at each other in wordless amazement. We were there! Now what do I think of the possibilities of this actually happening? Not in 2004 certainly, it would take a good 18 months or more to coordinate such an event (so chide me for not having written this for Christmas *last* year). So perhaps consider this an idea for the 25th Anniversary of Cirque du Soleil. And I say here and now, to anyone involved in any official capacity with Cirque du Soleil - I hereby grant you full use of this idea, freely and without expectation of compensation. Except for a small mention in the program book. Oh, and 4 of the best seats in the house. ======================================================================= PARTING QUOTE ======================================================================= "Thank you. Thank you to the Makers of Rules. To the Breakers of Backs. To the sincere Autocrats. To the false Democrats. To the Builders of Walls. To the Painters of Lines. Thank You. Thank you again. To those who Tattoo Numbers. To those who point fingers. To those who count their greed. To those who split by colour. To those who smile their lies. Thank you. Thank you so very much. Please, step into the Spotlight. Let us take your picture. To immoralize you. To thank you. Let us engrave your faces into our album of infamy. So that we may never forget. So that we may never accept. Viva L'Alegría!" - Alegria ======================================================================= 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, and Wayne Leung. "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2003 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. =======================================================================