======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 13, NUMBER 09 September 2013 ISSUE #116e ======================================================================= =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub * Networking -- Posts on Facebook, G+, & YouTube o) Compartments -- A Peek Behind the Curtain * Didyaknow? -- Facts About Cirque * Historia -- Cirque Company History o) Fascination! Features * "The Wider World of Cirque-Centric Podcasts" By: Keith Johnson - Seattle, Washington (USA) * "Still a BeLIEver?" - BELIEVE Celebrates 5 Years By: Ricky Russo - Atlanta, Georgia (USA) * Michael Jackson ONE: "Hope, Love, Unity, 'ONE'" Special Reprint from MJ World [EXPANDED] o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Cirque Coming to VOD {Aug.03.2013} ---------------------------------------------- Gravitas Ventures has struck a deal to become the exclusive VOD distributor of a variety of Cirque du Soleil programs that include performance specials featuring the live shows as well as behind-the-scenes documentaries that highlight the creative process of a Cirque du Soleil show. The titles are available for the first time to a North American audience on VOD. The first programs, Kooza and A Thrilling Ride Through Kooza, will be available on Aug. 6. Additional programs that will continue into September as part of a Season of Cirque du Soleil, which will include four other specials: Delirium; Hatching, a documentary about the creation of Ovo; Flow: A Tribute to the Artists of O; and The Mystery of Mystere. Having been enamored since my first Cirque du Soleil performance nearly 20 years ago, I am thrilled that Gravitas will bring such awe-inspiring art into the VOD marketplace," Melanie Miller, Gravitas vp, acquisitions and marketing, said. "We are excited about our new relationship with Gravitas as it will enable us to extend the live show experience and bring additional content to viewers who will now have the opportunity to watch Cirque du Soleil programs for the first time on demand, at their convenience, and on the platform and device of their choice. In addition, Gravitas will be showcasing certain programs based on shows that are no longer performing live and hopefully this will be exciting for our fans and new viewers alike." Tracey Errico, director of programming and distribution at Cirque du Soleil, commented. { SOURCE: The Hollywood Reporter | http://goo.gl/NJQiK4 } Desigual Launches Special Collection {Aug.12.2013} ---------------------------------------------- Desigual, the Spanish casual wear brand, has launched a new collection inspired by Cirque du Soleil to promote the upcoming Michael Jackson's Immortal World Tour, which stops in Hong Kong 23 to 25 August at the Asia-World Expo. The campaign includes a new collection of Cirque du Soleil- inspired garments. The company is also using Jackson's concert visuals as its window display, and will be handing out one free concert ticket with each purchase valued at HK$3288 and over. Both Desigual and Cirque de Soleil are doing social media marketing drives on Facebook and Weibo. A spokesperson from the marketing team of Desigual Asia's Hong Kong office told Campaign Asia-Pacific, that they were collaborating with the Canadian entertainment company because they both shared the same culture and style by being positive, colourful and energetic. As a new brand in Hong Kong, Desigual has opened its stand-alone store in New Town Plaza in Shatin only on 1 May, with a brand slogan: "Be Different". Unlike their counterparts Abercrombie & Fitch, GAP and H&M, the company did not carry out a big launch campaign, explaining that "we need to slowly educate our customers to our colourful and gypsy-inspired clothes collections, which stand out." Apart from Cirque du Soleil, Desigual has been running ongoing collaborations with French fashion designer Christian Lacriox, as well as Disney. As reported on 8 August, Budweiser is sponsoring Cirque du Soleil's Michael Jackson The Immortal World Tour, as part of its 'Made for Music' global marketing campaign. { SOURCE: Campaign Asia | http://goo.gl/tjki2R } OVO in Taiwan Poster! {Aug.12.2013} ---------------------------------------------- Check out OVO's Chinese Language poster here! LINK /// < http://www.cirquefascination.com/?p=4073 > { SOURCE: Cirque du Soleil } A "Collective Gasp" for MJ IMMORTAL in Beijing {Aug.14.2013} ---------------------------------------------- Cirque du Soleil which has hardly made a move out of step on stage, has had to quickstep to repair a faux pas when opening its "Michael Jackson THE IMMORTAL World Tour" in Beijing. The Canadian art troupe surprised its Beijing audience by flashing a photo referencing to the 1989 Tiananmen incident, during an act to Jackson's track "They Don't Care About Us". According to reports, the image was flashed on stage for some four seconds as part of a montage. Although the image of the famous 'tank man' who tried to stop military tanks during the protest had been digitally manipulated to include Michael Jackson, the photo reportedly drew an audible gasp from the audience at the Wukesong MasterCard Arena in Beijing. The original image taken by Associated Press, is banned in the country. Cirque du Soleil is said to have since removed the photo from the presentation which was reportedly vetted by Chinese officials. The "Michael Jackson THE IMMORTAL World Tour" celebrates the musical legacy of the pop artist who died in 2009, through his music and dance that takes place in a fantastical realm. The Cirque du Soleil show is slated to continue its run in Shanghai and Hong Kong, before touring Australia and South Africa. { SOURCE: Channel News Asia; http://goo.gl/0xTLuC } Cirque du Soleil & Analytics {Aug.14.2013} ---------------------------------------------- Here's what Cirque du Soleil knows about its typical ticket buyers in North America: They are between 35 to 55 years old. They live in households that earn more than $100,000 per year. Just over half (52 percent) are female. And most of them won't drive more than 60 minutes to see a show. That last data point is a critical one, said Axel Bedikyan, director of marketing intelligence and planning at Cirque du Soleil. The company sold 15 million tickets in 2012, but there is a big opportunity to grow: only 20 percent of North American consumers have seen a Cirque spectacle, in spite of broad market awareness. Bedikyan said his company Bedikyan was one of several speakers at the Esri Business Summit, held in July in San Diego. There, executives discussed the challenges involved in implementing location analytics. The biggest issue cited by Bedikyan, as well as executives from retailers like Starbucks and Petco, was winning acceptance across their organizations for what analytics can do. This effort requires communicating with IT and business leaders about the need to think differently about the data they collect and analyze for decision-making, like where to hold a performance or where to build a new store. For analytics champions inside an enterprise, "the magic does come when you find a BI or IT counterpart," said Mark Smith, CEO and chief research officer at Ventana Research, during one of the sessions. It's not enough for one business group to be a service center for another, Smith said, suggesting that such an arrangement would inhibit adoption. A proof-of-concept project to justify the ROI of analytics is a good tactic to win support, he added. Getting Others to Join the Analytics Circus At Cirque du Soleil, Bedikyan said he has sought to build alliances with marketers in the different units of the global company. For example, he showed his colleagues data that correlated the three locations of recent performances in the Dallas metropolitan area, with the drive times to the particular venues. The analysis showed that a 2011 show at Dr. Pepper Arena, earned better results than a 2007 show at Fair Park and a 2012 performance at 500 Memorial Drive. The results matched demographic data that showed the Dr. Pepper location was a shorter drive for Cirque du Soleil's typically affluent audience, he said. This kind of finding "provides a new hypothesis that we can go and test" in other locations, Bedikyan said. Bedikyan said the goal of such projects is to breed analytics champions within different business units, especially among marketing professionals, and he cited four factors to working with marketers: 1. Engage creatively with people who can become ambassadors in the business units. 2. Understand drivers and barriers for them to using analytics. There were people who might be interested in adopting analytics but hesitated. "As we went along, we came up with ways to help them use it," Bedikyan said. 3. Start small. He suggested concentrating on one or two markets at first. Brainstorm with colleagues working there, and then spread ideas based on their experiences to other executives. 