On a relatively cool Las Vegas winters eve in 1993, patrons, fans and the curious alike assembled on the Las Vegas Strip to take part in something new and extraordinary: the birth of a new creation from Cirque du Soleil.
While today an event such as this is considered less than phenomenal (there are now multiple Cirque du Soleil shows in Las Vegas for instance), on this one cool December evening however, these spectators were witnessing something untried – the unveiling of a new concept. Rather than travel and be presented under the Grand Chapiteau (as all other previous Cirque du Soleil shows had done), this show would instead bow within a specially constructed theater built for its purpose alone inside one of the newest casino-hotels on the Las Vegas Strip – Steve Wynn’s Treasure Island.
It would turn out to be unlike anything that had ever been seen before from this Montrèal-based circus troupe and it would usher in a brand new era for Cirque du Soleil, Las Vegas, and production arts as a whole.
Mystère.
Last month Mystère celebrated its 9,000th show. This month Mystère will notch 19 years of non-stop performances on the Las Vegas strip. In honor of these unbelievable milestones, we’ve decided to take a look back at Mystère – from its genesis to how the show is presented today in this two-part exposé. In Part 1, we began with the show’s creation, discussed the trials of getting the theater built, and in crafting the show’s esoteric narrative. Here in Part 2 we pick up with an overview of the uniquely bizarre characters that populate the show, and walk through each of its three iterations: Version 1.0 (1993-1996), Version 2.0 (1997-2011) and Version 3.0 (2012+).
The Personages of Mystère
- “We really felt as if we were building a new mythology, seen through the eyes of people today. So, in the costumes and characters, we tried to paint a picture of life in all its textures and colors, all its lyricism. Life is terrifically inter-connected… with rhythm and chaos revealing a mysterious harmony.” – Dominique Lemieux (Spectaculara)
Weaving themselves into the tapestry of the universe is an eclectic array of otherworldly creatures, beings with more than just a part to play. Some are airy, vivacious and joyful while others creepy, chilling and menacing. And perhaps as we familiarize ourselves with these playful yet solemn creatures of the wilderness, we may have a better sense of what universal song they are endeavoring to sing:
- Moha-Samedi (The Man in Pink) – Named after the first day of the new millennium, he is the narrator no one listens to yet he and his puppet contain all the accumulated knowledge of humanity since the beginning of time.
- Les Épouvantables (The Babies) – Two enormous babies on a quest for nourishment embark on an odyssey of discovery. They are the carriers of the world’s hopes and aspirations; they quest for nourishment and understanding. By journeying through Mystère, they relive the history of the universe. They are icons of every human ready to embark on a new adventure: the 21st century.
- The Mountain – A geological oddity of trembling flesh that craves to be human.
- The Firebird (Red Bird) – A jewel sailing the skies on a stream of song.
- The Tribe – They are the primitive, tragic ghosts of humanity.
- Deus Ex Machina – It is the machine which regulates the existence of everything, living or inanimate. Inevitably it tyrannizes and grinds down the independent.
- Stas (La Puce) – A mischievous imp, a thousand years old.
- La Belle – Through her fear of ugliness she seeks to avoid pain at all costs.
- Vache à Lait – Bearer of every illusion, he always stays just beyond reach. He is a metaphoric, androgynous figure, to bear the hopes and dreams of men. The Vache à Lait tantalizes and attracts the babies with the purpose of fulfillment.
- The Pets – Birds who have forgotten how to fly, they are la Belle’s constant companions.
- The Black Virgin – The Virgin is a praying mantis that destroys the illusions and dreams of her victims.
- The Birds of Prey – The Virgin’s coven of lost souls, seeking revenge for their fall from the sky.
- The Asticots (Double-Face) – Each one is a segment of the whole and would die if alone. Their double-face hides the corruption of their state.
- Archangels (Les Laquais) – A tragic chorus; the terrestrial guardians of the happiness and safety of others, even at the cost of their own lives. The finest of the Archangels (Gabriel) is ready to sacrifice everything, including the love of the one he secretly adores.
- Init X & Y (Spermatites & Spermatos) – The Female & Male viruses, a cosmic chorus, ready to contaminate everybody.
- Mephisto – A dark, thwarted, twisted creature from the deepest of nightmares.
