======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ------------------------------------------------------------ E X P A N D E D I S S U E ------------------------------------------------------------ ======================================================================= VOLUME 12, NUMBER 5 May 2012 ISSUE #100e ======================================================================= Reaching one hundred of anything is a milestone to be celebrated. For us here at Fascination, reaching our 100th issue is nothing short of a miracle. Who would have thought that, back in the summer of 2001, the publication we were scraping to put together would still be around more than 10 years later? Although I believed in the vision, the mission and the power of Fascination, I could never have imagined we would ever reach this particular achievement. Over the course of the last few months I have been contemplating the cessation of Fascination's publication as my interest in Cirque du Soleil has evolved greatly from those early days. Because, make no mistake, publishing is a labor. Meeting deadlines, scrambling for content and finding interest in not-so-interesting developments takes its toll. Even with that being true, crafting Fascination has been a labor of love, so contemplating its final moments has been sad. Why then, after so many years of servicing the Cirque du Soleil fan community, would I contemplate giving up something that I love? Things evolve. Life moves forward. Desires change. Disappointments come more frequently. Over the last couple of years I have not hidden the fact that I've been more disappointed in Cirque du Soleil than delighted, and have written much about that here in the pages of Fascination on more than one occasion. Perhaps most of that can be attributed to the fact that I have been witness to Cirque du Soleil at its very best and cannot - will not - settle for anything less than perfection. And when those expectations aren't lived up to (Banana Shpeel, Viva Elvis, Zarkana and Michael Jackson THE IMMORTAL I'm looking at you), you become fatigued, apathetic, and cynical. In other words I became jaded. But just when I thought there was little left to say, that Fascination had run its course and I could feel comfortable ending a legacy that has endured a number of years (and two other previous attempts at closing the doors), my world got turned upside down. Suddenly I found myself... enthused about Cirque du Soleil again. Recent changes in Mystère, my all-time favorite Cirque du Soleil show, have given me hope that excitement and wonder can still be found in even those things that are most familiar. Though Wintuk, Banana Shpeel, Zed, Zaia and Viva Elvis have had (or will have) their final curtain calls, their closure has helped (or will help) bring attention to Cirque's remaining shows and on its future, something fans have been rallying around for quite some time. And yes, even the announcement that Zarkana will now replace Viva Elvis at Aria is exciting news to me - there's untapped potential there, I can feel it. So perhaps there is a little magic left to explore after all! Thus I have been reminded of a conceptual quote from Alegría these past few weeks as I've mulled over this decision. It says, in just thirteen words, exactly what I've been feeling: « Once everything has been said and done, who says you can't start over? » So why not? Who says we can't start over? It's perfect! Although I cannot guarantee that Fascination will be around forever, let alone reach issue #200, or even remain a monthly publication, I can at least say that we're not done just yet. In the meantime I look forward to the next goal: Issue #125. And should we continue publishing monthly, that goal will coincide nicely with another auspicious milestone: Cirque du Soleil's 30th Anniversary. So keep a weather eye out for June 2014. In the meantime, enjoy our coverage of AMALUNA's premiere, the third installment of "Cirque's Dreams of the Past: A What If?", all the posts from Cirque's FB sites (thanks Keith!) and more. We'll see you next month! Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * Arena Shows -- In Stadium-like venues * BigTop Shows -- Under the Grand Chapiteau * Resident Shows -- Performed en Le Théâtre * Venue Shows -- Venue & Seasonal Productions o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub * Networking -- Cirque on Facebook, YouTube & Flickr o) Compartments -- A Peek Behind the Curtain * Didyaknow? -- Facts About Cirque * Historia -- Cirque du Soleil's History o) Fascination! Features * "O Brave New World... AMALUNA!" By: Ricky Russo - Atlanta, Georgia (USA) * "Cirque's Dreams of the Past: A What If? Part 3: Complexes Cirque" By: Ricky Russo - Atlanta, Georgia (USA) * "AMALUNA Premiere Reviews Coming in!" [EXPANDED] A Special Collection of Reviews in the Press o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Venetian Macao Re-Launches Theater {Apr.04.2012} ---------------------------------------------- After being unused for more than a month since the last Cirque du Soleil Show, Venetian's theatre will be re-launched on Sunday, April 8. Gus Liem, vice president of entertainment at Venetian explained that not many changes have been made concerning the equipment of the theatre since the end of Cirque du Soleils' Zaia show. But in order to make sure the coming performances will be successful, they "rigidly look on the market." Mr. Liem is very optimistic about this matter as he explains Sands China's other entertainment location "CotaiArena" is "full every week." He sees no difficulty in attracting Chinese gambling tourists to the events as he says "80% of the arena public is from outside". He thinks it is rather the other way round: "People are attracted by our entertainment offers and then also enjoy the possibility to gamble." As a further promising factor he mentions, "the middle class in China are exploding and we have to take advantage of that," Gus Liem says, "Together with the new entertainment options at Sands Cotai Central debuting this April, the Venetian Theatre will play a key role in bringing the world's best entertainment to Macau." The vice president of entertainment at Venetian further stresses that the new theatre "will be one of the most luxurious entertainment venues in China and we will host the best of Chinese and international entertainment." The concert of violinist Jue Yao, together with singer Elisa Chan will be the inaugural show of the theatre on April 8. Of the available 1800 tickets for the concert entitled "All about love - A tribute to the Silver Screen, half will be reserved for the invited VIP guests; the other half are publicly available. Mr. Gus Liem explains, "For the time being there will be no long permanent performances at the theatre, but a range of different selected international and Asian shows." Part of the entertainment at Venetian's theater will be "ushers in black- tie, champagne service, gourmet concession items and other unique, premium amenities". Sands China says it has a long-term strategy of establishing Macau as Asia's entertainment hub by bringing in world-class entertainment, art and cultural events. According to Sands China, the company issued over 600,000 event tickets for over 90 events in 2010 and 2011. {SOURCE: Macau Times} More Changes Coming to La Nouba? {Apr.04.2012} ---------------------------------------------- WESH 2 News had the chance to talk one-on-one with Tom Staggs, the chairman of Walt Disney Parks and Resorts, on board the company's newest cruise ship, the Disney Fantasy. The Fantasy set sail on its maiden seven-night voyage from Port Canaveral on Saturday. Staggs talked to WESH 2 News about the brand new ship and all things Disney Parks, including initial reactions to New Fantasyland, possible changes at La Nouba, and if Cars Land might have a future outside of Anaheim. # # # Q: Disney imagineers recently got together with Cirque du Soleil to talk creative new ideas. What came out of that project that guests might find interesting? "We've got several things that are coming out of that collaboration. They will have to do with what you see in live entertainment at Disney, sometimes what you see with Cirque. We really just came together and decided that they do something in a particularly great way, Disney got some real strengths, and we thought we'd see if we could come up with some new things. Some of it will be magic that we will probably never explain, in terms of how the entertainment works, but it just allows us to do a little bit more to immerse our guests in that entertainment. We're quite thrilled with the collaboration. You may see an act or two coming up going into La Nouba at Walt Disney World that will have capitalized on what we did there." {SOURCE: WESH, Channel 2 Orlando } Amaluna Press Conference Today! [EXPANDED] {Apr.04.2012} ---------------------------------------------- The human peacocks are dazzling, the mythical references delicious, the music edgy. But the most amazing thing about Cirque du Soleil's new tent show, Amaluna, is that 75 per cent of the performers are women - of all ages, shapes and sizes. This differs not only from the Cirque du Soleil norm, but that of circus in general. Only so much can be discerned from brief excerpts performed at a media call. But as Cirque sneak peeks go, the Amaluna one that took place Wednesday packed an extra dramatic punch. The concept of this new $25 million show - which opens April 19 in the Old Port - grew out of a question posed by Cirque owner Guy Laliberté: "What would our world be today if women had been in charge?" It was then up to the show’s director of creation, Fernand Rainville, to find a female director. “The idea was to have a show about the power of women, putting the women’s performances up front,” explained Rainville, who was available for interview on Wednesday, along with other members of the Amaluna team. Rainville first became aware of the work of Tony Award-winning director Diane Paulus when he saw her revival of the musical Hair in New York, he said. (Paulus now has another hit revival on Broadway, Porgy and Bess.) Best known as a theatre director himself, Rainville was very much in tune with Paulus’s distinctly theatrical vision. “There was such an openness to working from a theatrical point of view on this show,” Paulus said. “And everyone was very committed to the idea of finding a core story that inspires the production. Of course, this is an acrobatic circus show. We don’t have text and language. So we’re dealing in very elemental storytelling techniques of gesture and physicality and image. But I think the idea was, ‘Let’s do something different.’ ” So Paulus took Laliberté’s words seriously, peopling the stage with a multitude of energetic women and helping them develop completely new acts. (Again, not the norm. Cirque usually books fully developed acts and works them into the show.) How did the Cirque feel about her 75 per cent female casting? “They were cool with that,” Paulus replied. In fact, she could have gone higher. “But I said, ‘We have to have some men in the show.’ You can’t just have all women. Because you need that energy. And if we’re going to tell ... of a journey in a story of love, we can have the yin to the yang – we can have a young couple that’s a man and woman. But the goddesses who rule the island are women. And Prospera, the central figure, the queen, the mother, is a woman.” And she sings. Prospera is a female version of the exiled magician Prospero in Shakespeare’s The Tempest. In Amaluna she’ll be surrounded by the preening peacocks and scarlet-clad female archers, along with her daughter, Miranda. “We’ve paid some homage to certain characters,” Paulus said. “Like Prospera and Miranda. And we have our unicyclists who are called the Ariels. So we have our little secret, hidden homages to Shakespearean characters.” So the creepy guy with the dragon tail was “sort of” Caliban? “That’s right,” she replied. {SOURCE: The Montreal Gazette} MJ Immortal Still #1 {Apr.13.2012} ---------------------------------------------- Every so often we check in with Pollstar who ranks artists by average box office gross per city and includes the average ticket price for shows in North America. The list below is based on data provided to Pollstar by concert promoters and venue managers and still shows Cirque du Soleil's Michael Jackson THE IMMORTAL World Tour sitting atop the list as the #1 earner for the week: 1. (1) "Michael Jackson: The Immortal"; $2,076,862; $112.63. 2. (3) Jason Aldean; $614,023; $44.35. 3. (2) The Black Keys; $598,271; $47.50. 4. (4) Brad Paisley; $586,414; $52.70. 5. (5) Lady Antebellum; $526,780; $49.01. 6. (6) Blake Shelton; $363,113; $48.03. 7. (8) Miranda Lambert; $332,934; $45.05. 8. (7) Jeff Dunham; $314,579; $45.93. 9. (9) Eric Church; $246,876; $35.08. 10. (11) Kelly Clarkson; $190,025; $54.88. NOTE: The previous week's ranking is in parentheses. {SOURCE: Pollstar} "We had a difficult year" - Daniel Lamarre [EXPANDED] {Apr.16.2012} ----------------------------------------------------- To its CEO Daniel Lamarre, the Cirque du Soleil is still just a modest Quebec enterprise that somehow manages to survive in spite of all odds – and tsunamis. “The truth is that we had a difficult year last year because of the tsunami in Japan,” he said in a recent interview. “That was a huge blow for us. Because we had two shows in Japan, Zed (at Tokyo Disney), that we had to shut down because of the economy, and Kooza, that had to rest for a month. That was probably the toughest and the most unexpected blow that we had to face. Right now, we are looking to this new show (Amaluna) and to our organization to consolidate the position we are in.” Thus far, ticket sales for Amaluna, which begins previews Thursday at the Old Port, are exceeding the forecasted norm. “It will be as good as Totem (directed by Robert Lepage) was, and maybe better. So that’s exciting,” he said. “Because Totem had an unprecedented record here.” Good news has arrived on two other fronts, he added. The first is the success of Michael Jackson The Immortal World Tour show. Since opening in Montreal last October, it has toured the continent. This month, it played to sold-out houses at Madison Square Gardens in New York and garnered a positive review in the New York Times. “It’s the No. 1 show on Pollstar for the last four months,” Lamarre said. “So that is giving us some fresh air.” Another positive development is on the “geographical deployment” front. “Just this year, in 2012, we’ll probably open 40 new markets with our arena shows,” he said. “And that’s the way to bring stability to the organization. If, for some reason, there is a natural disaster somewhere, then we will have other markets. So it’s always about keeping a balance between the permanent shows, the arena shows and the big top shows.” Then there’s Zarkana, an oversized but movable show that opened at Radio City Music Hall in New York last summer, toured Spain and Russia, and will now be heading for Las Vegas after completing its scheduled return engagement at Radio City this summer. Why Las Vegas? Cirque du Soleil’s financial partner there, MGM Resorts International, saw the huge success that Zarkana had in New York, Lamarre said. So, not long after delivering the surprise news that they wanted to shut down Viva Elvis at the Aria Resort in Las Vegas, MGM told the Cirque that they wanted Zarkana for that soon-to-be-empty venue. Contractually, Zarkana had no firm commitment in New York after this summer. So the deal was struck. Although they’d had a “wonderful” experience at Radio City, Lamarre said, the prospect of installing Zarkana in a permanent, modern venue like the Aria was just too good to refuse. What did the Radio City Music Hall (Madison Square Garden Inc.) people think of that? “Obviously, they were disappointed,” Lamarre said. He has since met with met them to discuss other options. “We just have to see if there are other opportunities there.” Like all Cirque tent shows, Amaluna, directed by prominent New York theatre director Diane Paulus, should have a shelf life of about 15 years during which time it will visit about 250 cities around the world. “We always start by doing Montreal, Quebec City and Toronto. And after that, because of the weather, we’ll go to the West Coast. We normally do San Francisco, then the Los Angeles area, and then come back to Canada at Vancouver and down the West Coast. We always do our touring plan two years in advance.” What about Iris, the almost-permanent show that opened last fall in Los Angeles? (An unprecedented three Cirque shows opened last year.) “It’s a challenge,” Lamarre said. “Because it’s the first time there’s a permanent show in L.A. The buzz is extremely good. But we have to do more marketing in that city for sure.” One problem with Iris is that the show has to be taken down every year at Academy Award time as it shares the same building (formerly known as the Kodak Theatre). “This year it was an advantage because we had a huge visibility at the Academy Awards,” he said. “That was one of our biggest coups ever.” Now that Iris is starting up again, he’s expecting to see a positive impact on ticket sales. The Oscar moment and the Madonna Super Bowl 2012 halftime show both did wonders for the Cirque brand. “Not too bad for a small Quebec company to do those two events in one year,” Lamarre observed, with a smile. When