4. Get the analytics team staffed right to support the spread of analytics capabilities. "Quality is more important than quantity," he said, adding that he had hired a person who has expertise in both marketing and geographic systems for his team based at headquarters in Montreal. Bedikyan said his campaign would continue. "We are just starting our journey. Three years ago, we were blind. Today we are location aware," he said. "We're making this information enterprise-wide, if anyone from marketing or [other] executives wants to, they can pull up an update." { SOURCE: Data-Informed.com | http://goo.gl/Y6wWvJ } What is John Gilkey Doing Now? "Wet the Hippo!" [EXPANDED] {Aug.21.2013} ---------------------------------------------------------- The sets are gone, and the costumes, and that giant blue-and- yellow tent. Master clown and performance maker John Gilkey has ended his fourth stint with Cirque du Soleil since 1996. But if the wiry, often wild-haired Gilkey is no stranger to the big time, he moves just as ferociously through a bare stage in a small venue wearing not much more than, these days, a bushy beard. It's been three years since Gilkey last performed in San Francisco — flanked by comedians Alec Jones-Trujillo and Donny Divanian, the deadpan naïfs of his avant-comedy trio, We Are Nudes. Just as the very funny yet vaguely unnerving, off-center style of Nudes occupied some indeterminate territory between sketch comedy and Dadaist destruction, Gilkey's latest venture — the Los Angeles–based eight-member improvisational ensemble known as Wet the Hippo — takes its audience beyond the usual endpoints of improv. Born out of his Idiot Workshop classes in clown, Wet the Hippo is a big, brand-new baby of a beast, only four months old but charging forward with gusto — and an edgy, searching brilliance Gilkey is clearly thrilled with. He is frankly in love with his cast members, with whom he interacts as director, prodding them from onstage and off. Ahead of their first tentative tour (a three-stop zero-budget swing through Arcata, Placerville, and SF), Gilkey picked up the phone from his LA roost to talk Hippo- thetically. Q. Wet the Hippo is quite a change from Cirque du Soleil, more low-to-the-ground, very much autonomous. Yeah, what we're doing now — there's eight of us, there's no budget. Low-to-the-ground is a good way to put it. Q. It's a big contrast, but maybe there are similarities? One way I describe the show: I'm taking everything I learned from Cirque about the creation process they have. (Although I should be clear about that: the creation process changed after Franco [Dragone] left.) But I was on Franco's creative team for [his independent Las Vegas spectacular] Le Rêve —I've taken that process and I've applied that to this 10-dollar-a-ticket show with eight people. It's an amazing contrast. And in some ways it's quite similar. When I'm working with the performers, I work with them similarly to Franco in that he's trying really to get to the nut of the person. His number one question is, "Who are you?" He's trying to figure out what is it about this person that's interesting. Their strengths, their weaknesses, their physicality, their voice, all this stuff — how can we magnify this person into an interesting stage presence? I do that with my little cast here. Q. It's an improvised show, but it's clearly not the Harold, or other improv forms we're familiar with. It's something new that we're trying to do, so we're learning about it, discovering it as we go forward, as we search. It's an evolving process. But what I'm looking for as the director, both offstage and onstage — or the conductor-director when I'm onstage — is to try to get everybody buzzing, ringing, in tune, and then see how they harmonize. I think when we hit, it is music. It's on a level you can't quite put into words. This is when we succeed. We don't always succeed. Part of the show is us searching for that, which is also fun. We play a lot with success and failure. When we're failing we try to really make sure that we acknowledge it and somehow use it to our advantage. Q. How can failure work to your advantage? One thing we're discovering is that the highs aren't as high if the lows aren't as low. So that's one reason to fail. And I tell people when we're rehearsing or in the classes that I teach (all of this came out of these classes): This is the spirit of clown. You're always looking to get yourself into danger. You want to be in danger. That's where the drama really comes. Instead of pretending, we try to really get into danger. Q. This is an exploration that goes beyond the usual endpoints — something riskier, unknown? In standard improv, in standard comedy, you're going for the laugh, always. I believe there's something that is greater than the laugh. Maybe the easiest way to say it is that it's the sublime. And the way to get to the sublime is to ask an actor to play at their most genius level — either absolute smartest or absolute stupidest. It's not a linear progression from stupid to genius; it's circular. It's where they meet. It's where the genius in you meets the idiot in you that you become so beautiful that you hit sublime. It's beyond laughter. It's the moment where you get your mind blown. { SOURCE: San Francisco Bay Guardian } LIGHT: Cirque Joins the Party {Aug.29.2013} ---------------------------------------------- Hours before coy, fantastically costumed characters greet guests at the doors of Light at Mandalay Bay, Cirque du Soleil performers are already busy preparing for the night's show, stretching, climbing silks and flipping inside cantilevered hoops that dangle behind the plexiglass wall above the DJ booth. Artistic director Hassan El Hajjami scans the scene from the floor below, calling out instructions in rapid-fire French as they put the finishing touches on the evening's choreography. "For me right now, it's a success. Everybody is talking about the club. Ibiza is talking about the club," says the Cirque veteran and international dance champion, also known by the stage name Haspop. In the months since it opened Memorial Day Weekend, Light, the latest addition to the pantheon of Strip nightclubs, has created some serious buzz for its partnership with Cirque du Soleil and residencies from dance music's freshest stars, including Skrillex, Krewella and A-Trak. Light goes beyond the dancers and aerialists that have been a staple of the Vegas club scene since the days of Studio 54 by incorporating the narrative storytelling elements of Cirque shows into the spectacle of its DJ sets, an idea Hajjami brought to the table when he was enlisted to head up the show creation process for the club late last year. Much like Cirque productions use fantastical narratives to present their acts and move the show forward, Hajjami and his team developed storylines for 15 or so themed tableaus that blend live performance and high-tech visuals from production company Moment Factory to enhance the resident DJs' sets. "My idea was to take a storyline and put it in the club. When I have an artist up there, they're not just doing an act. They each have a story, they have a costume, they have makeup," Hajjami says. The tableaus center on loose aesthetic themes like "Vampire," which features dark colors, animal-like costumes and choreography mimicking a vampire-werewolf battle. "Orgy" employs writhing harness acrobatics, and "Underwater" has cool colors and soft movements. In the days before a headliner's scheduled set at Light, Hajjami and his team will tailor a set of tableaus according to a selection of songs and style preferences provided by the DJ, tweaking lighting and movements to match signature beats and rhythms. The narratives may not be explicitly obvious to the average patron on the dance floor, but Hajjami says their purpose is ultimately to enhance the sense of immersion and otherworldly escape that the club strives for. "I want the experience to start right away at the door," Hajjami says. "My job is to take the energy to a high level and keep it there throughout the club." { SOURCE: Las Vegas Weekly | http://goo.gl/p6CZcq } Kite Flashmob to Take Over Moscow {Aug.29.2013} ---------------------------------------------- Friday, August 30, 2013, the famous Cirque du Soleil will organize a unique event to celebrate the construction of the legendary Big Dome at the Luzhniki Stadium. The construction of the Dome will definitely not go unnoticed. Cirque du Soleil plans to make it bright and cheerful, launching kites while 60 workers raise the Dome. The public is encouraged to participate, dressed in stripes, and bringing along a self- made kite. The best kite wins two tickets to Kooza, a return to the origins of Cirque du Soleil, which combines two circus traditions – acrobatic performance and the art of clowning. There will be other prizes too, including an invitation to the premiere for the most original striped outfit, and t-shirts by Kira Plastinina for Cirque du Soleil, a limited edition t-shirt with a print that reflects the main Inspiration of this production. All participants in the kite flashmob event will get the opportunity to buy tickets for the