- The Giants (La Mouche and La Plumé) – A gentle frivolous race of futile feathers and long legs.
- Le Prince – Nobility who hides a terrible secret.
- Monsieur Brian Le Petit – He is the grain of sand in the gears of the well-oiled machine. (The character was also known as Messer Benny Le Grand when Wayne Hronek originally created him).
- Escargot – “Alice” was born from a spring rain, carrier of the souls of the ancestors and herald of the future.
Mystere 1.0 (1993-1996)
- “A BEAUTIFUL YOUNG MAN SAILS over the green earth, briefly alighting, then aloft again. Next a man and a woman materialize, Adam and Eve without the snake, in a stately, rapturous dance that hints at what passion was like before guilt. Finally, six animal-angels drop from the sky and soar back into it, gliding, pirouetting, and seeming to meditate in midair before they swoop back, swing down and holds hands, in a little aerodynamic miracle of celestial accord.” (TIME, 1994)
The first version of Mystère – opening with “Manipulation” (a specially crafted act in which a trio manipulated various shapes and balls), then leading into Chinese Poles, Hand-to-Hand (performed by Yves Decoste and Mario Pontbriand), Bungees, Korean Plank / Trampoline / Fast-track and ending with Flying Trapeze – is quite a mystery (if you’ll excuse the pun) to most of us. Why? As Gilles Ste-Croix said above, Mystère’s first couple of years were fraught with big changes. Mystère started slowly in January 1994, with attendance at only about 60 percent, while the touring show (which was then Saltimbanco) was extremely successful, consistently selling out at 100 percent. The show required a lot of media coverage to bring Mystère to public attention. Indeed, not content to rest on its laurels, about 30 minutes of fresh material had been added to the show for the 1996 season, including new featured acts and a rousing new opening. Mystère no longer eased out of the gate, it roared out courtesy of a lavish new opening that pulled out all the stops and demonstrated the incredible lighting and pristine sound capabilities of the theater.
In the 1995-1996 season the story of the human condition turned tragic as a storm blew across the desert. When the sand cleared away and the Ancient Bird could once again catch a glimpse, he found a change in the narration – and with it, a change in the production. Gone were the Flying Trapeze, Manipulation and original Hand-to-Hand act.
What caused this sudden change? Quidam.
In 1995, Cirque du Soleil began preparations for a follow-up touring show to their very successful tour of “Alegría” in the United States. “Quidam,” taking its name from the Latin for “a nameless passer-by”, featured many acts and performers previously seen in Mystère. For instance, Yves Décoste provided his talents for Quidam’s Statue Act (with Marie-Laure Mesnage), and was replaced by Christophe Suszek and Bogdan Zajac, whose act – AROS – took top prize at the International Festival of Circus in Verona, Italy. Steven Ragatz and Patrick McGuire came on board with the Manipulation Act and were replaced by Mikhail (Mischa) Matorin – a long-maned, bare-chested man who manipulated a 50-pound aluminum cube while dangling high above the stage (the “Aerial Cube”, or “Flying Cube”, or just known as “the Cube Act”) – from Alegría. The Flying Trapeze was replaced with an exciting new performance: The Aerial High-Bar, which was created by Pavel Brun and Andrei Lev. A version of the High-Bar had been and continues to be featured in Alegría.
Also new to the show were clowns James Keylon and Francine Côté (Alfredo & Adrenaline), who mined laughs via Cote’s mockery of Keylon’s mime skills set to a cool jazz backdrop. The dynamic duo was no stranger to Cirque du Soleil’s stage. Adrenaline (Canadian Côté) performed with La Ratatouille in Cirque du Soleil’s 1985 “Le Grand Tour” and in the 1990 European tour of “Le Cirque Réinventé”. Alfredo (Keylon from the USA) performed with Adrenaline at Cirque’s G7 Halifax special performance and on tour in 1992 with Cirque and Circus Knie. The saucy Cote used a chainsaw to destroy her partner’s imaginary walls, and the act was the show’s first to use limited English verbiage instead of untranslatable gibberish (a.k.a. “Cirquish”). They replaced Wayne Hronek’s “mad professor” (“Benny Le Grand” act; according to the programme Mr. Le Grand had come into possession of certain documents relating to the internal affairs of Le Cirque, which was why Cirque thought it best to allow him to continue with the company, but he also occasionally took time off to “go home and cave ducks and grow plants in Vancouver.” This time, though, he had hung up his clown shoes in retirement.