asked if there are plans afoot for a permanent Cirque venue in Montreal, Lamarre replied in the negative, but confirmed that there is a real-estate deal hanging in the air. “We’re looking into buying, with a local investor, the Maison Alcan.” But he called it a long shot. “Because, by the time we do this deal, which is not done, if ever we do it, then it will take three years before Alcan moves from that building and we can take it over. So that’s three years that we’ll have to analyze what we want to do.” They do like the idea of owning a landmark like Maison Alcan, he said. But how the building would be used has yet to be determined. “All of the options are open right now,” he said. “I would be lying if I said that we have a specific plan. Because it’s something that happened to us like kind of a last-minute opportunity. First and foremost we have to see if we will acquire this place. Because it’s not finalized.” All in all, it has been a very intense year for the Cirque du Soleil. “We’re still very nervous and we still feel the pressure. And we’re very humble about what we do. Because you never know. It doesn’t matter what I think of the show (Amaluna) if the people here in Montreal don’t like it. It’s not because we’re the Cirque du Soleil that we’re invincible. We have to fight. And we have to fight hard.” At the sunshine circus, complacency is not allowed. {SOURCE: Montreal Gazette} MJ Hologram Could Tour? {Apr.18.2012} ---------------------------------------------- If you were a little queasy at the thought of dead rapper Tupac Shakur's hologram going on tour with Snoop and Dre, hold on to your hat: According to E! Online, Michael Jackson could be next. Jackson's brother, Jackie, told E! that having M.J.'s hologram join him and fellow Jacksons Tito, Jermaine and Marlon on tour next year is "absolutely" an option: "Wouldn't that be wonderful? As a matter of fact, we had that idea two years ago for Michael's Cirque du Soleil show," he said. # # # We recall that in the early stages of Michael Jackson THE IMMORTAL's development that a possibility that Michael could make an appearance at the show (beyond regular video projections) was via a hologram such as the one used to bring Tupac "back from the dead". Could something like this be incorporated into the resident show slated to take up residence at the Mandalay Bay Las Vegas in mid-2013? And would you want to see it? {SOURCE: National Post Canada} Cirque Presents: AMALUNA! {Apr.25.2012} ---------------------------------------------- Cirque du Soleil presents Amaluna A new touring show directed by Diane Paulus IN MONTREAL'S OLD PORT UNTIL JULY 15 Under the Blue and Yellow Big Top Amaluna, the all-new creation by Cirque du Soleil presented by Desjardins Group, has now begun its run in the Old Port of Montreal where it will perform until July 15. Directed by Diane Paulus, a renowned director from New York, Amaluna will then be presented at the Port de Québec starting July 31. THE SHOW Amaluna invites the audience to a mysterious island governed by Goddesses and guided by the cycles of the moon. Prospera directs her daughter's coming-of-age ceremony in a rite that honours femininity, renewal, rebirth and balance which marks the passing of these insights and values from one generation to the next. In the wake of a storm caused by Prospera, a group of young men lands on the island, triggering an epic, emotional story of love between Prospera's daughter and a brave young suitor. But theirs is a love that will be put to the test. The couple must face numerous demanding trials and overcome daunting setbacks before they can achieve mutual trust, faith and harmony. THE NAME Amaluna is a fusion of the words ama, which refers to "mother" in many languages, and luna, which means "moon," a symbol of femininity that evokes both the mother-daughter relationship and the idea of goddess and protector of the planet. Amaluna is also the name of the mysterious island where the story unfolds. A TRIBUNE TO THE WORK AND VOICE OF WOMEN For the first time at Cirque du Soleil, the cast of a show is 70% female and the band, 100%. "Amaluna is a tribute to the work and voice of women," explains Director of Creation Fernand Rainville. "The show is a reflection on balance from a woman's perspective," he adds. Show Director Diane Paulus says: "Amaluna is less about feminism and more about reconnecting to our world in a different way." Amaluna has a cast of 50 artists hailing from 15 different countries. MEET THE DIRECTOR Diane Paulus is the Artistic Director of the A.R.T. (American Repertory Theatre). Her recent work with A.R.T. includes The Gershwins' Porgy and Bess, a new production adapted by Pulitzer prize-winning playwright Suzan-Lori Parks, and OBIE-winning composer Diedre Murray, playing on Broadway; Prometheus Bound; Death and The Powers: The Robots' Opera, a new opera by Tod Machover in collaboration with MIT Media Lab, which world premiered at l'Opéra de Monte-Carlo; The Donkey Show, a disco adaptation of A Midsummer Night's Dream, which ran for six years Off-Broadway and toured internationally; Best of Both Worlds, and Johnny Baseball. Diane's other recent theatre credits include the Public Theatre's HAIR (Tony Award for Best Revival) on Broadway and London's West End and, as an opera director, The Magic Flute (Canadian Opera Company), Il mondo della luna at the Hayden Planetarium in New York, Don Giovanni, Le nozze di Figaro, Turn Of The Screw, Cosi fan tutte, and the Monteverdi trilogy Il ritorno d'Ulisse in patria, L'incoronazione di Poppea, and Orfeo at the Chicago Opera Theatre. Diane is a Professor of the Practice of Theatre in Harvard University's English Department and was recently named one of the 50 Most Powerful Women in Boston by Boston Magazine. She is a recipient of an Honorary Doctorate from Boston Conservatory. This is Diane Paulus' first collaboration with Cirque du Soleil. THE CREATIVE TEAM Amaluna's creative team comprises 16 creators under the artistic guidance of Guy Laliberté and Gilles Ste-Croix: Guy Laliberté - Artistic Guide Gilles Ste-Croix - Artistic Guide Fernand Rainville - Director of Creation Diane Paulus - Director Scott Pask - Set and Props Designer Mérédith Caron - Costume Designer Bob & Bill - Composers Jacques Boucher - Sound Designer Matthieu Larivée - Lighting Designer Karole Armitage - Choreographer Debra Brown - Acrobatic Choreographer Caitlan Maggs - Acrobatic Choreographer Rob Bollinger - Acrobatic Performance Designer Fred Gérard - Rigging and Acrobatic Equipment Designer Patricia Ruel - Props Designer Eleni Uranis - Makeup Designer Randy Weiner - Dramaturge Press materials PHOTOS: < http://www.cirquedusoleil.com/en/press/photos- videos/photos/amaluna/page-1.aspx > B-ROLL: < http://media.cirquedusoleil.com/public- materials/amaluna/amaluna-broll-h264.zip > PROMO-ROLL: < http://media.cirquedusoleil.com/public- materials/amaluna/amanula-90-sec.zip > Ticket Information Amaluna will be presented under the blue and yellow Big Top at the Old Port of Montreal until July 15, and at the Port de Québec starting July 25. Tickets for all these performances can be purchased online at www.cirquedusoleil.com. The tour will then stop in Toronto and Vancouver before heading for the United States. Sponsors and Partners Amaluna is presented by Desjardins Group, the presenting sponsor of the 2012 Canadian tour of the show. Infiniti, CGI, Xerox and Rogers are the official sponsors. ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem, & Varekai} o) ARENA - In Stadium-like venues {Saltimbanco, Alegría, Quidam, Dralion & Michael Jackson THE IMMORTAL World Tour} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe & VIVA Elvis, Zarkana & Iris} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna: Montreal, QC -- Apr 19, 2012 to Jul 15, 2012 Quebec, QC -- Jul 26, 2012 to Aug 19, 2012 Toronto, ON -- Sep 6, 2012 to Sep 30, 2012 Vancouver, BC -- Nov 22, 2012 to Dec 9, 2012 Corteo: Amsterdam, NL -- Mar 22, 2012 to Jun 3, 2012 Antwerp, BE -- Jun 13, 2012 to Jul 1, 2012 Gijón, ES -- Jul 25, 2012 to Aug 26, 2012 Zurich, CH -- Sep 1, 2012 to Sep 16, 2012 Dusseldorf, DE -- Oct 18, 2012 to Nov 04, 2012 Berlin, DE -- Nov 29, 2012 to Dec 16, 2012 Hamburg, DE -- Jan 9, 2013 to Jan 27, 2013 Koozå: Phoenix, AZ -- Jun 8, 2012 to Jul 15, 2012 Houston, TX -- Jul 26, 2012 to Aug 19, 2012 Dallas, TX -- Sep 19, 2012 to Oct 7, 2012 Tampa, FL -- Nov 8, 2012 to Dec 16, 2012 London, UK -- Jan 2013 to TBA Ovo: Portland, OR -- Apr 5, 2012 to May 20, 2012 Brisbane, AU -- Jul 14, 2012 to Aug 19, 2012 Sydney, AU -- Sep 13, 2012 to Oct 7, 2012 Adelaide, AU -- Dec 06, 2012 to Jan 6, 2013 Melbourne, AU -- Jan 17, 2013 to Feb 3, 2013 Perth, AU -- Apr 14, 2012 to Apr 28, 2013 Totem: San Diego, CA -- Apr 25, 2012 to May 27, 2012 Boston, MA -- Jun 10, 2012 to Jul 1, 2012 Washington, DC -- Aug 15, 2012 to Sep 16, 2012 Atlanta, GA -- Oct 25, 2012 to Dec 2, 2012 New York, NY -- TBA Varekai: Salvador, BR -- May 3, 2012 to May 13, 2012 Curitiba, BR -- Jun 15, 2012 to Jun 24, 2012 Porto Alegre, BR -- Jul 26, 2012 to Aug 5, 2012 Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012 Santiago, CL -- Sep 28, 2012 to Oct 28, 2012 Lima, PE -- Nov 16, 2012 to Dec 23, 2012 Bogota, CO -- Jan 10, 2013 to Feb 24, 2013 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Saltimbanco: Beirut, LB -- May 10, 2012 to May 20, 2012 Catania, IT -- Jun 5, 2012 to Jun 17, 2012 Hong Kong, CN -- Jul 12, 2012 to Jul 22, 2012 Singapore, SG -- Jul 26, 2012 to Aug 5, 2012 Manila, PH -- Aug 9, 2012 to Aug 19, 2012 Alegría: Budapest, HU -- May 17, 2012 to May 20, 2012 Prague, CZ -- May 23, 2012 to May 27, 2012 Hambgurg, DE -- May 30, 2012 to Jun 3, 2012 Hanover, DE -- Jun 6, 2012 to Jun 10, 2012 Nuremberg, DE -- Jun 13, 2012 to Jun 17, 2012 Vienna, AT -- Jun 20, 2012 to Jun 24, 2012 Belgrade, RS -- Jun 29, 2012 to Jul 1, 2012 Nice, FR -- Jul 18, 2012 to Jul 27, 2012 Tel Aviv, IL -- Aug 8, 2012 to Aug 18, 2012 Athens, GR -- Sep 3, 2012 to Sep 9, 2013 Lille, FR -- Nov 21, 2012 to Nov 25, 2012 Paris, FR -- Nov 28, 2012 to Dec 2, 2012 Barcelona, ES -- Dec 26, 2012 to Jan 6, 2013 Santa Cruz de Tenerife, ES - Jan 13, 2013 to Jan 20, 2013 Quidam: Green Bay, WI -- May 1, 2012 to May 2, 2012 Duluth, MN -- May 4, 2012 to May 6, 2012 Sault Ste Marie, ON -- May 10, 2012 to May 13, 2012 Saginaw, MI -- May 16, 2012 to May 20, 2012 East Lansing, MI -- May 23, 2012 to May 27, 2012 Grand Rapids, MI -- May 30, 2012 to Jun 3, 2012 Toledo, OH -- Jun 6, 2012 to Jun 10, 2012 Rockford, IL -- Jun 13, 2012 to Jun 17, 2012 St. Louis, MO -- Jun 20, 2012 to Jun 24, 2012 Indianapolis, IN -- Jun 27, 2012 to Jul 01, 2012 Winnipeg, MB -- Jul 19, 2012 to Jul 22, 2012 Regina, SK -- Jul 25, 2012 to Jul 29, 2012 Lethbridge, AB -- Aug 1, 2012 to Aug 5, 2012 Edmonton, AB -- Aug 8, 2012 to Aug 12, 2012 Kamloops, BC -- Aug 15, 2012 to Aug 19, 2012 Kelowna, BC -- Aug 22, 2012 to Aug 26, 2012 Abbotsford, BC -- Aug 29, 2012 to Sep 2, 2012 Victoria, BC -- Sep 5, 2012 to Sep 9, 2012 Honolulu, HI -- Oct 4, 2012 to Oct 14, 2012 Dralion: Halifax, NS -- May 2, 2012 to May 6, 2012 Saint John, NB -- May 9, 2012 to May 13, 2012 London, ON -- May 16, 2012 to May 20, 2012 Rochester, NY -- May 23, 2012 to May 27, 2012 Manchester, NH -- May 30, 2012 to Jun 3, 2012 Syracuse, NY -- Jun 6, 2012 to Jun 10, 2012 Bridgeport, CT -- Jun 13, 2012 to Jun 17, 2012 Rosemont, IL -- Jun 20, 2012 to Jun 24, 2012 Chicago, IL -- Jun 27, 2012 to Jul 1, 2012 Sunrise, FL -- Jul 19, 2012 to Jul 29, 2012 Estero, FL -- Aug 1, 2012 to Aug 5, 2012 Richmond, VA -- Aug 8, 2012 to Aug 12, 2012 Raleigh, NC -- Aug 15, 2012 to Aug 19, 2012 Baltimore, MD -- Aug 22, 2012 to Aug 26, 2012 Atlantic City, NJ -- Aug 29, 2012 to Sep 2, 2012 Pittsburgh, PA -- Sep 5, 2012 to Sep 9, 2012 CHarleston, WV -- Sep 12, 2012 to Sep 16, 2012 Minneapolis, MN -- Sep 19, 2012 to Sep 23, 2012 Ontario, CA -- Oct 24, 2012 to Oct 28, 2012 Long Beach, CA -- Oct 31, 2012 to Nov 4, 2012 San Deigo, CA -- Nov 14, 2012 to Nov 18, 2012 Phoenix, AZ -- Nov 21, 2012 to Nov 25, 2012 Topeka, KS -- Dec 5, 2012 to Dec 9, 2012 Tulsa, OK -- Dec 12, 2012 to Dec 16, 2012 Okalahoma City, OK -- Dec 19, 2012 to Dec 23, 2012 Michael Jackson THE IMMORTAL World Tour: Hartford, CT -- May 2 & 3, 2012 Baltimore, MD -- May 5 & 6, 2012 Hampton, VA -- May 8 & 9, 2012 Greenville, SC -- May 11 & 12, 2012 Worcester, MA -- May 16 & 17, 2012 Quebec, QC -- May 19 & 20, 2012 Albany, NY -- May 22 & 23, 2012 Cincinnati, OH -- May 25, 2012 Dayton, OH -- Jun 6 & 7, 2012 Columbus, OH -- Jun 9 & Jun 10, 2012 Nashville, TN -- Jun 12 & 13, 2012 Austin, TX -- Jun 15, 2012 Memphis, TN -- Jun 20, 2012 San Antonio, TX -- Jun 23, 2012 Dallas, TX -- Jun 26 & 27, 2012 Atlanta, GA -- Jun 29, 30 & Jul 1, 2012 Montreal, QC -- Jul 6 & Jul 7, 2012 Washington, DC -- Jul 13, 14 & 15 2012 Cleveland, OH -- Jul 17 & 18, 2012 Chicago, IL -- Jul 20 & 21, 2012 Ottawa, ON -- Jul 24 & 25, 2012 Toronto, ON -- Jul 27 & 28, 2012 Boston, MA -- Aug 3 & 4, 2012 Vancouver, BC -- Aug 10 & 11, 2012 Los Angeles, CA -- Aug 14 & 15, 2012 Salt Lake City -- Aug 21, 2012 Europe 2012: ------------ London, UK -- Oct 12 to 17, 2012 Herding, DK -- Oct 24 & 25, 2012 Copenhagen, DK -- Oct 27 & 28, 2012 Stockholm, SE -- Nov 2 & 3, 2012 Helsinki, FI -- Nov 5 & 6, 2012 Frankfurt, DE -- Nov 16 & 17, 2012 Oberhausen, DE -- Nov 20, 2012 Munich, DE -- Nov 24 & 25, 2012 Hannover, DE -- Nov 28, 2012 Vienna, AT -- Dec 1 & 2, 2012 Manheim, DE -- Dec 5, 2012 Leipzig, DE -- Dec 8 & 9, 2012 Hamburg, DE -- Dec 11, 2012 Cologne, DE -- Dec 15 & 16, 2012 Berlin, DE -- Dec 19 & 20, 2012 Madrid, ES -- Dec 26 to Dec 29, 2012 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2012 Dark Dates: o May 12 - 16 o September 8 - 12 o November 14 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2012 Dark Dates: o June 10 o August 6 - 12 o October 14 & 17 o December 3 - 18 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2012 Dark Dates: o May 15-26 o July 24 o September 18-22 o November 27 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:30pm and 10:00pm 2012 Dark Dates: o June 19 o August 24, 25, 26, 27, 28 and 31 o September 1, 2, 3, and 4 o October 23 o December 14, 15, 16, 17 and 18 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o May 29 - June 2 o July 31 o August 1 o September 28 - 29 o November 20 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o June 4 o August 2 - 6 o October 1 o December 6 - 19 BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 10:00pm NOTE: Children under the age of 12 must be accompanied by an adult. Children under the age of five are not permitted into the theater. 2012 Dark Dates: o May 29-31 o June 1-2 o July 17-21 o September 4-11 o December 18-25 VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2012 Dark Dates: o May 8 o July 10-21 NOTE: VIVA ELVIS to have final show on August 18, 2012 ZARKANA: New York, NY -- Jun 6, 2012 to Sep 2, 2012 Las Vegas, NV -- Oct 25, 2012 to OPEN IRIS: Location: Kodak Theatre, Hollywood, CA (USA) Performs: Tuesday through Friday @ 8:00pm Saturday @ 3:00pm and 8:00pm Sunday @ 2:00pm and 7:00pm DARK: Monday Select Weekday Matinee Performances Wednesday and Friday at 3:00pm 2012 Dark Dates: o May 29 and 30 o July 3 and 4 o August 7 o September 4 -11 o October 23 o November 22 o December 4 and 25 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub o) Networking -- Cirque on Facebook, Youtube & Twitter --------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------- Corteo Angels in the Streets of Amsterdam {Apr.12.2012} ---------------------------------------------- To spread the word about the upcoming visit of Corteo to Amsterdam, angels took to the streets and canals! Nine street performers and ten angels spent two days in the city of Amsterdam. Angels floated along canals in giant bubbles, jugglers and contortionist entertained crowds and a giant mobile decorated the city skyline. More than 2 000 clown noses, 5 000 lollypops along with and 10,000 flyers were distributed to passerby. P.S.: Corteo is playing under the Big Top in Amsterdam until June 3, 2012. Check out pictures of Corteo's Angels in the Streets at CirqueClub: < http://www.cirquedusoleil.com/en/cirque- club/news/2012/2012-04-12-amsterdam-angels.aspx > In the Shadows of IRIS, They Play with Light [EXPANDED] {Apr.26.2012} ------------------------------------------------------- The team comprises of six full-time staff, four on-call staff and two artists. Each evening, they film live footage, process the images at light speed and project shadows. Tom, Head of Projections, explains what's special about IRIS. "Other Cirque shows, such as LOVE, Mystère or KÀ, mainly project pre-recorded images. Michael Jackson THE IMMORTAL World Tour and CRISS ANGEL Believe also use live clips. On IRIS, in addition to a few pre- recorded passages and real-time taping, we use infrared technology and projection mapping, which allow us to present the audience a full immersive experience!" The result - for the deconstructed images that enhance the hand-to-hand act, or the kaleidoscopic effect that highlights the contortionists' performance - is stunning. In addition to accompanying some acts, projections are also used to provide the set with volume and relief. In the first minutes of the show, the patterns on one of the stage curtains start moving during a big "charivari" act. The characters seem to come to life. The same is true for the "castelets" on each side of the stage - a wink here, a slight head