Kooza show at the best available prices. The event on Friday already has 210 fans on Facebook who confirmed that they will participate, and will also be joined by kite flying professionals from Prokite. The adrenaline-filled show will begin its tour in Moscow September 7, 2013. Visit https://www.facebook.com/events/209622229197043/ on Facebook to register for the event. { SOURCE: Argophilia Travel News | http://goo.gl/r8LiGf } FORBES: The Technology Behind The Las Vegas Magic of Cirque du Soleil [EXPANDED] {Aug.30.2013} ---------------------------------------------- Some of us have been lucky enough to see a Cirque du Soleil performance at one of the great venues in Las Vegas, or anywhere else around the world. The drama textbooks will remind you that one experiences a "willful suspension of disbelief" when watching a dramatic performance. But, Cirque du Soleil cannot be lassoed into any single artistic category. It's an art form you have to live in at the moment. You carry with you a kind of evolving, artistic impression that is different every time you see a show like this. I spoke with Tom Wegis, the Operations Production Manager of The Beatles Love. We talked about his experience in orchestrating the various technical departments of the production, and how they create the signature magic of Cirque du Soleil on The Beatles Love night after night. The Beatles Love Theatre at The Mirage used to house the Siegfried & Roy show, and Cirque du Soleil had built out a $125 million custom-built theatrical and technical environment for The Beatles Love production with its 2,013 seats surrounding the stage in a complete circle. To give you an idea of the show's complex performing space, there are three main theater levels that the crew works on during the show: the basement 81 foot level, the 100 foot main stage and backstage level and the low- grid 152 foot level. There is also the sub-basement, 10 feet below the basement level, where the motors and automation machinery is stored, and a high grid above the stage from the pre-existing Siegfried & Roy stage structures. Working out the mechanics of the traps and the 'sloats' [sliding, lifting, opening, automated traps] was a difficult process. One advantage of the physical proscenium structure (called the "G-Line" or "Abbey Road") that was left in place from the Siegfried and Roy days is that it cuts the stage in half, leaving an 8-foot gap across the whole width of the stage. This is used to fly scenery in and out of the dividing line and for acrobatics. The main stage has seven different stage lifts, four different traps and two sloats, whose dividing line is the demarcation identifier for the stage's lifts, traps and sloats. The stage lifts use rack and pinion motors instead of hydraulics. The props that interact with the acrobats seem like regular stage props: a clock, a telephone box and brick walls. But the performance artists can walk, spin, jump and bounce off them. But here's the amazing part about the props onstage: 85% of the floor is mobile, only 15% doesn't open, and it's almost impossible to put things between two hatches or lifts. This physically small margin of performance error places an incredible weight of responsibility on acrobatic and rigging designer, Guy St. Amour, for the safety of all the performers who place their trust in him. When The Beatles Love first premiered in the summer of 2006, it was the first time in Cirque du Soleil's 22-year history that they had based a show around music rather than acrobatic performance. So, how does the show manage to seamlessly balance old-school, physical performances of aerialists, acrobats, trapeze artists, dancers and even clowns with state-of-the-art technology? The secret is automation. Cirque du Soleil uses a lot of automation in Las Vegas shows. Automation is adapted from its industrial roots and is made to work in the theatrical space, but according to Wegis, it all begins with the artistic process of the Cirque du Soleil creative teams. "They come up with a concept. There are no boundaries with the concept." And the technical staff is responsible for bringing that concept to life, whatever that is for the show. The Beatles Love as a show has one of the most complex automation deployments in theatrical performance history. Stage Technologies was contracted to design the automation control system, and even the rigging, all of which was set up in less than a year. The automation system allows the utmost flexibility during performances. Stage Technologies supplied 142 axes of automation for the show in order to move complex combinations of platforms, screens and set elements smoothly from one scene to the next. Custom-designed rotating frames, called tracks and trolleys, were created to carry flying performers across the roof space. Below is a list of the automated stage machinery that is used in the show. o) 4 Nomad control desks o) 5 Solo handheld controllers o) MaxisID theater automation control system o) 13 tracks and trolleys o) 62 BigTow winches o) 5 main lifts o) 2 trampoline lifts o) 4 articulating trap systems o) 2 sloat mechanisms o) 2 additional stage lifts The complex automation sequences are programmed with advanced software, eChameleon and Visual Creator. The Beatles Love is a very challenging performance environment, as it has more aerial performance than any other Cirque show, Wegis tells me. At the beginning of the performance, there are 18 people flying in the air at one time. It is melding this performance art with the technology, and bringing them together to create. The director’s artistic vision for the show is laid out for the rest of the entire creative team. It begins with a preliminary storyboard: some of the scenes are laid out, with what the director wants to see in the scenes. But Wegis stresses that there are no constraints on the creative process within Cirque, which has plenty of deliberation and discussion. The show began rehearsals in Montréal, and completed the initial rehearsal runs there. After a year of rehearsal of parts of the show in Montréal, the team came down to Las Vegas and started working in the performance space of The Beatles Love Theatre. It was at that point that the creative direction started working out the balance between technology and physical performance: how many people were going to be in the air and on stage. The concepts were there, but it took eight months of rehearsals in the space before the show ever opened to perfect this fine integration of high tech and old-school performance. Wegis recalls many difficult, technical challenges that he had to face when putting this show together. The challenge is the technical process of supporting a creative concept and making it happen in the show with technology down in Las Vegas, and not in Montréal. “We’re dealing with systems here, for this show that were, seven years ago, some of the most advanced systems in the world” he confirms. The playback system for the sound had never been done before. The Beatles Love is the only Cirque du Soleil show that doesn’t have a live band, and only uses the recorded music of the Beatles. The sound system has several built-in nuances. The room is designed acoustically, because the music drives the show. It is the first show to have 6,000 speakers in the seats of its performance space. There are three speakers in every seat and there are about 2,000 seats in the house. The audio is intimately linked with the projection, and The Beatles Love is what Wegis calls “a heavily-projected show.” The entire projection system has been changed out since the start of the show’s run. The way Cirque does things is to assign all the individual responsibilities of the sound, lighting, projection, automation and carpentry to project managers when the show is put together, and the project managers cooperate in expertise to bring the consummate artistic vision to life. Cirque du Soleil has brought in the best companies in the entertainment business to create The Beatles Love. The sound designer is Jonathan Deans, one of the best live entertainment sound designers in the world. He is an accomplished sound mixing engineer and sound designer, and with Michael Jackson One, Deans is creating the sound system and the audio environment of his fourteenth Cirque du Soleil show since Saltimbanco in 1992. The video projections designer is Francis Laporte, whose task is to integrate digital video production and projection technology with more traditional live show forms. He fully deployed this artistry in the Varakai show for the first time, and continued the approach with The Beatles Love, Wintuk and now in Criss Angel Believe. In The Beatles Love, custom software syncs projection cues that are programmed with recorded music and play out on 100-foot panoramic screens. The real-time authoring system can make last minute changes to mix and change layers of images during rehearsal and during a performance. The lighting designer, Yves Aucoin, is the lighting designer for Celine Dion and many other shows. Even