The following year even more changes would come.
Mystère 2.0 (1997-2011)
- “We think audiences will find the spirit of Cirque du Soleil in every detail of Mystere,” said Gilles Ste-Croix, Mystere’s Director of Creation. “But remember, when you see Mystere, you are seeing a production in progress. Like life itself, Cirque du Soleil’s Mystere is in a constant state of evolution.” (1996 Press Kit)
Christophe Suszek and Bogdan Zajac (“Aros”) would take their leave in 1997 making room for Marco & Paulo Lorador (the “Alexis Bros”) as Hand-to-Hand artists (they joined Mystère after Saltimbanco ended its first European tour in 1997). Alfredo & Adrenaline would also take flight (their act seemed to ground the show somewhat, briefly dulling the otherworldly feel. Their second segment was a slow-building exercise in vintage slapstick that ended with a foamy fight that spilled out into the audience), allowing Cirque du Soleil veteran Brian Dewurst to bring his alter-ego “Brian Le Petit” to the stage. Le Petit turned out to be more like Benny LeGrand than Cirque would have liked (tongue firmly planted in cheek), running amok throughout the show. And even Yuri Maiorov, who performed a Flying Man in Silk act in Alegría (from 1995-1997) took to Mystère’s skies for a brief time while Paul Bowler was being prepped to take over Aerial Cube for Mikhail Matorin. (Maiorov would later fly in the skies of La Nouba from the show’s launch in 1998 through to his retirement in 2012. His act is currently performed by David Poirier, whom Yuri mentored and trained for the role.)
And with the help of my friend Paul Roberts, we’ll take you through the world of Mystère as most of us have experienced it…
Opening
Clowning around is prominent in every Cirque show, and Mystère is no different. Brian Le Petit has come to run amok and amok he runs, but he is not the only one: Moha-Samedi is also, but as his name suggests, no one listens to him. “Hey!” says his companion. “They don’t understand you stupid.” So, he sits up and clears his throat: “Ladies and Gentlemen welcome to Cirque du Soleil!” he says. “During the performance, smoke effects will be used. You, however, cannot smoke.” but then, a cry from the rafters is heard – “Hey! We can see your lips moving!” It’s Le Petit and he crushes the ego of the man and his puppet. Fortunately, that doesn’t stop the show. For moments later, the puppet arises and speaks aloud, “He said your lips, not mine!” And then announces the coming of “MYSTERE!”
As can be heard from many of those who have lived Mystère, the show begins with a shot… or shall I say by the pound of a drum. The right side stage door opens and a gang of fat bug-like creatures run out banging flat drums while bouncing and screaming. The “Ouverture” begins with a howling from a primeval conch shell: a human fog horn surrounded by a mysterious mist. Vocalists, adorned in flowing white robes, sing a melody line in an imaginary language that celebrates the dawning of Mystère.
Just as the senses begin to overload, from up above four drums descend from the theatres ceiling. The suspended drummers, scantily-clothed and painted with fluorescent colors, pound away with body and hand rhythms reminiscent of an ancient tribal ritual. The drums call to those who inhabit these desert mountains… Green lizards, red birds, and many other creatures of the desert come out to play.
The band soon joins in with “Ramsani” that features a short passage of sustained electric guitar notes over a lush orchestration. Then silence; and onto a chime-laced lullaby signifying man’s birth. That birth brings forth a baby, who now amuses himself onstage with a big red ball! He giggles as he bounces it around the stage, but his oversize nature is not a laughing matter. For when the ball comes loose landing on an unsuspecting spectator – be warned – prepare to take on more than the roundness of the red monster. Prepare to become the parent of a very large baby!
Aerial Cube
The first act takes place as a chiseled Herculean of a man twirls a huge aluminum cube in the palm of his hand. He rises out of the machine with cube in hand; arms over his head. The lights flash and he begins to dance with the cube. And what he can do with this cube is amazing – Taking this enormous metal cube in his hands, the man juggles it, flips it and otherwise amazes the audience with the feats he’s able to accomplish with only his two hands keeping the cube and the audience separated. And when it glows in the after light of the theater, you can’t fight back the chills any longer. After his bouts of strength with the cube, the artist takes to soaring through the theater to amaze us once again.