movement there . . . Just enough to make you think your eyes are deceiving you. The projections are much more than a decorative element - they are an actual character in the show. In the Filmstrip act, the artists record-in front of the audience - a short video clip, which is then projected repeatedly in the frames of a giant filmstrip, allowing them to interact . . . with themselves! "The projection reacts to the onstage action," adds Tom, "and not the reverse, like many spectators think." In a show about cinema, it is not surprising to sometimes see cameras and technicians onstage. “It’s part of the show’s very essence,” adds Tom. “We provide a behind-the-scenes look at how movies are made by playing with light. It is therefore perfectly natural to incorporate the technical aspects into the story.” Projections team members come from a variety of backgrounds. Susan Diamond, who also does TV work, is thrilled to have participated in the creation process. “In television, deadlines are very tight. You do a few rehearsals, and then when you’re live, you look for the best shot. Shows are broadcast very quickly. Once a show has aired, it’s over. It doesn’t change anymore.” Dallas Nichols adds: “With IRIS, we’ve created magnificent concepts and explored various options. And every evening, we have a chance to do better. The projections are continuously evolving, at the same rate as the show. It’s a big plus with interactive projections.” Kevin Anema, who also works for a well-known TV quiz show, says: “For a technician, working on IRIS is a great learning opportunity. The technology we’re using is awesome — particularly the projection mapping. It’s spectacular! We’re doing things here that I’ve never seen anywhere else.” Incredible, spectacular, never-before-seen — all terms that apply to both the show and the work of this dedicated team. --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- ---[ ALEGRIA ]--- {Apr.07} Great review in Manchester! LINK /// < http://mancunianmatters.co.uk/content/06042968- review-cirque-du-soleils-alegr%C3%ADa-debuted-manchester- charming-affair-entertainment-p > {Apr.13} Crane.TV spent the day with us in Manchester last week and this is the result. A beautiful and creative look into the world of Alegria. LINK /// < http://crane.tv/#channel/lifestyle > {Apr.22} Yesterday was Alegria's 18th birthday! Cast and crew gathered after the show to celebrate this amazing milestone and raise a glass to all those who have played a part in this beautiful story. Eighteen years, 6154 shows, and here's to many more. LINK /// < http://www.facebook.com/media/set/? set=a.10150826520490746.477577.38543815745&type=1 > ---[ AMALUNA ]--- {Apr.04} A first glimpse of the show today at the press conference!! LINK /// < http://www.facebook.com/AmalunaCirque#!/photo.php? fbid=339681622759810&set=a.316111341783505.76338. 282374401823866&type=1&theater > {Apr.05} Amaluna - Cirque du Soleil shared a link. LINK /// < http://www.cyberpresse.ca/arts/spectacles-et- theatre/cirque/201204/05/01-4512687-amaluna-virilite- feminine.php?utm_categorieinterne=trafficdrivers&utm_ contenuinterne=cyberpresse_hotTopics_sujets-a-la- une_1664122_accueil_POS2 > {Apr.05} Premiers extraits de la nouvelle production Amaluna! Présenté sous le Grand Chapiteau à partir du 19 avril au Vieux-Port de Montréal! LINK /// < http://www.youtube.com/watch? v=3I8JsRE9yiA&feature=share > ---[ CIRQUE DU SOLEIL ]--- {Apr.12} Did you know that last year, 2,911,000 liters of rainwater were collected at Cirque du Soleil International Headquarters and used for sanitary equipment, landscaping maintenance and watering the vegetable gardens? Visit our 2011 citizenship review to learn more: LINK /// < http://cirk.me/I4w4cq > {Apr.18} Did you know that in ten years, $5.5 million was given, in various forms, to more than 600 artists and artistic companies in communities where Cirque du Soleil has permanent facilities? Visit our 2011 citizenship review to learn more: LINK /// < http://cirk.me/IBfHa1 > {Apr.24} Enjoy 25% off select Cirque du Soleil show tickets and discover great gift ideas for Mother's Day. Plus, enter our contest for your chance to win tickets to Amaluna! LINK /// < http://cirk.me/I6ziMO > ---[ CORTEO ]--- {Apr.15} Corteo in cultuurbewust.nl LINK /// < http://www.cultuurbewust.nl/site/theater-41760- magische-acrobatiek-tijdens-vrolijke-begrafenisstoet-in- cirque-du-soleils-corteo/ > {Apr.17} Corteo on Check it out! LINK /// < http://www.checkitoutnet.nl/artikel201.html > {Apr.20} AJAX players last night at Corteo in Amsterdam! LINK /// < http://www.facebook.com/pages/Corteo-by-Cirque-du- Soleil/34657386178#!/photo.php?fbid=10150656788541179& set=a.438715896178.237170.34657386178&type=1&theater > ---[ CRISS ANGEL BELIEVE ]--- {Apr.09} Check out the recent Criss Angel meet and greet we had! LINK /// < http://www.youtube.com/watch?v=dPY15en1WiY > {Apr.11} Pick a card, any card. LINK /// < http://www.facebook.com/CrissAngelBelieve# !/photo.php?fbid=10150732682398599&set=a.103473593598. 94236.18869703598&type=1&theater > ---[ DRALION ]--- {Apr.01} Dralion opens Wednesday, April 4th at the Cleveland State Wolstein Center for 7 shows only! Who's got tickets? LINK /// < http://www.cleveland.com/entertainment/index.ssf /2012/03/cirque_du_soleil_brings_high-f.html > {Apr.06} Happy 10 years anniversary with Cirque du Soleil to our aerial hoop performer - Hibana! Yay! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151487546860195&set=a.225774950194. 283184.39340140194&type=1&theater > {Apr.08} On April 8, 2012 at the Wolstein Arena in Cleveland, Dralion had its second Easter Egg hunt!!! 864 eggs were hidden in the seating area of the Wolstein Arenahad a great time and got lots of candy! LINK /// < http://www.facebook.com/dralioncirque#!/photo.php? fbid=10151495737320195&set=a.10151495724915195. 850410.39340140194&type=1&theater > {Apr.27} Great review this morning in the spec.com! 6 shows to go and tickets are still available in Hamilton! LINK /// < http://www.thespec.com/whatson/article/713490-- cirque-comes-full-circle-with-vintage-dralion-show > ---[ IRIS ]--- {Apr.12} Visit the IRIS by Cirque du Soleil Boutique at Hollywood & Highland for our Spring Sale! For a limited time only, get 50% off of select merchandise! {Apr.14} IRIS Family Day (80 photos) LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=372483986123281&set=a.372482792790067. 83884.161171830587832&type=1&theater > {Apr.19} You can now follow Cirque du Soleil on Instagram! LINK /// < http://instagr.am/p/Jnu5YtRI7G/ > {Apr.23} Congratulations on a successful 2012 International Pow Wow Opening Night Party! IRIS by Cirque du Soleil performed two shows to a packed house. Photo Credit: Line 8 Photography LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=377428828962130&set=a.173536262684722. 34125.161171830587832&type=1&theater > {Apr.24} Pow Wow Opening Night (4 photos) LINK /// < http://www.facebook.com/IrisCirque#!/photo.php? fbid=378125562225790&set=a.378125408892472. 84889.161171830587832&type=1&theater > ---[ KÀ ]--- {Apr.27} A KÀ fan named Megan Bryson made a mini-Counselor and sent it to our full-sized Counselor! Here's a picture of the two together: LINK /// < http://www.facebook.com/KA#!/photo.php? fbid=10150875045296929&set=a.176667951928. 146847.31527171928&type=1&theater > ---[ LA NOUBA ]--- {Apr.18} Today La Nouba juggler Anthony Gatto will have special juggling performance at the Acrobatic Gymnastics World Championships. Catch the Acrobatic Gymnastics World Championships finals today (4/18) on ESPN3 at 4PM EDT. {Apr.25} The Cycles act in La Nouba displays technical twists, gymnastic turns, spins on one wheel, G-turns, boomerangs and megaspins, all accompanied by lots of footwork! LINK /// < http://www.facebook.com/LaNouba#!/photo.php? fbid=10150731042319902&set=a.190647189901. 126413.16315569901&type=1&theater > ---[ MJ IMMORTAL ]--- {Apr.05} Third Sold Out Performance at Madison Square Garden tonight!! Check out the red Carpet coverage (video and photo) from the New York Premiere !! LINK /// < http://www.epklink.com/MJImmortalNYC/ > {Apr.07} Currently playing in Uniondale, NY! Philadelphia on Tuesday and Wednesday. LINK /// < http://articles.philly.com/2012-04- 06/news/31300557_1_cirque-show-immortal-world- tour-michael-jackson > {Apr.11} Coming to Pittsburgh this weekend, three shows at the Petersen Events Center! Cool story on the local CBS station! LINK /// < http://pittsburgh.cbslocal.com/video/? autoStart=true&topVideoCatNo=default&clipId= 6922618#.T4YLyR7EsMo.email > {Apr.12} In Pittsburgh !! LINK /// < http://www.post-gazette.com/stories/ae/music/ cirque-du-michael-the-immortal-world-tour-honors-the- king-of-pop-631082/ > {Apr.13} You want to learn more about the show.... LINK /// < http://www.fuse.tv/videos/2012/04/cirque-du-soleil- is-doing-a-show-based-on-michael-jackson-s-songs > {Apr.25} Arrived in Columbia, South Carolina and gearing up for two great shows on Friday and Saturday! Tickets are still available! LINK /// < http://www.aikenstandard.com/story/0422- MichaelJackson--3947600 > {Apr.26} GREAT interview with Immortal dancer Ruthy and Kevin from WVOC- FM Radio in Columbia, South Carolina! Shows Friday and Saturday night 8pm at Colonial Life Arena in Columbia. LINK /// < http://www.facebook.com/mjimmortaltour#!/photo.php? fbid=409571815734353&set=a.277498785608324. 71073.163439450347592&type=1&theater > {Apr.27} Get ready Hartford, we're coming your way next week! But before that, go behind-the-scenes... LINK /// < http://www.ctnow.com/entertainment/hc-michael- jackson-cirque-0426-20120425,0,7245695.story > ---[ "O" ]--- {Apr.18} You can now follow Cirque du Soleil on Instagram! LINK /// < http://instagr.am/p/HIPWHXxIxd/ > {Apr.24} Here's a glimpse of our doors backstage at "O" Theatre! LINK /// < http://www.facebook.com/Ocirque#!/photo.php? fbid=10150774857959417&set=a.98604589416. 79108.26000574416&type=1&theater > ---[ OVO ]--- {Apr.13} Did you miss OVO on KGW yesterday? You can watch reporter Drew Carney try to land a front flip with OVO's Head Coach Eric Heppell by clicking on the link below. LINK /// < http://www.kgw.com/community/blogs/drew- carney/Cirque-du-Soleils-OVO--146937365.html > ---[ QUIDAM ]--- {Apr.25} Don't miss @emily14news trying out aerial hoop LIVE at 6:45am with #quidam #thefordcenter on @14news (local 7 Evansville) LINK /// < http://www.facebook.com/QuidamCirque#!/photo.php? fbid=10150682994182046&set=a.172887642045. 134560.35752277045&type=1&theater > ---[ THE BEATLES LOVE ]--- {Apr.25} This is backstage at our theatre! Which act do you think is practiced here? LINK /// < http://www.facebook.com/TheBeatlesLOVE#!/photo.php? fbid=10150771298363666&set=a.101066423665. 92500.14653468665&type=1&theater > {Apr.27} It's a bright, sunny day here in Vegas, but we're always ready with our rain boots backstage at LOVE! LINK /// < http://www.facebook.com/TheBeatlesLOVE#!/photo.php? fbid=10150776711578666&set=a.101066423665. 92500.14653468665&type=1&theater > ---[ TOTEM ]--- {Apr.11} Spartan Daily from San Jose State came backstage a few weeks ago to meet with one of our Rings Trio performers Olli Torkkel and learn more about the TOTEM family. Watch their report here: LINK /// < http://spartandaily.com/71480/behind-the-scenes- cirque-du-soleil > {Apr.22} TOTEM celebrates today its second anniversary as we are putting the final touches for the Wednesday's Opening Night in San Diego!!! Watch this report from NBC San Diego to learn more about the show! LINK /// < > ---[ VAREKAI ]--- {Apr.28} Varekai is celebrating our 10 year anniversary!!!! 4 continents, millions of people and lots of love! Thanks for all the support! ---[ VIVA ELVIS ]--- {Apr.18} Kristin Allen of Viva ELVIS will be providing commentary during today's finals of the Acrobatic Gymnastics World Championships at 4PM EDT on ESPN3. Kristin and her partner Michael Rodrigues, were the first American mixed pair to win a gold medal from the World Games, and second pair to win the Acrobatic Gymnastics World Championships. LINK /// < http://www.facebook.com/vivaelvis#!/photo.php? fbid=10150665263579109&set=a.167799494108. 119733.167136344108&type=1&theater > {Apr.27} What time is it where you are? LINK /// < http://www.facebook.com/vivaelvis#!/photo.php? fbid=10150693159249109&set=a.167799494108. 119733.167136344108&type=1&theater > ---[ ZARKANA ]--- {Apr.03} Book Early and SAVE over 20%! Zarkana by Cirque du Soleil is returning to Radio City Music Hall for Summer of 2012! Code: F1ZARK {Apr.17} Zarkana is back on the Radio City Music Hall marquee! LINK /// < http://instagr.am/p/Jh_QsYxI9Y/ > {Apr.20} Zarkana Production Photos - 2012 (11 photos) LINK /// < http://www.facebook.com/media/set/? set=a.366214220097140.93947.139797212738843&type=1 > ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= o) DIDYAKNOW - Facts at a Glance about Cirque o) HISTORIA - Cirque du Soleil History --------------------------------- DIDYAKNOW? - Facts About Cirque --------------------------------- In celebration of AMALUNA's premiere all the facts in DidYaKnow pertain to... AMALUNA! o) There are 174 branches in 534 sections - 90 in the canopy and 84 upstage - making a total of 1.7 km or 1.05 miles. There are three models of branches in the canopy and 35 in the upstage. o) The 25-ft diameter Carousel weighs 6,000 lbs. The acrobatic winch in the centre of the Carousel can lift up to 1,000 lbs at 10 feet per second. o) The Grid weighs 8,600 lbs and includes three acrobatic winches, each able to lift loads up to 400 lbs at 10 feet per second. o) The Waterbowl is 5'5" tall, 7'3" in diameter, and weighs 5,500 lbs when filled with water. o) The six Chandeliers throughout the big top are made of aluminum tubes bent and positioned to create the effect of a mobile with a span of 14.5 ft. They support seven polycarbonate bowls reminiscent of the bowls used in the Icarian games number. Each of the bowls can light up, transforming the structures that support them into real Chandeliers. o) There are over 130 costumes in Amaluna, made up of nearly 800 different items. o) Queen Prospera wears a large golden mantle composed of four rectangles on which are printed in sublimation the cover image of GAIA, the book of photographs taken in space by Cirque du Soleil founder Guy Laliberté. It shows a majestic cloud system captured at a distance of 350 km above the earth's surface. o) The white dress worn by the artist performing the Peacock Dance comprises a bustier and a skirt. The bustier is made of stretch nylon tulle covered with white beaded lace and Swarovski crystals. The skirt is made of 65 yards of white non-stretch nylon tulle covered with silver lace and Swarovski crystals. The dress has a total of 6,500 Swarovski crystals and 325 silver lace additions. The tail features 12 two-meter pleated polyester voile panels with sunray pleats (bias-cut knife pleats, narrower at the top than at the bottom, producing a flared effect), printed with white peacock feather designs. ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * May.01.1986 -- Cirque Performs at Expo 86 in Vancouver * May.01.2003 -- Cirque nominated for Drama Desk Awards: Outstanding Set Design in a Musical - Stephane Roy Outstanding Costume Design - Eiko Ishioka Outstanding Sound Design - Francois Bergeron Unique Theater Experience - Varekai * May.02.2000 -- Journey of Man (IMAX) premiered in USA * May.02.2000 -- Journey of Man CD Released in US/Canada (RCA/Victor) * May.02.2006 -- Cirque announced Macau permanent production * May.02.2007 -- Cirque announces Dubai 2010 show * May.04.2006 -- Dralion opened Valencia * May.04.2006 -- Varekai opened Seattle * May.04.2011 -- Alegria Arena opened Roanoke, VA * May.04.2011 -- Quidam Arena opened Reno, NV * May.04.2011 -- Dralion Arena opened Rockford, IL * May.05.2006 -- Saltimbanco opened Buenos Aires * May.05.2010 -- Alegría Arena opened St. Louis, MO * May.06.2004 -- Quidam opened Vancouver * May.06.2004 -- Alegría opened New York City * May.06.2009 -- Saltimbanco Arena opens Gainesville, FL * May.07.1987 -- Le Cirque Réinventé Premiered in La Salle * May.08.1990 -- Nouvelle Expérience Premiered in Montréal * May.08.2006 -- Cirque announced Elvis-themed productions * May.08.2008 -- Koozå opened Philadelphia, PA * May.08.2009 -- Cirque "Vaudeville" Announced/Presale * May.09.2002 -- Quidam opened Pittsburgh * May.09.2008 -- Koozå CD unofficially Available * May.10.2007 -- Alegría opened Saint-Denis, France * May.11.1986 -- Cirque leaves Expo 86 * May.11.2000 -- Saltimbanco Pacific-Northwest Tour Began (Portland) * May.11.2007 -- Corteo opened Columbus, Ohio * May.11.2007 -- Cirque Celebrates 20 Years in Los Angeles * May.11.2011 -- Alegria Arena opened Columbia, SC * May.11.2011 -- Quidam Arena opened Sacramento, CA * May.11.2011 -- Dralion Arena opened Kansas City, MO * May.12.2005 -- Quidam opened Adelaide * May.12.2010 -- Alegría Arena opened Kansas City, MO * May.12.2011 -- TOTEM opened Pittsburgh, PA * May.12.2011 -- Saltimbanco Arena opened Adelaide, AU * May.13.2006 -- La Nouba celebrated 3500th performance [Saturday, 6:00pm] * May.13.2006 -- Dralion celebrated its 2500th performance [Valencia, Spain] * May.13.2009 -- Saltimbanco Arena opens Tallahassee, FL * May.13.2010 -- Varekai opened Cologne, DE * May.14.1985 -- 1985 Tour Began in Montréal [Vieux-Port de Montréal] * May.14.2008 -- Saltimbanco Arena opened Albuquerque, NM * May.15.1997 -- Alegría opened Munich * May.15.2003 -- Dralion opened Montreal * May.15.2008 -- Alegría opened Porto Alegre, Brazil * May.15.2009 -- Cirque opened Eurovision Song Contest Finale * May.15.2011 -- Saltimbanco Arena opened Melbourne, AU * May.17.2005 -- Solarium-Delirium CD Released (CDS Musique) * May.18.1986 -- Le Magie Continue opened Sherbrooke * May.18.1987 -- Le Cirque Réinventé opened Sherbrooke * May.18.1989 -- Le Cirque Réinventé opened Chicago * May.18.2000 -- Quidam opened Bilbao * May.18.2003 -- Cirque loses Drama Desk Awards (nominated 5/1/03) * May.18.2006 -- Quidam opened Ottawa * May.18.2011 -- Alegria Arena opened Toledo, OH * May.19.1995 -- Saltimbanco opened Munich * May.19.2006 -- Varekai opened Baltimore * May.19.2010 -- Alegría Arena opened Salt Lake City, UT * May.19.2011 -- LOVE receives "Best Show" honor from USA Today * May.20.1999 -- Alegría premiered permanently in Biloxi, Mississippi. * May.20.2007 -- Quidam opened Seoul, South Korea (first time in Korea!) * May.20.2009 -- Saltimbanco Arena opened Jacksonville, FL * May.20.2010 -- Saltimbanco Arena opened Sheffield, UK * May.21.2003 -- Quidam opened Nagoya * May.21.2004 -- CirqueCon 2004: Vancouver Began (through 5/24) * May.21.2008 -- Saltimbanco Arena opened Boise, ID * May.21.2009 -- Corteo opened Nagoya, Japan * May.21.2009 -- Criss Angel likeness unveiled in wax at Madame Tussauds Las Vegas * May.21.2010 -- Banana Shpeel official Gala Premiere * May.22.1992 -- Fascination Premiered in Tokyo (Until Sep.) * May.22.1998 -- Alegría opened Hamburg * May.23.2007 -- Dralion opened Sendai, Japan * May.23.2011 -- "O" Celebrated 6,000th Performance * May.24.2002 -- Mystère celebrated 4000th performance [Friday, 7:30pm] * May.24.2011 -- Cirque announced ZARKANA / Press Conference * May.25.1988 -- Le Cirque Réinventé opened New York City * May.26.2009 -- ZAIA, Alegría Remastered CDs Released * May.26.2010 -- Saltimbanco Arena opened Liverpool, UK * May.26.2010 -- Alegría Arena opened Fresno, CA * May.26.2011 -- OVO opened Minneapolis, MN * May.27.1999 -- Alegría: Le Film premiered in Netherlands * May.27.2009 -- Alegría Arena Tour Beings [Halifax, NS] * May.27.2009 -- Saltimbanco Arena opened Sunrise, FL * May.28.1987 -- Le Cirque Réinventé opened Montréal * May.28.1999 -- Saltimbanco opened Brisbane, Australia * May.28.2003 -- BRAVO sneaks Varekai - Midnight to 2:00pm * May.28.2010 -- Quidam opened Buenos Aires, BR * May.29.1986 -- Le Magie Continue opened Montréal * May.29.1997 -- Quidam opened Oakland * May.29.2001 -- Alegría opened Sydney, Australia * May.29.2008 -- Name of "Cirque Macao 2008" Announced - "ZAIA" * May.29.2008 -- Saltimbanco Arena opened Victoria, BC * May.30.2006 -- Varekai celebrated 1500th performance [Tues, 8:00pm/Seattle] * May.31.1996 -- Saltimbanco opened Stuggart * May.31.2001 -- Quidam opened Hamburg * May.31.2011 -- Cirque Presents "Flower in the Desert" ======================================================================= FASCINATION! FEATURES ======================================================================= o) "O Brave New World... AMALUNA!" By: Ricky Russo - Atlanta, Georgia (USA) o) "Cirque's Dreams of the Past: A What If? Part 3: Complexes Cirque" By: Ricky Russo - Atlanta, Georgia (USA) o) "AMALUNA Premiere Reviews Coming in!" [EXPANDED] A Special Collection of Reviews in the Press ---------------------------------------------------------- "O Brave New World - AMALUNA!" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- "How beauteous mankind is! O brave new world that has such people in't." (Miranda, "The Tempest") There's nothing like a hometown crowd. I've said it before and I'm sure I'll say it again. It's a clichéd old adage, but for a fan of Cirque du Soleil there's simply no substitute for being in the Grand Chapiteau with a couple of thousand Québécois, clapping and stomping to the show's beat - whether it be lounge- fusion, organ-fusion, Indian-fusion, insect-fusion, Native American- fusion or full-on rock-and-roll - and reveling in every single moment of it all. As an attendee of Cirque du Soleil touring show premieres for ten years, allowing one's self to be swept up in the awesomeness of premiere excitement is nothing short of magical; it's a euphoria you'll find nowhere else but in Cirque's hometown. I relish this feeling... especially with friends. My first experience with this brand of euphoria came when witnessing Varekai's birth in 2002. I knew from the moment I stepped foot on the cobblestoned streets of the venerable old port of Montréal this was how you celebrated a premiere and I wanted to be a part of it from then on. Traveling to Montreal for premiere weekend has provided many indelible memories. I'll never forget bouncing along outside the Grand Chapiteau on the third night of Varekai's performances having just procured a stand-by ticket while the harmonies of the show's opening overture played on; or watching "Mad Max" rip off his headdress and fly through the air between one Russian Swing to the other all the while twisting, turning and twirling about - the first time I ever seriously feared for an artist's safety; or forget about touring the Cirque du Soleil Headquarters with 100 or so Passionates as part of CirqueCon 2005; or forget sitting on the edge of my seat along with everyone else during Koozå's many thrilling acts; or meeting and speaking with David Shiner, Koozå's Director, during intermission) occasionally there's a miss-step. Varekai and Koozå were well received by the hometown crowd (how about standing ovations DURING the performance?); OVO not so much. For me personally Corteo was not a particularly good premiere, especially after coming off that spectacular Russian Swings ending to Varekai three years before, but the crowd enjoyed it. OVO fared much, much worse by both me and the crowd I saw it with; in fact, the response was so tepid I was sure Cirque had its first bona-fide flop on its hands! (That honor would fall to BANANA SHPEEL.) TOTEM was much better but even it had a "WOW + WTF" combination that made it a little uneven at the start, to me at least. Subsequent viewings of both Corteo and OVO a little more than a year after premiere turned my view point around (I'll see TOTEM for the first time since premiere this coming October as it winds its way through Atlanta) so it seems the third time is the charm. However, it is best to go in with the understanding that when you come to a premiere you're seeing a show that's not yet ready, that may have had only two or three full-run performances in front of the public... and that's it! So with all that in mind how does AMALUNA fare? I AM IN LOVE WITH THIS SHOW! MEETING FRIENDS /// "Welcome to Montreal, sir!" "Thank you!" "Oh, there's a message here for you..." Who could that be from? I said to myself, as the clerk went back behind the counter to check on the note. I had just walked into the Spring Hill Suites du Vieux Port after spending more than an hour in customs/immigration and another in rush- hour traffic; I was late. I had expected to arrive at my hotel before 5:00pm, which would have allowed plenty of time to collect myself before heading off again, but clearly that was not to be. It was 5:45pm and someone was in search of me. Although I've not missed a premiere since 2002's VAREKAI, following my experience with 2005's CORTEO I thought perhaps seeing shows later in the run would be better. I contemplated Toronto for 2007's Koozå but fortuitous events intervened (Cirque pushed Montréal previews up one week) and it seemed destiny called - I had to go! It was a good thing I went or else I would have missed out on meeting David Shiner during intermission right there in the Grand Chapiteau. I learned my lesson and came to Montreal for 2009's OVO, but I was sorely disappointed with the show. I would not have come up for 2010's TOTEM had I not heard some amazing things about the show prior to its premiere (and its close proximity to New York City, where I was catching a performance of BANANA SHPEEL as part of CIRQUECON 2010). The decent experience I had with TOTEM lead to an understanding that perhaps coming to Montreal was not such a bad thing after all, even if I had "been there, done that" five times now. So when AMALUNA was announced I did not hesitate to plan a trip up, but as April drew closer it seemed anything and everything was trying to keep me from going. A recent move to Atlanta from Orlando squeezed my wallet, plans to repeat a trip to New York City with a drive to Montreal and back fell apart, and high airfare to Montreal from Atlanta didn't help matters. Eventually throwing caution to the wind I bought tickets to the show, scoped out airfare from nearby airports (selecting a much cheaper round-trip from Charlotte, NC - a four-hour drive from Atlanta), renewed my passport and reserved a hotel in the old port of Montreal. I was going come hell or high water! Could the message be Steve Long, from Connecticut? He'd messaged me earlier in the month that he'd decided to come up on a whim, suggesting he might be dropping by my hotel prior to the show. Could it be Mark Wyrick, from California? He and I met in Montreal somewhat by chance in 2002. Mark overheard my friends and me discussing Varekai at L'Aventure, a restaurant on Jacques Cartier Square, and joined us. We've been friends ever since. Could it be Lorraine Peck, also from California? She was the first Passionate I knew of who'd be making the trek up. She was staying at her favorite hotel - Auburge du Vieux Port - just down the block from mine, and we'd discussed meeting up and hanging out during the weekend since she'd be here alone. So just who could it be?! The clerk behind the counter returned a few moments later: it was Anne & Tim Brydon, from California! We'd also been in contact throughout the weeks leading up to AMALUNA's premiere, expressing hope that we could meet up before attending our first performance. Her note was quick and simple: "Tim and I will be going to this restaurant (attached card: the L'usine de Spaghetti, 273 rue St-Paul E) at 5:30pm - it's just down the street, turn left, and not far! Hope to see you soon!" With an invitation like that who could refuse? This is what I came to Montreal for - to be with friends and fellow Cirque du Soleil Passionates. So what if I had just arrived? Drop everything and go. And I did! Within moments I was in my room, hopping online to search for the exact location of the restaurant (it wasn't far), messaging friends and loved ones that I had finally made it (and would see some of them at the Big Top that night), changing into some appropriate Cirque du Soleil attire (although no one would see it - brrrr, it was cold in Montreal!) and flying out the door. I met Anne and Tim down at the restaurant a few moments later, et viola - instant magic! I later ran into Steve Long and Lorraine Peck down at the Grand Chapiteau, Bill and Terri Preece during intermission and Mark Wyrick the following day - in the rain! (It rained all day!) - before our 4:00pm performance. I had such a fantastic weekend with these friends it pained me to part from them, even if it did snow the last day. But what about the show? AMALUNA /// Theme ----- For the first time in Cirque du Soleil's history, over 70% of the cast is female (and with an all-female band), as a result Amaluna features strong women characters plucked from history and literature alike, from the Amazons of Greek Mythology to the wily pages of Shakespeare (both "Romeo and Juliet" and "The Tempest" were inspirations). "Amaluna is a tribute to the work and voice of women," explained Director of Creation Fernand Rainville at the press conference. "The show is a reflection on balance from a woman's perspective," he added. Show Director Diane Paulus says: "Amaluna is less about feminism and more about reconnecting to our world in a different way." In AMALUNA, we're invited to a mysterious island governed by Goddesses and guided by the cycles of the moon. Their queen, Prospera (played by Cellist-Saxophonist Julie McInnes; she also sings!), directs her daughter's coming-of-age ceremony in a rite that honors femininity, renewal, rebirth and balance that marks the passing of these insights and values from one generation to the next. The show's name draws its inspiration from the fusion of the words "ama", which refers to "mother" in many languages, and "luna", which refers to the "moon". It is at once both a symbol of femininity that evokes the mother-daughter relationship between Prospera and Miranda and the idea of a goddess and protector of the planet. "In the wake of a storm caused by Prospera," Cirque du Soleil explains, "a group of young men land on the island, triggering an epic, emotional story of love between Prospera's daughter Miranda (played by Water-bowl/Hand-balancing artist Iulia Mykhailova), who is on the brink of womanhood, and a brave young suitor, Romeo (played by Chinese Pole artist Édouard Doye). But theirs is a love that will be put to the test as jealous Cali (a pet, played by juggler Viktor Kee) attempts to thwart their union. The couple must face numerous demanding trials and overcome daunting setbacks before they can achieve mutual trust, faith and harmony. The Site -------- The AMALUNA Grand Chapiteau is set up on the Jacques Cartier Pier in the Vieux Port of Montreal, where Cirque du Soleil has staked its shows since the dawn of its recorded time (expect for 1999's Dralion, which was set up on the lawn of their headquarters building in the city). Surrounded on three sides by water and history, the striped big top (doesn't Cirque do swirled tents anymore? Yes, but fleetingly now) called out. Although there were a number of banners about, advertising the show, Tapis Rouge (of course), Cirque's sponsors and the upcoming Montréal Complètement Cirque (an international Circus Arts Festival running from July 7-24 in which Cirque du Soleil is a participant), we wondered: where is the box office? Actually inside the merchandise tent! It's almost hard to remember that Cirque du Soleil used to have two merchandise/concession tents for patrons based on their ticketed seat, so coming upon a Cirque Grand Chapiteau with a linked merchandise / concession tent construct isn't new; however, one with the box office INSIDE the merchandise tent is. I wondered if this is going to become a trend (I rather like it) or if it was tried because of the unpredictable weather Montreal is known to have in April. Either way, standing inside and speaking to someone face-to-face for tickets is much better and more welcoming than standing outside, shaking and shimmying to keep warm while speaking through a small speaker to someone behind a plexi-glass window. Otherwise the concessions offered at AMALUNA were the usual: sodas, bottled water, popcorn, hotdogs and regular confections. Of course we hit the merchandise stands and found the normal costume balls (from Totem), Cirque du Soleil t-shirts (with a couple of AMALUNA logo shirts for men and women alike), magnets, key-chains and the pre- requisite masks, CDs and DVD area. An Amaluna Pre-program was available as was the GAIA book - Guy Laliberté's pictures from Space, but most interesting was that Cirque du Soleil was selling the DELIRIUM show CD in a special combination with the AMALUNA pre-program (and a bag). With a recent (but very much unfounded) rumor that Cirque du Soleil was in talks to revive DELIRUM for installment in New York City we found this rather interesting. The Set & Stage --------------- Entering a Grand Chapiteau is always a treat; when you step foot inside the big top the first time, for a brand new show, expectations run rampant, which only serves to heighten the excitement even more. When the flimsy doors of Amaluna's big top parted, my eyes were immediately drawn to Scott Pask's set, a "mysterious, verdant, enchanted island" set amongst a tangle of bamboo-like branches. Taking his cues from the natural world, especially from forests and plant life, Pask has created an environment that is both immersive and open, with plenty of space for dramatic rituals and ceremonies as well as acrobatic performances. The "trees" thrust upward from the circumference of the stage and the Big Top's tent poles to form an airy canopy. Upstage, the vegetation grows closer to the ground, forming a tunnel-like grotto. (There are 174 branches in 534 sections - 90 in the canopy and 84 upstage - making a total of 1.7 km or 1.05 miles.) Although meant to invoke the outline of a peacock feather, the set also evokes the various curves, lines, swoops and folds of the female sex - an anatomically correct outline I might add - which, coupled with the two side wings of the set, (that bare a close resemblance to fallopian tubes) helps bring the audience into this female-dominated world. The peacock feather decoration that occupies much of the middle of the Amaluna stage is a significant emblematic motif that is echoed in some of Mérédith Caron's iridescent costumes. The peacock images in the show are inspired by the magnificent bird that accompanies Hera, the Greek goddess of women, marriage and fertility. Legend tells us that the protective "eyes" in its tail watch over women in all the stages of their lives. And amongst these trappings sits the water-bowl, a soothing pale-blue. The stage is set. All we can do now is sit and wait with anticipation... What follows is a review of AMALUNA in its current, pre-"fixated" form, as presented under the Grand Chapiteau on Friday, April 