for the concept of lighting on stage, it begins with an idea from the artisitic director and the lighting designer then takes that vision and puts it to the stage as they want to. Aucoin used a lot of moving lights. The Beatles Love uses a lot more moving lights than most shows have, a signature development pioneered by Aucoin. Wegis calls the production ”one of the most beautiful shows I’ve ever seen, lighting-wise.” Wegis tells me that he can’t choose one thing he is most proud of. He started out as the head of automation on the show, and feels partial to that technical area of expertise, understandably. He recalls that when he started with the show, the performance area had a lot of concrete construction that remained from the Siegfried & Roy show, and there were walls that weren’t even built yet. At the end of the performance day, after the stage becomes dark, it’s about the people behind the technology that matter the most. “More than anything else, I really enjoy working with all the people here. The cast and the crew, they are an incredible bunch of people.” Wegis tells me that when the daily grind starts to get to him, all he has to do is catch the beginning of the show, and stand where the audience is seated to recharge. After the kabukis fall shortly after the show starts, Wegis tells me “there’s just this life that’s there in the show, that’s the life of the show, that’s like, ‘here it is’!” It’s a wonderful thing to be able to give that to 2,013 people every night.” { SOURCE: Forbes | http://goo.gl/djxcN4 } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem & Varekai} o) ARENA - In Stadium-like venues {Alegría, Quidam, Dralion & MJ Immortal} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, Zarkana & Michael Jackson ONE} 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: Minneapolis, MN -- Sep 26, 2013 to Oct 20, 2013 San Francisco, CA -- Nov 15, 2013 to Dec 219, 2913 San Jose, CA -- Jan 22, 2014 to Feb 9, 2014 New York, NY -- Mar 20, 2014 to May 18, 2014 Corteo: Brasilia, BR -- Aug 2, 2013 to Sep 8, 2013 Belo Horizonte, BR -- Sep 19, 2013 to Oct 27, 2013 Curitiba, BR -- Nov 8, 2013 to Dec 15, 2013 Rio de Janeiro -- Dec 26, 2013 to Feb 23, 2014 Porto Alegre, BR -- Mar 7, 2014 to Apr 13, 2014 Koozå: Moscow, RU -- Sep 7, 2013 to Oct 31, 2013 Paris, FR -- Nov 23, 2013 to Dec 23, 2013 Munich, DE -- Jan 31, 2014 to Feb 16, 2014 Ovo: Taipei, TW -- Nov 19, 2013 to Jan 5, 2014 Tokyo, JP -- Feb 12, 2014 to TBA Sendai, JP -- Apr 23, 2014 to TBA Osaka, JP -- Jul, 17, 2014 to TBA Nagoya, JP -- Nov 20, 2014 to TBA Fukuoka, JP -- Feb 21, 2015 to TBA Totem: Columbus, OH -- Aug 22, 2013 to Sep 15, 2013 Long Beach, CA -- Oct 11, 2013 to Nov 10, 2013 Irvine, CA -- Nov 21, 2013 to Dec 29, 2013 Santa Monica, CA -- Jan 17, 2014 to Feb 9, 2014 Portland, OR -- Mar 27, 2014 to May 4, 2014 Vancouver, BC -- May 15, 2014 to Jun 6, 2014 Varekai: Guadalajara, MX -- Aug 14, 2013 to Aug 28, 2013 Mexico City, mX -- Sep 19, 2013 to Oct 13, 2013 (Going Arena: December 2013) ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Alegría: Bucharest, RO -- Sep 5, 2013 to Sep 8, 2013 Bratislava, SK -- Sep 11, 2013 to Sep 15, 2013 Sofia, BG -- Sep 20, 2013 to Sep 22, 2013 Minsk, BY -- Sep 26, 2013 to Sep 28, 2013 Newcastle, UK -- Oct 17, 2013 to Oct 20, 2013 Leeds, UK -- Oct 23, 2013 to Oct 27, 2013 Liverpool, UK -- Oct 30, 2013 to Nov 3, 2013 Nottingham, UK -- Nov 6, 2013 to Nov 10, 2013 Lille, FR -- Nov 13, 2013 to Nov 17, 2013 Bordeaux, FR -- Nov 20, 2013 to Nov 24, 2013 Valencia, ES -- Nov 28, 2013 to Dec 1, 2013 Gijon, ES -- Dec 4, 2013 to Dec 8, 2013 Santander, ES -- Dec 11, 2013 to Dec 15, 2013 Madrid, ES -- Dec 18, 2013 to Dec 22, 2013 (Closing in Madrid, Dec 22, 2013) Quidam: Graz, AT -- Sep 5, 2013 to Sep 8, 2013 Vienna, AT -- Sep 11, 2013 to Sep 15, 2013 Leipzig, DE -- Sep 18, 2013 to Sep 22, 2013 Stuttgart, DE -- Sep 25, 2013 to Sep 29, 2013 Innsbruck, AT -- Oct 2, 2013 to Oct 6, 2013 Salzburg, AT -- Oct 9, 2013 to Oct 13, 2013 Munich, DE -- Oct 16, 2013 to Oct 20, 2013 Cologne, DE -- Oct 23, 2013 to Oct 27, 2013 Frankfurt, DE -- Oct 30, 2013 to Nov 3, 2013 Dortmund, DE -- Nov 6, 2013 to Nov 10, 2013 Mannheim, DE -- Nov 13, 2013 to Nov 17, 2013 Malaga, ES -- Dec 5, 2013 to Dec 8, 2013 Zaragoza, ES -- Dec 11, 2013 to Dec 15, 2013 Sevilla, ES -- Dec 18, 2013 to Dec 22, 2013 A Coruña, ES -- Dec 25, 2013 to Dec 29, 2013 London, UK -- Jan 4, 2014 to Feb 2, 2014 Toulouse, FR -- Mar 5, 2014 to Mar 9, 2014 Strasbourg, FR -- Mar 12, 2014 to Mar 16, 2014 Toulon, FR -- Mar 19, 2014 to Mar 23, 2014 Montpellier, FR -- Mar 26, 2014 to Mar 30, 2014 Lyon, FR -- Apr 2, 2014 to Apr 6, 2014 Dralion: Doha, QA -- Sep 19, 2013 to Sep 21, 2013 Beirut, LB -- Oct 10, 2013 to Oct 13, 2013 Athens, GR -- Oct 29, 2013 to Nov 3, 2013 Rome, IT -- Nov 8, 2013 to Nov 17, 2013 Turin, IT -- Nov 21, 2013 to Nov 24, 2013 Milan, IT -- Nov 28, 2013 to Dec 1, 2013 Geneva, CH -- Dec 4, 2013 to Dec 8, 2013 Basel, CH -- Dec 11, 2013 to Dec 15, 2013 Barcelona, ES -- Dec 18, 2013 to Dec 29, 2013 Lisbon, PT -- Jan 1, 2014 to Jan 12, 2014 Michael Jackson THE IMMORTAL World Tour: Perth, AU -- Sep 18, 2013 to Sep 22, 2013 Sydney, AU -- Sep 26, 2013 to Sep 29, 2013 Brisbane, AU -- Oct 2, 2013 to Oct 6, 2013 Melbourne, AU -- Oct 9, 2013 to Oct 13, 2013 Adelaide, SA -- Oct 15, 2013 to Oct 17, 2013 Auclkand, NZ -- Oct 30, 2013 to Nov 3, 2013 Dubai, UAE -- Dec 20, 2013 to Feb 14, 2013 Johannesburg, SA -- Varekai: Montreal, QC -- Dec 20, 2013 to Dec 30, 2013 --------------------------------- 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 2013 Dark Dates: o September 5 - 13 o November 6 2013 Added Performances: o December 27 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2013 Dark Dates: o October 6 o December 3 - 17 2013 Added Performances: o December 24 o December 31 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2013 Dark Dates: o September 17-21 o November 5-6 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:30pm and 10:00pm 2013 Dark Dates: o TBA KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2013 Dark Dates: o September 22 -30 2013 Added Performances: o December 30 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2013 Dark Dates: o October 10 o December 11-26 2013 Added Performances: o December 10 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. 2013 Dark Dates: o September 3 - 7 o November 26 - 30 o December 17 - 24 2013 Added Performances: o December 25 & 26 ZARKANA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2013 Dark Dates: o August 21 - September 5 o November 5 2013 Added Performances: o December 26 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two Shows Nightly: 7:00pm and 10:00pm 2013 Dark Dates: o October 9 o December 5 – 20 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) Club Cirque -- This Month at CirqueClub o) Networking -- Posts on Facebook, G+, & YouTube --------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------- Behind the Scenes of Quidam at the Royal Albert Hall [EXPANDED] {Aug.15.2013} ---------------------------------------------- Quidam will start the year 2014 in style by visiting a very special venue: the Royal Albert Hall in London. As we team up to offer a unique Behind the scenes tour of both the mythic theatre and Quidam, we met with Jasper Hope, COO, and asked him to tell us more about this renowned concert hall and the special relationship it shares with the Cirque du Soleil. Don’t miss this unique Behind the Scenes tour of the Royal Albert Hall and get an insider’s look at the fascinating creative universe of Quidam. Q. Could you please tell us more about the Royal Albert Hall ? The Royal Albert Hall, opened in 1871 by Queen Victoria, is not only one of the UK’s most treasured and distinctive buildings but recognisable all over the world and is regarded by many as the world’s most famous stage. Established to promote the arts and sciences, we’re here to contribute to the cultural life of the UK. We want to make sure that those who visit the venue, customer or performer, take away an experience they will never forget. Our unrivalled history of performance is partly what makes us so unique. Think of any world class artist, past or present, and the likelihood is they have performed on our stage. To perform at the Royal Albert Hall is an aspiration for many performers and the diversity of our events over the past 142 years, is something of which we are very proud, not least the many Cirque du Soleil productions which have graced our stage. Q. What makes every visit to the RAH a memorable experience for everyone? First, the exceptional quality of our events obviously plays a big part. In an auditorium like ours you never feel that far from the action so you also have a degree of intimacy and connection between audience and performer, whether it’s a global superstar or a stage full of school childrens. Add the sense of occasion that comes from visiting our magnificent Victorian building with its rich and unique history, architecture and archives and the many services that we