Chinese Poles
Chinese arts meet Cirque du Soleil. “Égypte,” sets up this act, featuring one of the most mysterious entrances of characters ever seen. With a snake charmer-like theme, the artists who are about to perform the Chinese Poles act come slithering from all parts of the theatre, which includes climbing down the walls. They appear to be looking at the audience through ghostly masks that unexpectedly turn out to be on the backs of their heads. Two accompanying songs switch back and forth between René Dupéré’s “Rondo” and Benoît Jutras’ “Double Face,” following the performer’s steady pace as one by one they begin their climb up the four Chinese poles in the center of the stage. Now the 20 men and women of this troupe jump, swing and fall their way into your hearts as they perform death-defying acts of gravity defiance and show why strength and balance is a must!
Hand-to-Hand
Two muscular men exhibit incredible feats of strength with the chilling song “Ulyssee”. Mimicking their moves, the slow-paced theme features meditative harmony vocals, laced with violin and woodwinds. These brothers match their fusion of skin and hand right before your eyes while their bodies rotate helplessly on a dome below them, adding a new wave of skill and concentration to their perfect union. And not only can one lift the other, but what Paulo can do while laying on his stomach is just raw power: with Marco hand-balanced on his feet, Paulo strains to lift him back up again! A troupe of alien-looking life forms guides the strong men through a sparkling mist during the subtle and spacey sounds of “Dôme,” the act’s pinnacle.
Bungee
The theatre fills with insect chirps and bird calls to announce the coming of nature’s aerial beings. The acoustic guitarist plucks the next song’s chord pattern (“Kalimando”) while towering rain sticks bestow the sounds of a rain forest. Above, golden bird-like creatures soar through the air attached to bungee cords. Their costumes – designed by the talented Dominique Lemieux – feature metallic streamers that reflect a spectrum of lights. A mystifying aerial ballet ensues. Continuing with the bungee act, the drummer (and the performers) pick up the pace triggering the energetic song, “Kunya Sobé.”
FastTrack / Korean Plank / Trampoline
A pseudo three-ring circus event takes place next. It starts out with the Korean Plank – also known as the teeterboard – then evolves into a near-miss trampoline (which is ‘U’ shaped) routine; followed by an acrobatic fast track spectacle. The combined songs of “En Ville/Frisco” accompany these highly energetic and dangerous performances, which take the spotlight interchangeably throughout the number – one moment a performer is being launched into the air via the teeterboard while another is bouncing back and forth on the trampoline – you’re not sure where to look next!
High Bar
The energy level remains high as the band performs a short and rocking song titled, “Gambade” that ends with sudden silence. The time has arrived for the dark side of Mystère, as ominous clanging and industrial noises beckon the Mephisto Stilt Demon to rise from the depths. The act features gymnasts flying and catching each other with extreme precision; the music matches the intricate moves with an assortment of crescendos, diminuendos, and staccatos. Then it ends with a thunderous crash, and one of Mystère’s trademarks is about to begin.
Taïko
Whenever I ask someone what they remember most about Mystère, the answer is usually-“The drums.” Mystères’ one-time percussionist, Pierre Dubé, traveled to Japan to learn the fine art of Taïko drumming technique from Kodo, a Taïko performing group from Sado Island. The result is a thunderous polyrhythmic delight that features a solo on a drum the size of a VW mini-bus.
The climax of the solo is a hushed drum roll that requires complete concentration while his wrists pulsate with incredible nimble action. He then pounds like thunder and the troupe rejoins the ritual. The Taïko drum was first used in Saltimbanco only to be elevated to fine art here. Consequently, the vibrations from the drums resonate throughout the Treasure Island Casino-Hotel and sometimes… set off the alarms in the shops!
Epilogue
With Nouvelle Experience we are treated to a rebirth of our sales-man clown. In «O», a balloon touches down and the wind blows its way across the stage, forever closing off the world of the aquatic to us. For La Nouba, a marriage ceremony is performed… but for Mystère the four-beat, triumphant finish summons the entrance of a giant human-faced Escargot, and the band joins the Taïko troupe with the ending song fittingly titled, “Finale.” With an upbeat, hand-clapping, celebratory number, the entire cast circles the stage. You can see pride in their faces as they reveal their true identities. I, however, find it difficult to celebrate, as “Finale” in any language signals: The End.