20th and Saturday, April 21st 2012. Music ----- Composers by Bob & Bill (Guy Dubuc (Gee Doo-BOOK) and Marc Lessard (Mark Less-ARD)) are known for their ability to blur the lines between genres and styles to create an intricately woven visual style (think Koozå). Their mission here was to create a "unique, raw sound; to surprise by means of the unexpected" and they've done just that. Guitars are very present and the overall sound is resolutely contemporary. Bass, drums, cello, vocals, keyboards, and percussion support the guitars in delivering the music directly without embellishment. "We wanted to unleash the power in the raw state that artists and musicians bring to the stage," explain Bob & Bill. The musicians share the stage with acrobats at times, which combines perfectly with the energy of the score. Amaluna is the first Cirque du Soleil show with an all-female group of musicians. "We wanted to reflect the guts and intense attitude of these musicians through the music itself," they add. Although their choice in accompaniments might be polarizing (the all-female band gives the music that Joan Jet "rock on!" feeling, which is just fine with me), the comparison at times to "game music" might be a turn-off to some. The Show -------- ANIMATION: Animation, or pre-show, can take the form of characters milling through the crowd crying over their dead friend (a la Corteo), a delivery man in search of his charge (as in Koozå), mysterious characters guarding their mystifying void (as in KÀ), bugs from the microcosm swarming the big top (OVO), or clowns pointing unwitting attendees to their seats (as in Mystère, La Nouba, and a variety of other shows). For AMALUNA, while the percussionist and guitarist strum and pound a tribal beat, a number of plumed peacocks, leathered-hide lizards and various warriors of the island make their appearance and slink, strut and sashay about: There is Deeda, a clown dressed in yellow (she's Miranda's Nurse, played by Pepa Plana from Spain), who runs about wondering why people aren't taking their seats. Another, lizard-bound Cali, meanders his way through the crowd, flicking his tail here and there before climbing a mast and proceeding to dump popcorn on select guests beneath him. Other androgynous Peacock characters strut about tickling unsuspecting guests with their feathers in hand. Suddenly Deeda walks on stage; all eyes are drawn to her as she welcomes us to the show - "Ladies à ladies, mesdames et mesdames, senoritas y senoras" - then takes us through the rules of the house: should there be a "petit problème"? "NO PANIC!" Should there be a bigger problem... well, whatever! Also "no foto, no texto, no facebook, no youtube, no, no, no, no, no!" (You know the drill). When a cell phone rings out in the audience, Deeda frowns and taps her foot, then goes to fetch it. After Deeda answers the call and speaks to the caller, she places the confiscated phone in a plastic bag then stuffs the entire kit-and-caboodle in a pouch along her waist. We've been warned! The lights dim... MAGIC PAGEANT (OPENING): As the first few chords of electric guitar ring out, the lights gently rise and wash over a "shimmering, ethereal cloud of diaphanous red gossamer" as it dances in the air at Prospera's command. Prospera, the island's matriarch, comes toward the diaphanous filament as it glides and twirls before us like an expectant flame filled with desire, allowing its fingers to caress her, spill over her, and envelop her with its warmth. Prospera accepts its gifts readily, wrapping the ethereal flame about her as those in her charge - Amazonians, Peacocks, Fairies, and Valkyries - encircle her and move about in a slow ritualistic tribal dance; then come alive as Miranda, Prospera's daughter, joins them. This pageant is Prospera's gift to Miranda, to mark her passage into womanhood. The peacocks strut their stuff, fanning their magnificent feathers for all the world to see; the Amazonians flex their muscles, holding up their spears in defiance ready to attack; the Water Fairies flit about, ready to play; the Valkryes fly in, prepared to defend the island from outsiders, and the Moon Goddess (played by Marie-Michelle Faber) descends from her crescent throne from above, ready to bless the ceremony to come. The peacock costumes are made up of 14 layers of heat-pleated materials trimmed in leather and stretch metallic fabric, according to materials provided by Cirque. The tails open out to a "fan" of eight feet with hydraulic pistons that compensate for their weight. Made in the same proportion to the performers' bodies as the bird's fans have to theirs, the tails are attached to the artists with belts that hide the mechanisms under embroidered feathers. The skeleton and leaves of the fans are made of the same Fiberglass material used in the manufacture of fishing rods, and screen-printed metallic paper is glued to the leaves to recreate the iridescent look of peacock plumage, which shimmers in the spotlights. Prospera's flame is created with nothing more than strategically placed fans - one built into the center of the stage floor and others placed around it - to create a swirling vortex of wind that keeps the scarf floating without effort (most of the time). It is one of the quietest, but most poignant openings I've seen in a long time and I love it. UNICYCLES: Fast and furiously two young Arielles from Japan (Satomi and Yuka Sakaino) peddle their way across the stage in quick form, weaving in and out of each other's paths like the wind as they joyfully pirouette, dance and thrill the pageant participants. Their infectious smiles and quick-on-their-seat movements continue the energy of the show's opening, not to mention a number of fast-paced spins, walks and rubberized twists that make watching this duo spin about the stage a pleasure. The costumes of the two unicyclists are fitted with cages that hide their legs, in a reference to the aesthetics of the Spanish Golden Age. The cages (with a diameter of five feet and a height of two-and-a-half feet) are made of perforated material (which includes Kevlar - a thermoplastic polymer - and gold leaf) to allow the artists to see the unicycle seats. However, for better visual reference, the cages are like the hoop skirt of Alegría's White Singer. During their act the cages break into two pieces, announcing the start of the storm after which the budding love between Miranda and her suitor will be tested. WATER METEOR & ICARIAN GAMES: Combine the cuteness of Varekai's Water Meteor trio with the acrobatic dedication of the same show's Icarian Games troupe and you get this amazing number. Here the female body becomes catapult and catcher in an elaborate, explosive and highly choreographed presentation of strength, balance and agility, all while keeping their water meteors (not filled with water, sadly) whirling through the air with impressive agility. Towers? No problem. Leaping from porter to porter? No problem. Taking off from platforms of upturned feet? No problem. How about leaping through someone else's legs? Sure! It all comes to a surreal close as the lights dim and the water meteors glow! THE STORM / AERIAL STRAPS: While Miranda plays catch with Cali (who later steals her ball and transforms it into a red balloon that floats away), Prospera begins directing the heavens around her. She's about to summon the storm that will bring men to her island from lands far away; ascending the heavens via the Moon Goddesses crescent throne to do so. As the storm rages around us, the God and Goddess of the Wind perform an intense midair ballet on straps, "coming together and parting, intertwining their bodies and gliding through space in vigorous, frenetic movements." Shades of blue and green mix with shades of sky and sea to compose a soothing palette of sophistication belling the harshness to come, as their muscular bodies crash together in an erotic clash of raw power and sexuality. As the storm subsides, Prospera and Deeda (Miranda's nurse), look over the gaggle of men who - captured by a net - wash ashore. At first the two chuckle as the men bumble and fumble over one another in a futile attempt to extricate themselves from their imprisonment; however, when one particularly striking young man (Romeo) catches the eye of Miranda, time seems to stand still; Prospera's enigmatic expression betrays little and Miranda is whisked away... SUSPENDED POLES / PAON DANCE: Undaunted by the turn of events, Romeo leaves his clan in search of Miranda. His path becomes treacherous as he enters an enchanted forest of strangely shaped trees (poles), some of which seem to descend from the heavens without form. As creatures of various dimension twist and twirl on these Chinese-pole inspired apparatuses, Romeo attempts to push through. Just when he thinks all hope is lost he comes upon the white Peacock Goddess (Amy McClendon), dancing gracefully in her dazzling white dress. For a moment Romeo stands mesmerized and though he is tempted by her seductive dance, he turns and leaves... his heart yearning for another. JEEVES AND DEEDA: Jeeves, the Captain of the rag-tag crew of men (although according to Cirque he's Romeo's "manservant"), pushes through a clearing in search of Romeo but finds little clue of him. In the process he runs into a small band of creatures that scare him, but are equally curious of the newcomer; they follow him wherever he goes. Frightened, he attempts to escape by climbing a nearby tree but can barely muster the strength to pull up his girth. The forest creatures help him, but this only elicits a yelp of surprise - which attracts the attention of Deeda, who just so happened to be walking nearby. She spots the Sea-Captain and attempts to help. When he cries out at her and she tells him "NO PANIC" the two regard one another honestly for the first time. Deeda is enamored as Jeeves introduces himself and the two become lost in a tickle-fest (fantasy sex scene), which ends rather hilariously when Jeeves falls asleep. HOOPS / WATERBOWL: As shooting stars rain down from above, the Waterbowl is pushed to center-stage and the Moon Goddess - clinging to a simple steel hoop - descends from above. The Waterbowl resembles a giant, clear gemstone set in a ring of stylized organic shapes that evokes a vortex captured in time. As it interacts with the lighting, this "jewel" changes its appearance and aura, much like a precious stone. As the Moon Goddess sings to Miranda, who is watching from the cover of darkness (bestowing her blessing with her haunting song), she soars around the water bowl in this fantastic Aerial Hoop number. Later, as she tires, the Goddess calls for Miranda to join her and the two rise into the heavens as one, before Miranda drops into the water bowl in a gleeful splash of happiness. She cavorts about the waters cheerfully, rising to the surface to balance herself on the bowl's edge (and on specially designed canes) in a fantastic display of strength, flexibility, equilibrium and sensuality. Her energetic and joy-filled display of sinuous sexuality catches Romeo's eye. And later when he joins her in the water, she kisses him and the two seemingly become one. UNEVEN BARS: Cali, who is jealous of this new suitor, has seen their tentative kiss and slinks away to plot Romeo's downfall. Meanwhile, the men are now found to be the captives of the island's native Amazons, who pounce around and shout battle cries to ward off any who might interfere (or attempt to attack). Although the men think they're in heaven - and will show up the girls with their skills - these fighters are preparing the ultimate display of agility, skill and flair through the use of Uneven Bars. As they fly about their encumbered home, the men get their come-uppance and find they aren't the strongest creatures on this island. Inspired by Asia Minor, the corseted costumes of the Amazon warriors (High Bars) are augmented with ponytails and high- heeled black leather boots in a look that is more fantasy than historical reality, although they don't perform with their tails on. INTERMISSION. TEETERBOARD: The boys, in their Renaissance-style denim doublets, find themselves fenced in and launch themselves high into the air, twisting and turning in a playful high-speed attempt to escape. Starting out like a traditional Korean Plank number, these boys fly, flip, twist and turn head-over-heels before landing on the wooden plank beneath them. However, as their desperation to be free grows, so do the risks they take - such as landing in a handstand on another performer's upturned palms, leaping onto a nearby platform set askew, and onto the shoulders of their peers through this showcase of power and energy. Truly an action packed and highly skilled act presented as never before! MANIPULATION: In "Sanddorn Balance" (sand and thorn), a truly breathtaking experience unfolds. Lara Jacobs Rigolo, Balance Goddess, uses thirteen palm leaf ribs to build a fragile, giant mobile - a sculpture consisting of a number of rods, from which weighted objects or further rods hang. The objects hanging from these ribs demonstrate the Greek mathematical Principle of the Lever, balancing each other so that the rods remain more or less horizontal, but never falling (or so we hope!) Presented in a slow, suspenseful build, we can only sit and watch in awe as Lara grabs each rib with her toes and gently balances her growing sculpture upon it, her head, and later a stand above her head! (Her mobile serves as inspiration for the hanging lamps throughout the big top). An ode to balance, her movements are slow, deliberate and almost meditative as she concentrates all her attention on this literally breathtaking structure. And when she removes the smallest piece everything disintegrates and the young couple's trials begin: will Romeo fight for Miranda? THOUSAND ARMS / CHINESE POLE: While Prospera retires following the intense balancing act, Miranda stays with Romeo; however, the island works hard to keep the two apart by forming a highly impenetrable wall of moving bodies. Inspired by an Indonesian ritual dance, an ominous company of dancers dressed in black and silver performs a choreography that creates an indelible image of one woman with a thousand arms. Through much perseverance, the two unite. But their moment is short-lived as The Peacock Goddess reappears in an ominous guise and steals Miranda away, sending her into the skies while a forest of sticks inspired by Vietnamese circus tradition springs up to create a portal to the Underworld through which Romeo must pass. Undaunted, but tiring of the chase, Romeo climbs upward (using a single Chinese Pole) in a continuing search for his love. Édouard Doye's single pole act is half dance, half traditional Chinese Pole; he cavorts around the pole seductively, using his strength and agility to climb after his beloved. After a number of setbacks (precariously falling to the stage before stopping himself mere centimeters from the stage floor), he escapes. JEEVES AND DEEDA DEUX: When we were last graced with their presence, Jeeves was attempting to woo Deeda with his relatively poor singing and instrument playing abilities. Although she showed him up with a little Spanish flair, Jeeves succeeded to court Deeda. Here she shows up happy and pregnant! When her time to deliver comes - "Ay! ... Ay!Ay!" - they become giddy. So happy in fact they celebrate with a belly bump that serves to break Deeda's water (which they simulate rather humorously). With the baby now on the way hilarity ensues: Jeeves rushes off simulating the cries of an ambulance in transit and brings a gurney upon which to carry Deeda. And after putting up rubbery legs (to help simulate stirrups but not taking the reality of the process too far), out pops the child - an American football with a little clown nose. The two, happy with their new progeny, begin to play... tossing her into the air and back and forth to each other... getting further and further away until the baby falls to the stage; but she's okay. Then - "Ay! ... Ay!Ay!" - Deeda goes back into labor and another baby pops out, this one with a long stylized moustache like his father. Before the new parents can enjoy their second child Deeda's labor continues on and on and on! Now overwhelmed by a crying hoard of children, the clown pair take to the audience in an attempt to elicit their assistance with keeping them quiet (by singing "Rock-a-bye baby" to them)! It doesn't work... TIGHTWIRE: Returning to the action, we find four artists representing lost lovers in Purgatory. These fil-de-fer specialists take action and walk across their precarious ropes with comfort and ease. In what appears to be homage to the roaring twenties, two men and two women take to the ropes displaying an escalating array of balancing and maneuvering skills: some flips, some leaps, bounces and even walking the ropes in high heels and en-pointe in ballet shoes! By the end of the performance both Romeo and Miranda find one another, but on opposite sides of the mountain top. They attempt to reach each other by crossing a rope but Cali, who is waiting in the wings, grabs Romeo and sends him back down to Earth! JUGGLING: Miranda's pool once again takes center stage, becoming both Romeo's watery prison and Cali's stage upon which he will celebrate his victory over his rival by displaying his manipulation prowess. Cali also shows us to what lengths he will go to keep Miranda for himself: he