offer to enhance the experience from catering to merchandise, whatever your taste or budget. Combine all of that, preferably with a sprinkle of magic dust, and I truly believe you have something incredibly special and unique. Q. It’s not the first time that Cirque du Soleil will perform at the Royal Albert Hall, in your opinion, what is special about this relationship with Cirque? Over the last twenty years, Cirque du Soleil, the Royal Albert Hall and the period just after Christmas have become completely intertwined with one another. Every year, the Hall opens its doors to over 200,000 customers eager to experience the magical stories and feats of acrobatic brilliance that every show delivers. I am lucky enough to have seen Cirque shows in big tops and other venues all around the world and whilst I know I’m biased, I can promise you there is nothing quite so good as watching a show the Hall, it’s the perfect design for the spectacle. The true home of Cirque du Soleil may be in front of audiences in Montreal but the audience reaction every time tells me the Royal Albert Hall comes a very close second. Q. With Quidam in January 2014, Royal Albert Hall will offer the Cirque du Soleil audience an opportunity to have a unique behind-the-scenes tour of the Theatre. What will this behind- the-scenes tour be like ? Without a doubt a very special and breath-taking VIP experience. When you watch a show at the Hall, especially an event like Cirque du Soleil, there is always the fascination with how it’s put together and what goes on backstage before and after the show. This is a unique opportunity to satisfy that curiosity. From the technical and visual aspects to meeting some of the performers, this experience is a real treat in store for anyone who wants to know just how some of those magical memories are created. Not only that, you get to go backstage at the Royal Albert Hall, treading in the footsteps of many legends that have performed at the Hall over the years! Q. How will this behind-the-scenes tour be different from other visits that you offer at the RAH? This tour gives access to the heart of both the Hall and Cirque du Soleil, above and beyond anything that we’ve ever offered before on any show. It truly is a once in a lifetime experience and one not to be missed. "A Postcard from Corteo: A Taste of Brasil…" {Aug.19.2013} ---------------------------------------------- Being a chef for a Cirque du Soleil Big Top touring show is no small feat! The chef and his staff cook two hot meals a day plus breakfast for the same people, weeks on end. Here is the 'Feijoada', a very popular meat and bean dish in Brazil cooked by the Chef on the Corteo tour. Enjoy! Ingredients: o) 1/2 kg black beans (picked and soaked) o) 2 bay leaves o) Olive oil o) Water o) 1 tbs. coloral or Paprika o) 250g Dried meat o) 250g Salted loin o) 250g Smoked pork rib o) 250g Portugese sausage o) 250g Pepperoni o) 250g Sausage o) 180g Salted pigs foot o) 5 tbs. oil o) 1 cup Fresh chopped bacon o) 1 onion o) 5 cloves of garlic o) 250g smoked pork o) Salt & Pepper o) Chopped parsley o) Chopped chives o) 1/2 Pigs ear o) Pork tail o) Orange juice o) Cachaça Preparation: 1. Soak salted meats overnight 2. Cook the beans in water, add the bay leaf, coloral and a little olive oil. 3. After desalting meats, chop and boil them 4. Add sausages 5. In a skillet, heat oil, brown the bacon, onion and garlic (careful not to burn the garlic). 6. Once the beans are cooked, drain; add to the meats. 7. Add the rest of the ingredients and seasoning 8. Add orange juice and Cachaça to taste Serve with white rice, Farofa, braised cabbage and orange. Tips: o) When cooking meats, start with the stiffer parts. o) The pig foot, ear and tail help adding taste and texture to the broth. o) Add hot sauce to spice up the meal and enhance the flavor. { SOURCE: Cirque du Soleil } "TOTEM's Mechanical Gem" {Aug.26.2013} ---------------------------------------------- Loosely based on a retractable pedestrian bridge in London, the 'scorpion bridge' is a mobile platform that connects the marsh to the greater stage area. Thanks to its variable geometry and ingenious design, it adapts to help create the show's many tableaux. For example, in one of the clown numbers, the bridge first bends forward to become a speeding motorboat, it is then transformed into a airplane in flight, and finally it rises up to become a rocket ship blasting off into our space. In another scene, it becomes a totem pole, and during the 'Muscle Beach' ring trio, it unfurls like an Indian carpet in reference to the Bollywood aesthetic that inspired the overall look of the scene. Built of steel and weighing 4,500 kg (10,000 lb.), the bridge's eight powerful hydraulic motors allow it to rise, descend, extend, retract and curl in on itself like a scorpion's tail. Its mirror-like reflective surfaces are made from stainless steel plates, and the base houses lighting equipment, a laser, speakers and cameras. { SOURCE: Cirque du Soleil | http://goo.gl/IJvuCZ } --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ ALEGRIA ]--- {Aug.14} Meet our Stage Managers! These guys take care of calling all the cues of the show, manage trainings and look after the entire artistic environment (backstage and on-stage)! LINK /// < http://goo.gl/xXOxwY > {Aug.19} Meet our Pmeds! Dave and Helen work with our artists to prevent injuries, assess problems and provide rehabilitation! They are quite the dynamic duo! LINK /// < http://goo.gl/0lsnMV > {Aug.22} Another answer to your questions fans! Question: What will happen to all the costumes at the end of Alegria? Answer: All the costumes will be shipped back to our headquarters in Montreal to the Heritage team where they will be stored for future displays/ exhibitions, special events or to keep simply as reference! You can see that we started collecting some already! LINK /// < http://goo.gl/1fNJZg > {Aug.28} One fan asked: Where will the White Singer and the Clown live happily ever after after retirement? We asked them and their answers were: Clown: In the North Pole so the singer would 'fit in' with her dress and they would adopt a bunch of penguins as children. White Singer: In a wooden house in Nicaragua covered in Chocolate! Will they ever decide? LINK /// < http://goo.gl/a1gV1F > ---[ AMALUNA ]--- {Aug.01} Two of Amaluna's beautiful performers, Peacock Goddess Amy, and Valkyrie Andreanne, stopped by the 9News Station this morning to chat with Gary. If you missed it, check it out here: LINK /// < http://www.9news.com/rss/story.aspx?storyid=348104 > LINK /// < http://goo.gl/oL1N8Y > {Aug.08} Denver! Come check out our Amazon girls and Teeterboard boys in Larimer Square at lunchtime today! LINK /// < http://goo.gl/5cuLhO > ---[ CIRQUE DU SOLEIL ]--- {Aug.14} Meet the artist Barry Lowin as he trains to become Trickster in the touring show KOOZA by Cirque du Soleil. In the first episode, Barry is facing new challenges. LINK /// < http://www.youtube.com/watch?v=5oddZx-YfK4 > {Aug.21} This is the 2nd episode or our new web series !Meet the artist Barry Lowin as he trains to become Trickster in the touring show KOOZA by Cirque du Soleil. In the second episode, Barry is slowly getting into his character. LINK /// < http://www.youtube.com/watch?v=j8aGh40xmJ4 > ---[ CORTEO ]--- {Aug.07} Hoje, no Estádio Nilson Nelson, teremos uma sessão VIP de Corteo, fiquem ligados por aqui que em breve postaremos as fotos. Não perca esse espetáculo, em cartaz até setembro na cidade. LINK /// < http://goo.gl/jlPMFB > {Aug.09} Amanhã Corteo fará uma surpresa no ParkShopping Brasília, preparados? A partir das 12h visitem o shopping. LINK /// < http://goo.gl/fXnJ6l > {Aug.10} Artista do Cirque du Soleil visitaram o ParkShopping hoje. Não percam Corteo! Em Bsb até 8 de setembro. LINK /// < http://goo.gl/YGtLgV > {Aug.26} Crianças da escola de Corteo fazem apresentação de fim de ano. Lindos! LINK /// < http://goo.gl/TAQYhQ > {Aug.29} Muita energia e diversão!! Cultura Brasileira apresentada à família Corteo pelo grupo Batala! LINK /// < http://goo.gl/5l5AAk > {Aug.31} Exposição de figurinos Corteo no Shopping Cidade em Belo Horizonte! LINK /// < http://goo.gl/jHIH1B > ---[ DRALION ]--- {Aug.15} Check out this video of the Skipping rope artists warming up before they start their tricks during training. LINK /// < http://goo.gl/pJTxoN > {Aug.19} Here is a cool photo of our Artistic director working with the back up Elements. LINK /// < http://goo.gl/Z8RSLS > ---[ KOOZA ]--- {Aug.01} KOOZA was featured last night on BBC One - Celebrity Masterchef - segment starts at minute 34 of the video.... LINK /// < http://www.youtube.com/watch?v=a6ZC1Qj9_pc {Aug.09} Meet Miron, one of our musicians, a few moments before going on stage! LINK /// < http://goo.gl/6WDoPi {Aug.13} What do you think about these cool aerial pictures of our site and Big Top in Knokke, Belgium? LINK /// < http://goo.gl/rT0Qn1 ---[ MJ IMMORTAL ]--- {Aug.01} See the show through the eyes of our General Stage Manager. This is her view every night! LINK /// < http://goo.gl/ZU4BUz > {Aug.08} Yesterday we taped "The Great Show" for Beijing TV to air this Sunday August 11 at 9:30pm (China Standard Time). And tonight we premiere in China at the MasterCard Center in Beijing! LINK /// < http://goo.gl/neq0jJ > {Aug.11} Behind the scenes from Beijing TV's "The Great Show", which airs tonight! Check out this fun behind-the-scene, right before we hit the stage! Performing on a TV show in Beijing, CHINA! I love this positive group of friends, we have been touring all together now for 2 years! And as you can see, we are all crazy, enjoying what we do every day! LINK /// < http://goo.gl/st5EEb > {Aug.13} Behind the Scenes - Take a look at one of the IMMORTAL characters warming up during the show! Do you know which character this is? LINK /// < http://goo.gl/CGjOdr > {Aug.14} "Euphoria, elation, wonderment, jubilation, madness, rapture, lunacy, delirium, intoxication, absurdity, and exaltation..." Those are just a few of the great words SmartShanghai used to describe IMMORTAL. LINK /// < http://goo.gl/FeL3la > {Aug.17} It's a 2 show day! We caught where the artists go to relax in between shows. LINK /// < http://goo.gl/RE2lIi > {Aug.18} Have a listen to Choreographer Travis Payne who recently spoke to Melbourne's Gold FM about the show and our upcoming visit to Australia! LINK /// < http://goo.gl/2CiGvv > {Aug.21} Ever wonder what it would be like to dance with Cirque du Soleil? Tina Cannon talks about being a dancer on IMMORTAL as we prepare for our Australian premiere at Perth Arena in only 4 weeks! LINK /// < http://goo.gl/pZnPBq > {Aug.29} Happy Birthday Michael Jackson from Michael Jackson THE IMMORTAL World Tour by Cirque du Soleil! LINK /// < http://www.youtube.com/watch?v=yMBR9C30WSw > ---[ MJ ONE ]--- {Aug.19} Enter for chance to see Michael Jackson ONE, plus airfare to Vegas, a stay at Mandalay Bay Resort and Casino, and more! Details here: LINK /// < http://bit.ly/17ncfan > {Aug.30} Last night we celebrated Michael Jackson's birthday with special performances and more at Mandalay Bay Resort and Casino! LINK /// < http://goo.gl/U9LiGD > ---[ MYSTERE ]--- {Aug.02} Mystere at Macy's Glamorama (4 photos) - Rehearsals for Macy's #Glamorama are underway! LINK /// < http://goo.gl/rYcXU2 > {Aug.16} Have you ever wanted to go behind the scenes of Mystère by Cirque du Soleil? Watch this behind-the-scenes video: LINK /// < http://goo.gl/9wcDcg > {Aug.26} Vegas locals (and rock stars!) Imagine Dragons called our show the best on the Strip in VEGAS SEVEN's Best of the City issue! You can read it online here: LINK /// < http://cirk.me/1femJNC > ---[ "O" ]--- {Aug.09} Have you ever seen "O" by Cirque du Soleil ? Take a look behind- the-scenes of the Las Vegas resident show. LINK /// < http://www.youtube.com/watch?v=MuVduewBMBA > {Aug.20} CNN takes a look at our contortionists in the video preview below, but look out on September 5 for the whole piece! LINK /// < http://www.youtube.com/watch?v=wpZFMDxTNz4 > ---[ OVO ]--- {Aug.14} Taipei Press Conference (15 photos) - Here are few pictures of our press conference in Taipei. Thank you so much Taiwan for such a warm welcome! — at Shangri la, Far Eastern Plaza Hotel, Taipei. LINK /// < http://goo.gl/Qg6BIp > ---[ TOTEM ]--- {Aug.04} Step inside the Artistic Tent of TOTEM as artists rehearse right before stepping on stage under the big top in #Ottawa! LINK /// < http://instagram.com/?igref=ogexp# > {Aug.12} Meet Norman the Neanderthal who participates in linking together the different scenes of TOTEM with his clumsy antics! What is your favorite character/act in the show? LINK /// < http://goo.gl/A9zPFy > {Aug.18} It is Artistic Call day at the Ohio Expo Center in Columbus; artists are getting back into their training routines in preparation for the August 22 Opening Night! LINK /// < http://goo.gl/7UdcYi > {Aug.20} We are getting ready for our Columbus Premiere this Thursday and giving a little cleaning to our beautiful Big Top! Have you seen it yet at the Ohio Expo Center? Photo credit: Bianca Kalvesmaki LINK /// < http://goo.gl/vmRknn > {Aug.20} Eric Hernandez just recorded a performance for the Saturday morning newscast of 10TV in Columbus! LINK /// < http://goo.gl/nT1iAu > {Aug.23} Singer Christian Laveau and comic actor Pippo Crotti will be on Daytime Columbus at 12:30pm on NBC4! LINK /// < http://goo.gl/uyCegH > {Aug.27} Greg Kennedy about to juggle on ABC6 Columbus!! LINK /// < http://goo.gl/aACFQN > {Aug.31} Follow #TOTEM trapeze artist Guilhem Cauchois in his preparation before his act: 40 minutes of make-up & one hour of stretching and weight lifting! LINK /// < http://instagram.com/p/dsYEtaRI7v/ > ---[ VAREKAI ]--- {Aug.12} Advancing well in the preparation of our dress Rehearsal tomorrow night, still some fine-tuning to do, but going very well. LINK /// < http://goo.gl/fHHMSa > {Aug.24} 5 Artists visit Tlaquepaque (3 photos) LINK /// < http://goo.gl/JY3fal > ---[ ZARKANA ]--- {Aug.01} Zarkana Meet and Greet (4 photos) - Zarkana artists took part in a meet and greet on July 29 and 30 at ARIA Resort & Casino! LINK /// < http://goo.gl/TSysFK > {Aug.13} S'mores at Zarkana (5 photos) - The cast and crew of Zarkana celebrated National S'mores Day on August 10! LINK /// < http://goo.gl/CeDKj1 > ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= o) DIDYAKNOW - Facts at a Glance about Cirque o) HISTORIA - Cirque Company History --------------------------------- DIDYAKNOW? - Facts About Cirque --------------------------------- o) Did you know that there are 8 different Old Nostalgic Birds in Alegria? And all of them have a unique personality and a name! Just to name a few, we have Gracieuse, Blanche, Valentin, Wilfrid, Georges-Etienne and more! o) Since the European arena tour started in August 2011, Alegria's trucks have travelled over 2 million kilometers across Europe and Russia! Talk about mileage o) Did you know that all the shoes in Alegria are checked and re-soled at least once per week? o) Did you know that how we travel depends on the distances between cities? If the bus ride is less than 4 hours, we will be transported by coach, if not, we charter a flight to our next destination! o) Did you know that we hand-dye all the gloves for Alegria's Old Nostalgic Birds? We buy white satin gloves and then boil them in purple dye, white vinegar and salt. Check out Gaya, one of our wardrobe assistants, boiling up a cauldron of Old Bird Gloves! o) Did you know that Alegria's chefs prepare 1200 meals every week? o) Dralion is currently in transfer towards Doha, Qatar. Did you know the entire gear will be ship by boat and in 25 containers? o) Meet the vocals - L'Âme Force - The voices of Dralion sing an invented language to which only Cirque du Soleil holds the key. Their mysterious accents echo down through time: L'Âme-Force symbolises ultimate harmony between the four elements. o) Did you know each artist's tools are different, but some can use 25 brushes, 10 different colors and take 60 minutes to apply their make-up to be show ready? o) Did you know that during every performance of "O", there are 15 technicians underwater to help the artists, manipulate props, and more? o) Did you know that in OVO, the "Skins" are designed to create a sense of depth, and, through holes and openings, to reveal its secret life as a home to the insects as each of the skins are removed in turn. The larger of the two skins covering the world of OVO measures 75ft wide by 50ft tall! o) Did you know that OVO's dragonfly wings are evoked by pants made of veined lace? o) Did you think that there was more than ten crickets in the cast? That's because they have detachable legs that break away from their bodies, which give the impression that there is an insect invasion going on! o) Did you know that approximately 36% of the people travelling with OVO are performers? Out of 150, 130 are employees, including 54 performers, and the rest are official accompanying members (spouses and children). o) Did you know that three long poles in OVO (weighing 80 pounds) evoke dandelion stalks? Their spines allow artists to climb them like ladders. o) Did you know that there are 570 props used in The Beatles LOVE? The smallest of them is Sgt. Pepper's whistle! o) Did you know it takes 2.5 days to tear down all TOTEM's equipment? o) Did you know the Forest is a fabulous and mysterious hideaway the Varekai characters have made their home? Consisting of over 300 "trees" between 4.5 metres and 10.5 metres tall, the forest is also interspersed with twenty-odd "acrobatic trees" that its inhabitants can climb up to see what's going on. ------------------------------------ HISTORIA: Cirque Company History ------------------------------------ * Sep.01.2003 -- Tapis Rouge CD released (BMG/CDS Musique) * Sep.01.2003 -- "Parade of Colors" Book Published * Sep.02.2010 -- La Nouba Integrates New Rope Act (Replaces German Wheels) * Sep.05.2012 -- Zarkana moves from New York to Las Vegas * Sep.06.2005 -- "O" CD released in US (CDS Musique) * Sep.06.2005 -- La Nouba CD released in US (CDS Musique) * Sep.06.2005 -- Mystère (Live) CD released in US (CDS Musique) * Sep.07.2012 -- Saltimbanco Arena Closing Announcement Made * Sep.09.2009 –- Name of CirqueVaudeville Released [Banana Shpeel] * Sep.12.2005 –- Zumanity celebrated its 1000th performance * Sep.14.2010 -- Cirque Announces "Radio City" Show (Zarkana) * Sep.15.2002 –- Fire Within premiered in Canada [7:00pm EST/Global TV] * Sep.15.2005 –- Name of "Cirque MGM" released - KÀ * Sep.15.2008 –- Mystère celebrated 7,000th performance [9:30pm] * Sep.19.2011 -- "ZAIA: Crossroads in Macao" DVD Available * Sep.19.2012 -- Google Chrome Experiment "Movi.Kanti.Revo" Debuts * Sep.20.2003 -- Zumanity Gala Premiere (Previews End) * Sep.21.2001 –- Alegría celebrated 2,500th performance [Brisbane] * Sep.21.2003 –- Cirque wins Outstanding Nonfiction Program award * Sep.21.2004 –- "Le Best of..." CD Released (CDS Musique) * Sep.22.2002 –- Cirque lost Emmys (nominated Jul.18.2002) Outstanding Variety, Music or Comedy Special – Alegría Outstanding Choreography for 74th Academy Awards – Debra Brown * Sep.22.2010 -- Cirque Names "Hollywood" Show (IRIS) * Sep.24.2008 –- Cirque2009 (OVO) tickets go on sale * Sep.25.2002 –- Cirquedusoleil.com won four awards for its website: "Best of Show", "Experience", "Content & Information", "Experimental" * Sep.25.2012 -- IMX Announces a Unique Partnership With CDS in South America * Sep.27.1994 -- Alegría CD released in Canada (RCA/Victor) * Sep.27.2003 –- Cirque du Soleil HQ Open House * Sep.28.2003 –- Cirque du Soleil HQ Open House * Sep.30.2009 –- Guy Laliberté, Cosmonaut! ======================================================================= FASCINATION! FEATURES ======================================================================= o) "The Wider World of Cirque-Centric Podcasts" By: Keith Johnson - Seattle, Washington (USA) o) "Still a BeLIEver?" - BELIEVE Celebrates 5 Years By: Ricky Russo - Atlanta, Georgia (USA) o) Michael Jackson ONE: "Hope, Love, Unity, 'ONE'" Special Reprint from MJ World [EXPANDED] ---------------------------------------------------------- "The Wider World of Cirque-Centric Podcasts" By: Keith Johnson - Seattle, Washington (USA) ---------------------------------------------------------- The podcasting universe is wildly diverse both in terms of audio quality and skill of the hosts. You can tell some just blast out to the world hoping to be heard, while others have a passion and knowledge of their subject that makes them eminently listenable. Some take pains to create shows with interesting well-researched topics, while others just watch an episode of a reality show and broadcast their off-the-cuff review out into the ether. Being a fan of podcasting, especially of shows dedicated to Las Vegas, we've previously reported on Las Vegas-centric podcasts that feature Cirque artists or personnel. (See our previous coverage in February 2010, Issue 73 - http://goo.gl/QvRAVn - and March 2010, Issue 74 http://goo.gl/I96WVT) Strangely, it just recently occurred to us to check iTunes for additional ‘casts. Come to find there are several, with some of them interesting with lots of new information (new at least to us). Searching "Cirque du Soleil" in iTunes and selecting the "Podcasts" tab from the results will show a mixture of video and audio podcasts that mention Cirque in their episode titles. There are close to 50, all free, but many are short publicity bits, in a foreign language, or don't divulge new information. Below we encapsulate the Top 8 we found in ascending order of interest. Marketing Bump – 3 clever marketing tips revealed from watching "OVO" by Cirque du Soleil Host Alexi Neocleous (marketingbump.com) – Monologue on 3 marketing tips related to Cirque's success 6 minutes – 4/1/13 This short monologue discusses the speakers' impressions after watching OVO. The insights are interesting and gives a look into Cirque's success from a different perspective. It Matters – From Cirque du Soleil to Simple Sense–Meet Will Will Roberts (willrobertsweeeklytelegram.com) - Rope trick artist from Viva Elvis 60 minutes – 9/20/12 A bit of free-wheeling banter between the hosts, along with varying audio quality, finally gets into talking with Will Roberts, a humorist in the Will Rogers vein, who was the rope trick artist in Viva Elvis. There are a few CDS tidbits here. About halfway through the show it segues into talking with an English country singer and playing his song. Lady Brain — Interviews–Erica Linz, actress/performer Cirque du Soleil Erica Linz – actress, CDS World's Away Hosts Steph and Lauren (theladybrainshow.com) 6 minutes – 1/3/13 Some interesting notes about casting and shooting the film are divulged by Erica during this short interview. HSM PodCasting – Lyn Heward, Cirque du Soleil Lyn Heward – Former COO of CDS Host unknown (podcast.hsm.com.br) 7 minutes – 4/26/07 This podcast starts out in Spanish, and then turns to English after a few moments. The former CDS COO talks about the difference between gymnastics in the 50's and now, Cirque as a developer of a creative process, and empowering people and ideas. Short but interesting. David Essel Alive! XM Radio Show Archives – Guest: Kristy Wilson, Ms. Fitness Universe Kristy Wilson (kristywilson.com) – former performer with CDS Host David Essel (davidessel.com) 40 minutes – 7/20/13 This podcast comes off as the most professional-sounding of the bunch, being an archive of an XM Radio show. The host is very enthusiastic, almost sugary in praise of his guest. Kristy, who was a Power Track/Aerial Cradle artist with La Nouba, really addresses the thought processes that go into a decision to leave the company. She talks about feeling tired, how hard the show regimen is on the mind and body, and having to be always "on." Enlightening. The first part of this interview is the best. Massage Podcast – Episode 36, Interview with Keith Stiles working at Cirque do Soleil Keith Stiles (stilesmassage.com) – massage therapist, works with CDS artists Host Dawn Adkins with Elaine Calenda (massagepodcast.com) 49 minutes – 3/5/12 Keith says he was at the right place at the right time to sign on with Cirque as a tour massage therapist from 2003-8, as well as working with Zarkana and Wintuk. The repetitive nature and type of injuries, recommending care regimens to artists, massage policies (artists each get 30 minutes per week), and touring life are discussed. And much attention is given to how therapists are hired (experience is needed and bring your A-game.) A lot of "I didn't know that" in this good interview. Comet Branding Radio – Comet Radio Show with special guest Jess Berlin, Cirque du Soleil Jess Berlin – Manager of Social Media, CDS Las Vegas Hosts Al Krieger and Sara Meaney 30 minutes (says 45:00, but rest is blank) – 3/24/10 Jess talks about originally advocating for bloggers, bringing them the same recognition within the company as print journalists. She talks about maintaining the magic or how to not let too much backstage info out in the coverage they get. Responding on Twitter, the demographics of the shows Facebook sites and what kinds of content are popular on them are also mentioned. Really interesting. Ideafaktory podcast-Daring ideas for innovators – IdeaFaktory Podcast Episode 4: Social Strategies with Cirque du Soleil's Andy Levey Adam Levey – Social Media Director, CDS Host Steve Faktor (ideafaktory.com) 20 minutes – 12/18/12 Host Faktor talks more than any of the other hosts, but his comments make this more of a conversation and less of an interview. This is the most interesting podcast of the bunch, as Levey (Levy?) addresses each topic intelligently. The roles of Facebook and Twitter in establishing a brand and speaking to an audience of followers, the reach of Facebook, brand ambassadors and what they mean to a company, and perceptions of success are all touched on. In the end I learned more from the IdeaFaktory, Comet Branding, and Massage podcasts than the others. If you have the 1.5 hours to give, these three come highly recommended. Next we'll take a look at the free video podcasts on ITunes. ---------------------------------------------------------- "Still a BeLIEver?" - BELIEVE Celebrates 5 Years By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- "Would you believe nine Cirque du Soleil shows in Las Vegas by 2010?" That's how one of Fascination's by-lines read on July 6, 2006, as the unofficial Cirque du Soleil newsletter highlighted a story, published by the Las Vegas Sun, which reviewed potential plans for the expansion of Cirque du Soleil's empire in Las Vegas following MGM/Mirage's purchase of Mandalay Resorts International. The purchase brought, amongst other properties, the Excalibur, the Luxor and Mandalay Bay into the MGM/Mirage Resorts fold. As reported by Las Vegas freelance journalist and podcast host Steve Friess (at www.thestrippodcast.com), reliable chatter at the time was that there were preliminary plans for nine Cirque productions on the Strip by the end of the decade, including a new Luxor show, an Elvis- themed production at MGM Mirage's