Mystère 3.0 (2012+)
- “I’m astonished at the change,” says Gilles Ste-Croix. “I can have an idea, and when it’s evaluated, I can’t believe how expensive it is. Every idea we had for Mystère seemed to cost more than $100,000. And I’d say, ‘We built a show for that much in ’84!’ But we spend the money because we want to keep the show of the highest quality. It is the point of the arrow of what we do.”
Although the show had remained virtually static for fifteen years, there had been various rumors about changing Mystère up (prior to 2012):
Back in mid-2002, a stir was created amongst fans when the future of Mystère in Las Vegas was put into question, largely caused by a quote attributed to Guy Laliberté – Cirque du Soleil’s founder – appearing in the French-Canadian press (La Presse). He was credited with suggesting that Mystère would fold at the end of 2003 and be transplanted to one of several world cities under consideration. Both Tokyo and London had been mentioned (as had Hong Kong), but the decision had not been made at the time of Le Presse’s article. The basis for Mystère ending lay within its original contract with the Treasure Island Hotel/Casino. In 1993, Cirque du Soleil and Mirage Resorts (now MGM International) signed a 10-year agreement to stage Mystère and by 2002 the contract was coming due.
Without an extension the show would indeed fold at the end of the year; however, there was never anything to worry about even after MGM International sold Treasure Island to real estate investor Phil Ruffin in 2009. The new owner loved the show and Mystère received a six-year extension (which has since been extended further), keeping the show in Las Vegas for the foreseeable future.
At the time other possible reasons for closing Mystère in Las Vegas and moving it to Tokyo were the announced opening of Zumanity at New York- New York Hotel/Casino in 2003, and KÀ at the MGM Grand in 2004. The rumor proved interesting though, as eventually Cirque du Soleil did set up a resident show in Tokyo – ZED. Furthermore, at the time of the renewal it was suggested that artistic changes were one of the conditions of extension. Rumors abounded that the energetic High Bar act, first seen in Alegría, would be replaced with a Flying Trapeze act and that the Aerial Cube, performed by Paul Bowler, would be replaced by the Flying Man, performed by Alexandyr Dobrynin from Alegría.
Although nothing more than idle gossip at the time, changes did eventually come to Mystère following the closure of Cirque du Soleil’s ZED in Tokyo. At the beginning of 2012 Mystère welcomed the following changes:
- High Bar was replaced with Flying Trapeze – Human dreams take flight, borne by the hopes of a new millennium. The pendulum movement of the trapeze flyers emphasize that time continues but never stops passing. The benefits outweigh the risks, for the adventure is the reward. The performers in the Trapeze act have been performing together as a group, and an extended family, for the past several years. Comprised of members of circus families from across Latin America, with one obligatory American, Mystère boasts one of the most fast-paced Trapeze acts ever devised. Completing more than a dozen tricks in little more than six minutes, the Catchers have a particularly difficult job as they spend the majority of the performance upside down with little break in between.
- The choreography of the Chinese Poles act was re-done.
- And the show added (not replaced) a flying silks act – Descending gracefully from the heavens, her effortless beauty is part mortal, part Goddess; connecting the earth and sky. This solo Tissu act was created by aerial artist Ginger Ana Griep-Ruiz. In addition to her breathtaking flips, spins and displays of flexibility high above the stage, Ginger also devised a system to give the appearance that the fabric never ends, allowing her to do continuous tricks without having to stop to reposition herself on the material.
Today Mystère (3.0) is better than ever!
* * *
“Nobody can say what it’s about,” says Gilles Ste-Croix. “It’s about the passage of a human being through his life, through the stages of consciousness, with a rebirth at the end. We try to keep it loose, so you can’t interpret it too closely or literally – it’s a mystery, like the title. We are not philosophers, we’re entertainers. And we don’t think the audience is dumb – they can interpret for themselves. […] When the show is over people don’t move. Then they say, ‘what was that?’ That’s the best comment I can think of for Cirque du Soleil.”
It’s also the best compliment we can think of.
You may call it art. You may call it theatre.
We call it Mystère.
Congratulations on 9,000 performances and 19 fantastic years!