transforms into a human by ripping off his tail and shedding his reptilian-like hide! Here Viktor Kee juggles his charges with amazing speed and skill, showcasing a variety of imaginative ways in which to juggle any number of balls. Although Kee re-uses a number of moves from his act as it appeared in 1999's Dralion, there are a number of new manipulations and twists upon older maneuvers that will simply mesmerize you. (How about juggling a fireball? YES!) By the end of this awesome display Cali is sure he has succeeded in thwarting his rival, as Romeo has found his way out of the waterbowl, lying lifeless before it. But Miranda does not accept this fate. She uses the power of the gemstone the Moon Goddess had given her and revives her suitor, while taking the will and power away from Cali at the same time. AERIAL STRAPS: With Cali now under Romeo's restraint, a quartet of Valkyries fly in and take Cali away, leaping and flying through the air with glee. Keeping in tight formation, these women show us not only how hard it is to soar through the big top without a care in the world, but equally how easy it is to do so... if we only tried. With all trials and tribulations passed, Prospera welcomes the union of Romeo and Miranda with open arms, blesses their wedding, and allows all the personages of the island (and the audience) to celebrate right along with them. AMALUNA! As soon as the celebration settles and the lights softly rise our attention is once again drawn to Prospera, standing alone at the center of the stage where we first found her and the dancing flame. She steps into a swirling vortex of wind that at first gently raises the scarf about her, then more forcefully until it becomes parted from her. Prospera steps back, allowing the scarf to once again flit its mesmerizing dance before her... The lights dim... THE END. IN CONCLUSION /// I had an amazing experience with AMALUNA, more amazing than any touring show premiere that had come before. Whereas with Varekai (my prior high point) I came away thinking, "I really like this show" (and still do), I came out of AMALUNA thinking, "I LOVE this show!" And I shocked my friends too, because I didn't really like the show the first night. Sure, I enjoyed it and some of its acrobatic elements, but overall Amaluna didn't "speak" to me, nor seem to hold a candle to some of Cirque's more sophisticated offerings, such as Quidam, Alegria, Mystere, "O" or ZED. Then something strange and amazing happened: as we assembled for the performance the following afternoon, I grew more and more excited about seeing it again. Then as I sat, allowing the opening moments of the show to wash over me, something clicked. I don't know why and I don't think I could ever explain it succinctly beyond: I "got" it. I got the show, what it was attempting to say, how the music was used, and all the visionary elements the creators stirred into it. And then I fell in love with the whole kit-and-caboodle, grinning like a slack-jawed idiot. It's uncanny, and welcome. I feel enlightened, invigorated and hungry for more. I revel in the energy of the Uneven Bars and Teeterboard numbers, find myself on the edge of my seat during Manipulation, loved watching Miranda playfully splashing about in her pool, and awed at the raw power clashing in the first aerial straps piece. There's very little that I dislike about the show. However, that being said, I'm not very fond of the Suspended Poles / Paeon dance piece, as I think it brings the energy of the show down (the dance itself is beautiful, but following a rather non-existent acrobatic number - the suspended poles - leaves the audience wanting, in my opinion). Otherwise, the acts featured in the show are top-notch and innovative - especially the energy and skill of the Korean Plank/Teeterboard number and the relatively new-to-Cirque discipline of Uneven Bars (although similar to Tournik from Corteo and Carpace/Bars from TOTEM). The one thing this show does lack (and thankfully so) is technology: there's very little tech in the set or on the stage. Where you'll find it, though, is above your head in the "carousel", which brings in the "quirky" poles in the suspended pole number and the strap artists. Otherwise AMALUNA is classic set design in the strictest sense: less is more. This review of AMALUNA is by no means comprehensive. I've focused mainly upon the show's theme, some of its costuming, and a little on its music (which I absolutely loved). With Cirque stumbling in the last few years from its grand successes of the past - with mediocre show concept and over-expansion, Iris, Totem and now Amaluna mark a welcome trend. As such I urge you to see the show in Montréal or other cities on its tour (currently including Quebec City, Toronto and Vancouver) if you can - you won't regret it! ---------------------------------------------------------- "Cirque's Dreams of the Past: A What If: Part 3: Complexes Cirque" By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- Over the years Cirque du Soleil has announced, was rumored to be working on, or thought about a wide variety of interesting advancements beyond their traditional core product: circus shows. Some of these have been in the realm of music, such as when the company investigated for maybe a half-a-minute the possibility of recording each show live and selling the music after the show (kind of like what they do at some concerts), or about how they could take some one-off music tracks and put them on iTunes, Amazon or some other music download service rather than having to issue new CDs. Some of these have been in the realm of television, such as a 1999 press release announcing an association with Canadian-based TVA Group (a privately owned French language television network in Quebec) to develop and produce international audio-visual productions that would combine Cirque du Soleil's creativity with TVA's broadcast and production resources. A 13-episode variety series, a series of one- hour documentaries on Cirque du Soleil, a number of "movie of the week" projects, and an animated children's series were part of the deal. SOLSTRUM, the 13-episode variety series and a small contingent of documentaries were the only fruit bore from that tree. A similar deal was struck in 2006 with Endemol in the UK for a series of 60- minute programs to be filmed at the O2 Arena in London, previously known as the Millennium Dome, and broadcast in 2007 and 2008. Some of these have been in the realm of show opportunities, such as when it was rumored that LOVE was originally destined for London or New York City rather than Las Vegas. Or that there were going to be touring shows produced by Cirque to incorporate the name, image, likeness and music of Elvis Presley (beyond what became VIVA ELVIS - and what happened to those "Elvis Experiences" anyway?) And sometimes these have been in the realm of... say what? Such as when, in February 2006, Cirque du Soleil announced a desire to build a fashion and beauty brand to include a women's, men's and child's ready-to-wear line - not to mention a Cirque du Soleil fragrance line. Though it appears that a 64-piece collection for women did get introduced in August for fall-winter 2006 in 300 specialty boutiques worldwide, the other lines did not. Nor did the fragrance; though it does appear a design for the fragrance, bottle and packaging that encapsulated the essence of the brand was put through a test case. Approaching our 100th issue of Fascination set me thinking about all the quotes, blurbs and past announcements of new products, venues or avenues the Cirque would be exploring that we've published. I began to wonder which of these came to fruition since then and which have quietly remained hidden behind the curtain at Cirque du Soleil HQ in Montreal. In Part One, we explored a number of rumors and announcements regarding "permanent" or "resident" shows made through the years that didn't pan out. In Part Two, we examined the number of announced and/or rumored media potentials from Cirque du Soleil - from filmed shows and books to new music CDs - many of which never saw the light of day. And in this installment, we explore what could have been in regards to projects beyond Cirque du Soleil's traditional space - entertainment and media - and dive into the realm of "Complexes Cirque", and more. PART THREE: COMPLEXES CIRQUE & MORE ------------------------------------- Once you've defied the odds and proven you can take a bunch of street artists and place them under a big top to put on a show, brought that big top to every continent playing for sold out audiences worldwide, conquered Las Vegas with not one but two highly successful resident shows (with the announcement of at least two more on the way), and had a successful turn with a special presentation of your skills on the Academy Awards, one of the most watched programs on US television... what's next? How about tackling the real estate market? Yes! And "Complexes Cirque" was born. /// COMPLEXES CIRQUE? Not long after the company's turn on the Academy Awards in 2002, Cirque du Soleil announced it was pursuing plans to launch a global series of hotel complexes dubbed "Complexes Cirque", which would catapult Cirque into the hotel-management business, featuring establishments with Cirque's avant-garde approach. The details of said complexes were kept secret; however, the vision as shared included hotels anchored by various Cirque du Soleil productions (old and new alike) and would contain nightclubs and other entertainment venues, all branded by Cirque du Soleil. But by December 3, 2002, Cirque du Soleil announced that it was abandoning those plans. The announcement closed a two-year feasibility study as well as the development of the prototype complex in Montréal - "Laboratoire Montréal Project". The September 11th attacks in the United States and a downturn in global tourism was to blame for the project's closure. The decision affected approximately 5 people in the New Ventures Business Unit and the University of Quebec at Montreal (UQAM), from whom Cirque leased the property to build the complex. "Considering the uncertainty of the present global situation," Cirque said via press release, "[the Company] considers that the risks of investing in a new field of activity are too great at this time." Rather than pursue the "Complexes Cirque" project, Cirque re-affirmed placing its efforts on its core product, its productions, to expand its Cirque du Soleil Images imprint, and pursue development of other projects that were already well established in Montréal, notably the "Cité des arts du cirque", which became TOHU in 2004, a non-profit organization founded by En Piste (the National Association of Circus Arts), the National Circus School and Cirque du Soleil. Alas, though "Complexes Cirque" would be filed away, the project would not mark the last time Cirque du Soleil would flirt with expanding beyond the big top. Six months after Cirque du Soleil announced it was backing away from the "Complexes Cirque" project; word out of Las Vegas during the press conference unveiling Zumanity on April 22, 2003 raised a few eyebrows. In his introductory remarks, Terry Lanni, Chairman of MGM Mirage (now MGM International), noted the partnership that already included "Mystère" and "O" would not end with "Zumanity" (as a forth then unnamed show in the early stages of production for the MGM Grand Hotel was also in the works - this, of course, became KÀ). "We have plans -- and we have not finalized these plans -- for the 55 acres between the Monte Carlo and Bellagio," Lanni said later. "We have had preliminary conversations with (Cirque head) Guy (Laliberté) and his people about jointly developing a hotel casino complex ... But we want Guy and his people to focus first on ‘Zumanity' and then on the MGM Grand show, and when those are opened we want to go back and in some time be interested in the development of that property, which is we think the last great piece of property in Las Vegas and something that would be on the cutting edge." Though these were lofty goals by MGM Mirage, those plans never came to fruition. Rather than chase the ambition of running a branded hotel- casino, Cirque du Soleil turned instead into developing shows to fill MGM Mirage showrooms. After KÀ opened in 2004, Cirque du Soleil announced "The Beatles LOVE" at the Mirage (to open in 2006), "BELIEVE" at The Luxor (to open in 2008) and "Viva Elvis" to open at Aria, a casino-hotel that was part of the CityCenter project that MGM Mirage pursued on that 55-acre lot between the Bellagio and Monte Carlo on the Las Vegas strip. And if you thought Cirque du Soleil was done pursuing residency beyond the big top and specially designed theaters by others, think again. /// LE CASINO CIRQUE? On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal for the establishment of a world-class entertainment complex to be located in Montréal. The announcement confirmed the years-old rumors of Cirque involving itself in entertainment venues that would offer a wide range of entertainment options branded with Cirque du Soleil's flair. Loto-Québec would be serving as project manager, while the Cirque du Soleil would look after design, creative and artistic direction of the project. "This project is what we are recommending to the Québec Government as being the best solution for the future of the Casino de Montréal," explained Mr. Alain Cousineau, Chairman, President and Chief Executive Officer of Loto-Québec. "The recommendation is based on the rigorous studies we have conducted, as well as on the creative genius of the Cirque du Soleil. In addition to being a modern reflection of Québec's cultural dynamism and Montréal's exceptional vitality, the complex will offer visitors an unparalleled entertainment experience while showcasing the historical character of the site." According to the President and founder of the Cirque du Soleil, "the Cirque du Soleil is investing all of its creativity and global expertise in this project in order to ensure that Montréal can fully benefit from the international spin-offs to be generated. Indeed, we are envisioning a concept whose outstanding components will make for a truly world-class entertainment complex. We sincerely hope to be able to invite the millions of people we meet in the four corners of the planet to come and enjoy the new complex, which we are convinced will more than meet their expectations." The facts of the announcement were: o) The location was proposed for the Peel Basin in the du Havre sector of Montreal. o) The project would create approximately 6500 new jobs. o) The project was budgeted at approximately $1.2 Billion CDN; $997 Million CDN coming from Loto-Quebec and $178 Million CDN from private partners. o) The complex would encompass a 300-room hotel, a 2500-seat performance hall, a spa, an "Artists' Wharf", and a park where Cirque could set up their Grand Chapiteau. o) The Casino de Montreal would be relocated to the site. o) Further development of the site could include an exhibition center and the development of a monorail to interconnect the complex with a future soccer stadium. o) Cirque du Soleil and Loto-Quebec were looking to inaugurate the new complex in 2010/2011. With every large project comes controversy and such did not escape this new project. To us it looked like a great match on the surface; the Montréal Casino had suffered as "high roller" customers took their business to other more exciting cities, Lotto-Quebec obviously felt they had to modernize or risk falling further behind. But there were other concerns than just gaming. Placing this new project in the Peel Basin/Point St-Charles area (which, on our map is marked as an industrial area) had activists concerned that any move would mean more crime and traffic in what some considered a residential area. But Lotto-Quebec officials insisted the area was selected because it was out of the way of most residential areas of the city, yet close to the big hotels and Old Montréal. It would take years for this proposal to move its way through the planning and approval process, but ultimately it was quietly dropped and filed away. As of today, Cirque du Soleil has abandoned its ambitions (at least publically) of opening or operating any type of "Complexes Cirque" pursuing instead the expansion of its resident show program. /// LOUNGING AT THE EDGE OF WHAT? On October 15, 2004, a new world created exclusively for Celebrity Cruises by Cirque du Soleil was announced, and it was to materialize on select Celebrity ships beginning in December of that year. The spacious observation lounges on at least two of Celebrity's Millennium-class ships was to be transformed into the surreal atmosphere of "The Bar at the Edge of the Earth," which Celebrity and Cirque described as "a place that invites guests, for two hours every evening, to cross through the mirror to another universe." When Cirque du Soleil first announced its collaboration with Celebrity cruises, Cirque fans weren't surprised. CEO Guy Laliberte had often talked about expanding the Cirque "ethos" and style to other forms of entertainment. Cirque hotels and restaurants were early ideas, and the corporate-oriented "Tapis Rouge VIP Experience" tent had become a profitable mainstay of the touring shows. So it was really no stretch when Cirque announced that it would install "themed experiences" in two of Celebrity's Millennium-class cruise ships, Constellation and Summit. In "The Bar at the Edge of the Earth," surreal characters emerged for two hours on two evenings of each cruise to greet guests as old friends, not cruise patrons. "The Wave Correspondent" carried precious bottles containing mystical messages from the sea, and delivered them to chosen travelers visiting the lounge. "The Lantern Tuner," whose inexplicable desire to light dark places or to harmonize with existing lighting would constantly transform the atmosphere around him. Meanwhile, the abundantly curious "Pez Erizo," a large, round being, would wander joyfully, seeking to meet and delight all who cross his path. A Cirque du Soleil Masquerade Ball would also be presented once every cruise. "The Bar at the Edge of the Earth" also offered exotic food and beverages available exclusively within the venue. Representatives of Cirque du Soleil were to participate in Celebrity's "Celebrity Discoveries" enrichment lecture series on dates to be announced, and the two organizations were designing new Cirque du Soleil boutique spaces for select ships beginning in 2005. Unfortunately they didn't last and both concepts were eventually converted into more traditional cruise-ship bar spaces. But Cirque du Soleil would not give up on the dream to use its brand to expand into other venues of entertainment. The company, partnering with The Light Group, created THE BEATLES REVOLUTION lounge at the Mirage (a 5,000 square foot space decorated with 30,000 diachronic crystals to compliment its BEATLES LOVE show in residence at the hotel) and GOLD LOUNGE at City Center (a 3,756 square-foot space reminiscent of Elvis' mansion to compliment its VIVA ELVIS show at Aria). And it seems they're not quite done yet. This time last year it was announced that Cirque du Soleil would once again partner with The Light Group for a theatrical nightclub project at Mandalay Bay. "The Cirque-themed nightclub will have a show that's going to happen in the ceiling, in the walls and on the floor," a Light Group PR executive said in a statement. The new Cirque-Light venture would take over the sprawling space of the former - and now shuttered - Rum Jungle. It's theme? Michael Jackson, of course! # # # As before, the projects here are just the ones we know about, those that were leaked and thus only rumored to be happening, or had semi- official announcements made regarding the company's intention toward pursuing them. There very well may be dozens of other concepts and projects that we don't even know about... and will probably never have the privilege of knowing about. Although I'm sure there's plenty more out there we could touch on, such as what would Cirque du Soleil be today if ECLIPSE, the project Guy and his co-founders were working on during the Le Cirque Réinventé tour (1987-1990) to help branch the company out into more than one touring show at a time, had come to fruition; or had MYSTERE been installed at Caesar's Palace, the hotel-casino Cirque first pitched the show to; or had either the Walt Disney Company or Columbia/Tri- Star pictures had been successful in purchasing the company following the success of Nouvelle Experience's (1990-1993) tour. Alas we'll never know. But who knows what the future holds? ---------------------------------------------------------- "AMALUNA Premiere Reviews Coming in!" [EXPANDED] A Special Collection of Reviews in the Press ---------------------------------------------------------- Cirque du Soleil's AMALUNA held its world premiere on Thursday, April 19th and since then a number of reviews have come in. Most are decidedly mixed, suggesting the show needs a little more time to come together. While we here at Fascination agree that there's always room for tweaking (and that you must understand the shows as presented in Montreal are previews), AMALUNA is a fantastic show. We look forward to following it as it follows the sun for many years to come. Fascination will have its own detailed review of the show in next month's issue, due to be published May 4, 2012. In the meantime, enjoy these reviews from the Canadian press: "In Amaluna: Women Take Center Stage" FROM: The Montreal Gazette -------------------------------------- The human peacocks are dazzling, the mythical references delicious, the music edgy. But the most amazing thing about Cirque du Soleil’s new tent show, Amaluna, is that 75 per cent of the performers are women – of all ages, shapes and sizes. This differs not only from the Cirque du Soleil norm, but that of circus in general. Only so much can be discerned from brief excerpts performed at a media call. But as Cirque sneak peeks go, the Amaluna one that took place Wednesday packed an extra dramatic punch. The concept of this new $25 million show – which opens April 19 in the Old Port – grew out of a question posed by Cirque owner Guy Laliberté: “What would our world be today if women had been in charge?” It was then up to the show’s director of creation, Fernand Rainville, to find a female director. “The idea was to have a show about the power of women, putting the women’s performances up front,” explained Rainville, who was available for interview on Wednesday, along with other members of the Amaluna team. Rainville first became aware of the work of Tony Award-winning director Diane Paulus when he saw her revival of the musical Hair in New York, he said. (Paulus now has another hit revival on Broadway, Porgy and Bess.) Best known as a theatre director himself, Rainville was very much in tune with Paulus’s distinctly theatrical vision. “There was such an openness to working from a theatrical point of view on this show,” Paulus said. “And everyone was very committed to the idea of finding a core story that inspires the production. Of course, this is an acrobatic circus show. We don’t have text and language. So we’re dealing in very elemental storytelling techniques of gesture and physicality and image. But I think the idea was, ‘Let’s do something different.’ ” So Paulus took Laliberté’s words seriously, peopling the stage with a multitude of energetic women and helping them develop completely new acts. (Again, not the norm. Cirque usually books fully developed acts and works them into the show.) How did the Cirque feel about her 75 per cent female casting? “They were cool with that,” Paulus replied. In fact, she could have gone higher. “But I said, ‘We have to have some men in the show.’ You can’t just have all women. Because you need that energy. And if we’re going to tell ... of a journey in a story of love, we can have the yin to the yang – we can have a young couple that’s a man and woman. But the goddesses who rule the island are women. And Prospera, the central figure, the queen, the mother, is a woman.” And she sings. Prospera is a female version of the exiled magician Prospero in Shakespeare’s The Tempest. In Amaluna she’ll be surrounded by the preening peacocks and scarlet-clad female archers, along with her daughter, Miranda. “We’ve paid some homage to certain characters,” Paulus said. “Like Prospera and Miranda. And we have our unicyclists who are called the Ariels. So we have our little secret, hidden homages to Shakespearean characters.” So the creepy guy with the dragon tail was “sort of” Caliban? “That’s right,” she replied. * * * "Cirque's Amaluna Needs a Little More Polish" FROM: The CBC ---------------------------------------------- Cirque du Soleil premiered Amaluna, its newest touring show under the big top in Montreal's Old Port, Wednesday night. The opening night crowd of Quebec's famous and fabulous gave the production an enthusiastic response, despite a number of surprisingly sloppy moments. Amaluna's director Diane Paulus brings a more theatrical style, with more of a narrative than Cirque productions usually have. The story here is a loose re-telling of Shakespeare's The Tempest. Prospero becomes a singing and electric cello-playing Prospera. The enchanted island is peopled with Amazons, flying bats, a singing moon goddess, a charming Miranda and her sinuous, sensuous pet lizard, who also happens to be an awesome juggler. Storm washes up Romeo The storm that strands a boat-load of men is dramatic and exciting, enlivening an otherwise plodding first quarter of the show. One of the men is Miranda's Romeo, who spends the rest of the production pursuing her and displaying his remarkable physique and prowess. Cirque du Soleil CEO Daniel Lamarre says that Montreal is the company's toughest crowd. All the new touring productions debut here, and it is becoming tougher to impress us. It's why the company hired Diane Paulus, who made her mark with revivals of Hair and Porgy and Bess on Broadway. They asked her to create a show imagining what our world would be like if women were in charge. Paulus spent a year casting the women, and eventually hired acrobats, dancers and musicians from around the world. The women are one of the strengths of Amaluna - they're amazing to watch, strong and -- as a man sitting near me -- said, "hot." Spellbinding balance goddess As with all Cirque productions, the sets, the props, the costumes, the makeup are spectacular, and contribute to a spellbinding atmosphere. Some of the numbers are absolutely riveting, especially the quietest segment of all, with balance goddess Lara Jacobs. Using hands and a foot, she picks up a series of palm leaf fronds to create a mobile resembling an animal skeleton. She got the only standing ovation of the evening, until the show's finale. I am one of those Montrealers that Cirque du Soleil has a tough time impressing. Still, I went in with high hopes for Amaluna. Unfortunately, they were dashed. While there is a lot to appreciate, and there are some great moments, this production needs a lot more work. Some numbers need to be trimmed, some of the artists need to hone their skills a bit more, and some segments should be dropped altogether, especially the clowns. After all these years, Cirque keeps including clown routines that do not work, and merely drag the show down. Hopefully the next time Amaluna comes through Montreal, it will have been honed into the great show it has the potential to be. * * * "Amaluna Pushes Boundaries; Tells a Real Story" FROM: The Toronto Star ------------------------------------------------ When Cirque du Soleil opened Amaluna in Montreal this past April, I cheered it wildly for uniting the usual Cirque materials around the script of Shakespeare’s The Tempest, infusing the whole thing with a joyous female energy. I promised that it would “send your spirit soaring and bring your heart to places it’s never been before.” The version that opened at the Grand Chapiteau at the Ports Lands last week does all that. But, unfortunately, it doesn’t do it any better than it did in Montreal. There’s no doubt Cirque is in things for the long haul, but one would have hoped that, after over four months of performances, some of the show’s problems would have been addressed. What I saw was (possibly) a bit shorter, but that’s it. Amaluna’s very brilliance was the trap that it set for itself. Under the direction of Diane Paulus, much of the work moves with a seamless brilliance that dazzles. The female island wizard, now called Prospera, is a striking presence in the hands of Julie Andrea McInnes, and her innocent daughter Miranda (Iuliia Mykhailova) has the right mixture of coltishness and sexuality. Instead of Ferdinand, we have a young lover called Romeo, who, in Edouard Doye’s hands, has an awesomely sculpted chest, an expressive face and incredible skills with giant Chinese poles, as Act II reveals. There is no Caliban, but a serpentine creature named Cali that Viktor Kee portrays beautifully. And instead of Trinculo and Stephano, we have the clowns of Nathalie Claude and Pepa Plana who are still charming but — if my mind didn’t deceive me — started to wear out their welcome with additional material. We can also delight in Lara Jacobs, who still stops the second act cold with the way she takes 13 palm leaf ribs and slowly turns them into a living sculpture of incredible beauty. Is she the goddess Circe or Juno in this version? Who knows? All of this is wonderful and, with a driving score, superb physical design and striking choreography, most of the first act goes by superbly. But then you start to get the sensation that a few random circus acts have been stuck into the mix because Guy Laliberté still had them under contract and didn’t make his billions by wasting money. It escapes me what a lengthy section on the “uneven bars” or an even drearier chunk of “tight wire” performing by a quartet costumed as if they just stepped off Ed Sullivan are still doing in this show. Nobody would complain if Amaluna were 20 minutes shorter. If the right stuff were cut, it would be 20 times better. What’s there now is damn good, but it would be better if director Paulus came back to town, sharpened her razor, snapped her whip and nudged this whole enterprise into the seamless delight it’s capable of being. Being good is not good enough, not for Cirque du Soleil after all these years. * * * "How Beautiful Amaluna is!" FROM: The Montreal Gazette ---------------------------- Step right up folks! Be among the first to discover Amaluna, the matriarchal circus partially inspired by Shakespeare’s The Tempest wherein 75 per cent of the 52 performers are women and a spectacular Utopian vision of world harmony rules. While describing her first Cirque du Soleil show at a recent media event in Montreal, New York theatre director and Harvard professor Diane Paulus said the most beautiful thing about working on it has been collaborating with performers from around the world (15 countries). “I’ve done a lot of theatre,” she said. “but I’ve never done a show with this many people from this many countries.” She reflected that if members of her international cast can find a common harmony as they relate across language barriers in building the world of Amaluna, it will be “a little tribute to the power of theatre and art to promote that kind of communication.” On a more basic level, the show’s creative director, Fernand Rainville, remarked: “We’re just going to go in there and rock the house and make it a happening.” Previews of Amaluna begin Thursday under the big top at the Old Port. Successful happenings are something that Paulus handles well, having directed the Tony Award-winning revival of the musical Hair on Broadway in 2009. Her most recent triumph, a controversial, truncated version of the Gershwin musical Porgy and Bess, has won many accolades. Plus she is about to receive the Drama League’s Founders Award for Excellence in Directing, a huge honour in American theatre. Paulus is also known for her Shakespearean adaptations, such as The Donkey Show, a disco take on A Midsummer Night’s Dream. So it’s not surprising that Amaluna revolves around a female sorcerer named Prospera. But to give credit to men where such is due, it was Cirque owner Guy Laliberté who came up with the idea of a circus that would pay homage to women. And Rainville claims bragging rights for having recruited Paulus (the artistic director of the American Repertory Theatre at Harvard since 2009), after Laliberté sent him out to find a female director for the project. Cirque CEO Daniel Lamarre is confident that the show’s $25 million to $27 million budget is being well spent. “It’s an average budget for a tent show,” he said. “But it’s not an average approach to creation because I think we’re really going into a new world here.” He described Paulus as “a very strong woman who is not afraid of challenges.” Rainville, who was first introduced to the world of megaspectacle as assistant director for Montreal’s bilingual Les Misérables in 1992, has worked with Cirque since 2005 on various events like the children’s show Wintuk at Madison Square Gardens in New York. At Cirque, directors come up with the vision (Paulus worked with her favourite dramaturge, and husband, Randy Weiner on the Amaluna narrative). Creative directors like Rainville help to assemble the creative team, put together the “acrobatic skeleton” of the show, find the talent to make it work and collaborate closely with the director. Asked how Amaluna differs from other shows, Rainville replied, cautiously: “Working with women principally gives you a situation where there is more discipline. I found that throughout the process here there is a level of concentration that is – different. Women retain more. I would call it a certain discipline that allows you to move forward more rapidly.” Are the men feeling downtrodden? (The normal ratio for Cirque performers is two men to one woman.) “The men are doing fine,” he replied. “There are a lot of men involved in the overall production (including 14 male performers). There are men everywhere, in the creation team and so on. No, we certainly don’t feel overwhelmed.” In some areas, men still rule. Of the show’s 21 technicians, only three are women. The band is an all-girl ensemble, and all three singers are women, but the music is composed by two men (Guy Dubuc and Marc Lessard), who call themselves Bob and Bill. For men who appreciate female attention, “There’s a lot of that,” Rainville admitted. “It’s great.” More important, “In this project and in Diane’s vision, there’s something that speaks to our common humanity, something that we all share on an emotional level, whether male or female. What’s being put forward is a vision of a community with its own rules and its own mythology. It’s sort of like being part of a world that’s being created. And that world has a lot to do with the sense of community, the sense of common purpose.” On the practical side, yes, more washrooms were needed backstage. Also, there’s only one Amaluna act that requires a “porteur” (a strong-limbed acrobat or catcher who lifts and tosses other acrobats). But in that particular Icarian (foot-tossing) act, from China, the “porteur” is a woman. “We were surprised to find that out,” he said. “Usually the porteurs are male.” Other acts are more egalitarian. “A lot of strength and force moves are done on straps,” he explained. “And ‘straps’ is an equal opportunity type of performance thing. Women can do it much as the men do, and in a very powerful way. You should see their arms.” There are only two clowns in Amaluna, but both are women, one of them in male drag. They play the servants of the two lovers, Miranda and Romeo. Why Romeo, not Ferdinand? Rainville defended this oddity with: “Romeo is an iconic young lover’s name.” Up until recently, the pair didn’t even have stage names, he added. And, of course, the show is supposed to be mash-up of Shakespeare, Greek mythology and The Magic Flute. Anything goes. What about Miranda? “Miranda just felt right because it’s about awakening and that’s pretty much what the name means.” Other Tempest characters will be recognizable, with or without the program notes. There is a Caliban. “There’s a bunch of lizards and he’s sort of Miranda’s pet lizard. He’s a nemesis, a bad guy lizard.” The airy spirit, Ariel, will be represented by two Japanese unicyclists. “They are always buzzing about,” Rainville said. “They’re in Prospera’s posse, in her world.” Another member of that “posse” is singer Jenifer Aubry. She’s but one of three female vocalists in Amaluna, with Prospera herself (Julie McInnes) being the most imposing. “She (McInnes) has a lot of stage presence,” Rainville said. “She also plays cello and saxophone. She’s got a pretty big gig on her hands.” The third singer is Marie-Michèle Faber, as the Goddess Moon, who will be delivering her songs from high in the air on a hoop. Amaluna, after all, is a hybrid word whose combined meaning adds up to Mother Moon. * * * "Montreal Tests New Cirque Show, Amaluna" FROM: The CBC ------------------------------------------ Women are at the heart of Cirque du Soleil’s newest production, Amaluna, premiering in Montreal before it travels to other Canadian cities. The world-famous Cirque has 12 shows touring the world and nine permanent productions in cities like Las Vegas, Los Angeles and Orlando. Still, creators like to test new shows before a hometown audience, because they feel Montrealers are veterans when it comes to high- flying spectacle. "People in Montreal are now experts in Cirque du Soleil....and because the expectations are very, very high, we have no choice but to come with new material, new content," Cirque CEO Daniel Lamarre told CBC News. The challenge is to always find a fresh approach to material — and that comes with risk. In recent years for instance, the Cirque's Michael Jackson Immortal World Tour met with mixed reviews and its Banana Shpeel folded in less than a year. Amaluna — Ama means mother and Luna (moon) is symbol of femininity — started with the question of what the world would be like if it were run by women. It features strong women of history and literature, from the Amazons to Shakespeare’s Juliet and Miranda, as well as Queen Prospera, who directs her daughter’s coming-of-age ceremony in a rite that honours femininity, renewal, rebirth and balance. Cirque hired Diane Paulus to direct. The New York-based theatre and opera director has drawn attention for her productions, including her Magic Flute for the Canadian Opera Company and Porgy and Bess on Broadway. "All her new shows she was producing were really on the edge. And the challenge at Cirque du Soleil is always to maintain creativity and we like to have someone from outside, like her, to come and challenge our internal team to do something new...We have to get people surprised — every time it's becoming tougher and tougher for us," Lamarre said. Paulus is working with a largely female cast and has loaded her script with Greek and Roman goddesses as well as Shakespearean heroines. They’re still swinging high on wires, but one young contortionist also swims in a giant fishbowl, conjuring life in the womb. "The symbol for me of womanhood is regeneration, the idea of giving birth, the imagery of the moon, of water, the idea that women can bring new life to the planet," Paulus said. * * * "Amaluna: Poetry in Acrobatic Motion" FROM: The Montreal Gazette -------------------------------------- Yes, a circus can be more than just a circus. Director Diane Paulus has created an isle of enchantment under the Cirque du Soleil big top with her richly theatrical, hauntingly poetic Amaluna. We’re invited us to wonder, like Miranda does in William Shakespeare’s The Tempest: “How beauteous mankind is! O brave new world that has such people in’t.” A winsome Miranda (Ikhertsetseg Bayarsaikhan) spends much of her time gazing in awe at the acrobatic feats which are being performed before her eyes, when she’s not balancing on one hand or diving into a gigantic bowl of water herself. Within the course of the show she develops, as a character, maturing into a woman. Cali (or Caliban) her pet lizard turns homicidal when he senses a rival. (He’s played by master juggler Viktor Kee who can roll balls along his arms, down his back and over his head, with panache.) In addition to assembling many delightfully original, often fiercely feminine acts for the first Cirque ever dedicated to women, Paulus has given them meaning within a narrative loosely based on The Tempest. When Miranda is spirited away upwards, her lover Romeo (Why not Ferdinand?), played by Édouard Doye, climbs a pole, arms only, in hot pursuit, proving his devotion as well as his muscle. Prospera (Julie McInnes) hovers over her mini-kingdom, singing and playing cello. Her fairy Ariel is represented by a pair of unicyclists, glistening gold, one of whom had a slight mishap on opening night. As did a male member of the tightrope foursome that danced lightly upon the ropes. But graceful recoveries happened quickly, and the show flowed on. Aerial acts, whether on straps or a hoop (the Marilyn Monroe-sexy, singing moon goddess), dominate in Amaluna. There are flying bats (actually a god and goddess of the wind in the tumultuous storm scene) and turquoise-clad amazons doing daredevil flyovers that make Spider- Man: Turn Off the Dark antics pale in comparison. A fast-paced icarian (foot-tossing) number creates a firefly (or flying meteor) illusion when the objects being swung at the end of belts are lit up in the dark. Peacocks with fan tails preen in the background. (Mérédith Caron’s costumes are ravishing, a steady parade of glamour, wit, gossamer and bold colours.) There are only two clowns (the adorable Pepa Plana and her blustering suitor, Nathalie Claude), a mock-romantic duo. They do a wacky birthing number that turns into a lullaby hum-a-long, making sentimental fools of us all. In pre-show interviews, Paulus cited non-Shakespearean influences for Amaluna, such as Ancient Greek myths and The Magic Flute. She failed to mention Swan Lake. During the first half, there’s an exquisite balletic moment, smoothly performed by a peacock goddess (Amy McClendon) in swan white. It’s a sensual, meditative turn, after much frenetic activity, plenty of percussion and many assertive electrical guitar riffs. But the most stunning act of Amaluna (the one which drew a sudden standing ovation on opening night) is even quieter. Lara Jacob Rigolo’s ritualistic bone-balancing number in the second act elicits a hush in the tent, as she slowly builds a treelike structure, lifting each piece into place with her foot. Within the Cirque du Soleil canon, the closest comparable to Amaluna is Robert Lepage’s Totem. Like Lepage, Paulus uses her theatrical cards brilliantly while playing the circus game. Bravo! * * * "Les six travaux d'Amaluna" FROM: La Presse {Translated from French} ----------------------------------------- A few days before the world premiere of the new show under the Cirque du Soleil marquee, La Presse spoke with the Amaluna designers to give you an overview of the six issues that were created specifically for this 32nd production. This "tribute to women" show staged by the American Diane Paulus is based in particular on La tempête de Shakespeare. The famous character of Prospero, magician and shaman exiled by his brother, underwent a small transformation of kind to become queen Prospera, who governs an island populated with goddesses. It is in this island defended by Amazons and where appear all kinds of bizarre creatures, including giant peacocks, that the Circus takes us this time. After Robert Lepage's Technological Totem , which dealt with the evolution of the human species, this Amaluna (which contains the words mother and moon) is much more refined and draws on the great symbols of Greek mythology. We will follow the adventures of the young Miranda, daughter of Prospera, who will live her first love with one of these men who land on the island following a storm caused by her mother. Amaluna also explores the mother-daughter relationship and filial ties, according to Diane Paulus, known for her Broadway musicals. The director has created several segments sung in this acrobatic play conducted by 36 female interpreters (out of 52). Cirque du Soleil hopes to run its newborn, produced at the cost of 27 million, for the next 15 years, according to its general manager, Daniel Lamarre. You can see the following disciplines: jumper board, icarians games, unicycles and other equilibrium numbers. But here is a look at the six original issues of Amaluna. The asymmetric bars Without doubt the key number of Amaluna . The aircraft itself, which has two triangles (one large and one small), was designed by acrobatic equipment designer Fred Gérard, who was inspired by the equipment used in international gymnastics competitions. The biggest challenge in its construction: "Combining lightness and stability," he says. The seven performers, all of them girls, are ex-gymnasts, mostly American. One Canadian is on the team, Brittany Urbain, from Edmonton. "We wanted to show the beauty and brute force of the girls," says Rob Bollinger, acrobatic performance designer, who began his career as an artist in Mystery twenty years ago. 'C' Is a unique number, which has never been done before, "he said. The training of girls, who had no circus experience, began in August, once the aircraft was built. "One of the originalities of the apparatus: some bars are close enough, allowing artists to make more artistic figures; Others are more spaced out, allowing acrobatic performance to grow, "said Rob Bollinger, who also worked on the acrobatic design of Zaïa (in Macau). Allowing artists to make more artistic figures; Others are more spaced out, allowing acrobatic performance to grow, "said Rob Bollinger, who also worked on the acrobatic design of Zaïa (in Macau). Allowing artists to make more artistic figures; Others are more spaced out, allowing acrobatic performance to grow, "said Rob Bollinger, who also worked on the acrobatic design of Zaïa (in Macau). The wire This is a number four (two pairs). The particularity of this issue created by the French company, Les colporteurs (Agathe and Antoine), is that it has four wires of two different heights (five and six feet) in a triangular configuration. "We have incorporated this issue created by Les colporteurs at the request of the Cirque to illustrate the loss of landmarks of lovers of Amaluna , who are in a kind of purgatory, suspended between sky and earth," explains Rob Bollinger. Among the four performers, there is a Quebecker, Madeleine Prévost- Lemire. Balancing around a bowl of water The bowl of water is one of the central elements of the Amaluna decor . Cirque du Soleil had designed a similar object for the Zumanity show (in Las Vegas), but it was necessary to design a bowl capable of traveling easily for the tour. Fitted to the swivel stage. Filled, it weighs 6000 pounds. It is the character of Miranda, young woman who lives his first love with Romeo, that we will see a number of balance on canes around and inside the bowl. It is Ukrainian Iuliia Mykhailova who will play this role, alternating with a Mongolian contortionist and contortionist who gave an overview of the media number last week. Air straps The particularity of this number three is that the straps are hung on a carousel of 7 meters in diameter, activated by three motors which makes it rise, descend and turn in both directions. A device never used. One of the three performers who will fly over the audience is Andréanne Nadeau, an aerial hoop specialist who graduated from the National Circus School in 2010. The young woman had to take ownership of this new discipline in a short time. The biggest challenge, she said, was to create the aerial choreography, "to imagine the patterns of flight, so that there is no collision and so that the threads do not intersect." Sandbags were used to test these choreographic movements. Chinese masts A first issue of six Chinese masts will be presented in an acrobatic painting called The Enchanted Forest . The three masts hanging on the carousel will go up and down, creating a real ... carousel movement. Three female interpreters will participate in this air dialogue with three men who will answer them on fixed masts. A fixed mast solo number will also be presented in another segment. A number embodied by the character of Romeo, the lover of Miranda, interpreted by the French Édouard Doye. Air hoop This number run by Marie-Michelle Faber is scheduled just before the equilibrium on canes. In the role of the goddess of the moon, the interpreter will make her hoop number over the bowl of water while singing. "It's a very demanding acrobatic number," says Rob Bollinger, "especially because Marie-Michelle must also find the breath to sing." Acrobat Andréanne Nadeau also trained for this role as a back up. * * * "Amaluna: a raw sound from Bob & Bill" FROM: La Presse {Translated from French} ----------------------------------------- In a creation centered on femininity where, for the first time, the music will be delivered by an orchestra entirely by evening, Cirque du Soleil entrusted the composition of the music to ... Bob & Bill. "For Amaluna, the drive was to get out of the world cycle," says Bob. Or is it Bill? As the name suggests - and unlike, for example, the French Trio Twin Twin - Bob & Bill form a true duo whose members, in the city, respond in the name of Guy Dubuc and Marc Lessard. We owe them the music of the game Splinter Cell (Ubisoft) and that of Totem by Robert Lepage. This duo of 15 years of age realized the CD Bahiatronica of Monica Freire and the remix Pink Floyd Redux . At the Cirque, they worked on the soundtrack of Kooza and directed the " Orchestra at the famous Midnight Sun of the 25th Jazz Festival (2004), which also celebrated the 20th anniversary of the Circus. Bob & Bill, not to be confused with Bob & Pine, of another time ... And Bill (it's maybe Bob) to continue: "Guy (Laliberté, the "guide ") wanted a more raw sound, to surprise, not necessarily more rock but we still find ourselves with two guitars ..." And a heavy rhythm section with a drummer and a percussionist, Mireille Marchal, one of the first Québécoises to practice "percussion" hands without going through the drum. "As a former gymnast, I appreciate the physical commitment," says Mireille Marchal who has already played in an all-female band (in Les SouveReines, a show by Hélène Pedneault). "I cannot say that I sensed a feminine aspect in Amaluna's frame: it is very muscular and some spectators will be surprised by the energy of this band of girls." The musicians, we are told, will be "very visible" and some will be able to move on the track. The regulars of the Circus will not be disoriented. The singer Jenifer Aubry, even if she "opens up en masse" as Bob & Bill say, fits perfectly into the vocal tradition of the blue and white marquee. Like her predecessors, the Québécoise sings in this "invented language" that does not know the difference between Me and the Other. Cosmic, powerful voice ... and without accent. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly publication, available through subscription via the World Wide Web in text format at the newsletter's website: < http://www.CirqueFascination.com/ >. To subscribe, please visit our website and enter your name and email address in the "About Fascination" box and press Subscribe. You,ll receive an email to confirm your selection. Once confirmed you,ll be added to our mailing list. To Subscribe via Realy Simple Syndication (RSS) Feed (News) use the following: < http://www.cirquefascination.com/?feed=rss2 >. To view back issues, or other online Newsletter content, please visit us at: < http://www.CirqueFascination.com/ >. Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 12, Number 5 (Issue #100) - May 2012 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2012 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. { May.01.2012 } =======================================================================