Project CityCenter, a production to replace "Mamma Mia!" once it plays out at Mandalay Bay, and show No. 9 at an unspecified hotel - possibly a children's show at Excalibur to counter the adult-themed "Zumanity." In response to inquiries about a permanent production show at the Luxor Theater, MGM Mirage spokeswoman Jenn Michaels said, "We've been looking at a number of options for the former 'Hairspray' theater; we are close to signing a deal and will make an announcement as soon as we are able to do so." Michaels added that MGM Mirage didn't have anything to announce regarding headliners and that plans for the Luxor's entertainment program still needed to be firmed up. But it was the first time the possibility that Cirque du Soleil would inhabit a theater at the Luxor had been mentioned. As Criss Angel BELIEVE celebrates its 5th Anniversary, Fascination! takes a look back at the show's rocky history. MINDFREAKED ----------- By the mid-2000s, the ever-increasing Cirque du Soleil empire constantly looked at ways to expand their horizons and do for other entertainment mediums what they did with circus: reinvent it. This line of thinking led to many projects – from hotels and entertainment complexes to creating arena concerts, musical revues and resurrecting vaudeville, but one of the oft-thought areas of amusement that the company considered was the re-invention of the magic show. Like the circus, magic is a source of wonder, amazement and the unexpected – ripe for a Cirque du Soleil makeover. But however hard and deep Cirque researched and developed their concept they either decided they couldn't do it, or understood that magic was a personality-driven medium (think Penn & Teller, David Copperfield and Siegfried & Roy) and the project dropped. But when illusionist Criss Angel's star began to rise as his show Mindfreak became increasingly popular, all parties involved began to talk giving birth to what would ultimately become CRISS ANGEL BELIEVE BY CIRQUE DU SOLEIL. Questions regarding the necessity of having yet another magic show on the Strip, even if produced by Cirque du Soleil, and just who the magician would be began almost immediately. Criss Angel's name – the star of A&E's magic series Mindfreak – was immediately rumored. But who was this Criss Angel? In brief... Criss Angel had one of the highest advance tickets sales of off- Broadway productions during his fourteen month 600 performance run of "Criss Angel MINDFREAK" which he created, produced, directed and starred in. Criss Angel MINDFREAK (the television show) was at the time scheduled to film its 70th episode in its third season shot exclusively at The Luxor. Publishing house Harper Collins was releasing Criss' highly anticipated first book, Criss Angel MINDFREAK: Secret Revelations in April 2007. Criss had also been named 2001, 2004, 2005, 2007 and 2008 Magician of the Year (by The Academy of Magical Arts), making him the first five-time and back-to-back recipient ever to be awarded these most prestigious accolade. Criss was also unanimously selected as the recipient of the 22nd Louie Award for outstanding achievement in the art of magic. Recently, Criss had also added acting to his resume, guest starring in an episode of "CSI:NY". But internally, Cirque du Soleil already knew who Criss Angel was; they'd already begun developing a magic-based concept with MGM-Mirage by August 2006 with François Macerola, named Executive Producer, Guy Caron as Creative Director and Nancy Malette, as Production Manager. By that December most of the creative team had come together, running a few technical and dance workshops (December 1st, 2nd, and 4th) to get the creative juices flowing. On December 6, 2006, Serge Denoncourt (Director), Guy Caron (Director of Creation) and Criss Angel met with Guy Laliberté to present the show's concept. And what a concept: it was the first time the entire production process would take place in Las Vegas, it was Cirque's first magic-based show, and it was the first Cirque show with a celebrity starring in the lead role. Although the show concept was approved one director would not go forward with the project: Guy Caron. After a period of prolonged reflection, Guy Caron decided to withdraw from Luxor 2008 concentrate on the development of new Creative Content projects. (Did he perceive just how challenging a magic show with Angel would be?) Pierre Phaneuf, an Assistant to the Vice-President of Creative Content and New Project Development, would take over the position (and see the project to its conclusion). By mid-March 2007 a detailed design of the set, stage and all its elements were due, and Eiko Ishioka was scheduled to present preliminary costume designs (she would later be replaced by Mérédith Caron). In April construction bids on the theater renovation were due and demolition of the old fixtures set to begin. And by May the illusions workshops would begin. And the wheels kept turning... Then according to Vegas Pop's Luxe Life column by Robin Leach, Cirque du Soleil was on the verge of making an announcement about the oft- rumored Criss Angel "magic show" sometime around March 15, 2007: "It's now official that Cirque du Soleil will present 'Mindfreak' magician Criss Angel in a $100-million+ magic spectacular as first reported in LUXE LIFE. The news is imminent and a countdown of just four days has begun. LUXE LIFE has learned that invitations will be issued to TV crews and journalists within 24 hours to meet at the Luxor on Thursday, Mar. 15 at 2PM for the actual announcement with Cirque executives from Montreal and Luxor president, Felix Rappaport, along with other MGM officials also in attendance." March 15th came and went without any announcement; Luxe Life reported that the conference had only been postponed. But on March 22, 2007, Cirque du Soleil and MGM/Mirage announced their next co-production: Cirque Luxor (not the official name,) featuring the magical talents of Criss Angel. An article in Variety noted a few facts about the announcement at the time: "The production purportedly will cost $65 million USD. The amount covers the cost of theater renovations and creation expenses. It will be the sixth permanent Cirque show on the Las Vegas Strip (Cirque Elvis 2009 will be the seventh.) It is the first time Cirque will feature a star performer. From the announcement: Always on the lookout for the next artistic challenge, Cirque du Soleil is working with Criss to fuse his revolutionary illusions and mind-blowing artistry with acrobatics, dance, puppetry, music and poetry to tell a story, taking audiences on a bizarre and fascinating journey. Re-inventing the traditional magic show has been a long-standing desire of Guy Laliberté, Guide and Founder of Cirque du Soleil. Five years of extensive research and development were spent exploring the world of magic and how to re-define the experience. The crucial element, a young, edgy and talented artist and mystifier, was found in Criss Angel. With his incredibly unique creativity, Criss is now working with the experienced team of Cirque du Soleil creators led by Director Serge Denoncourt to bring this dream to life. "I wanted to distance myself from the swimsuit-clad babes and cheapo variety acts, and do a more theatrical magic show, with emotion. Something that would reflect the aesthetic of the Italian theatre," said Denoncourt. The director considers illusionist Criss Angel currently the best in his field, a genre that has seen nothing new since David Copperfield in the '80s. "But if we hadn't hit it off so well, we wouldn't work together. We're both really happy. We don't want a show that's too clean, too rigid, too cute. We want to be a little more provocative," acknowledges the director. "Because I love magic, because I love Criss, and because I love Cirque du Soleil, we will bring to Vegas a different magic show. And I say it's about time!" Since he was six years old, Criss Angel has immersed himself in a multitude of art forms, from performance artist to mystifier and provocateur. Since then, a relentless work ethic combined with talent, skill and vision has made Criss one of the most provocative artists of our day. From creator, producer and performer in his television series, specials and live shows, Criss has redefined the term "artist" for the 21st Century. "When I first met Guy Laliberté, I said, 'Guy, you reinvented the circus and the poetry you create is unlike anything the world has ever seen. Imagine if we could reinvent magic like you reinvented the circus.' That is my dream, that is my quest, and that is exactly what we are going to do when we open up this show." "I've spent 15 years creating and evolving a concept that the world of entertainment has never seen," said Criss Angel. "Now, I'm thrilled to be working with Cirque du Soleil and Felix Rappaport and his amazing team here at the Luxor to create an experience that goes beyond even my wildest expectations. I am confident that this collaboration will culminate in what is destined to become one of the most exciting shows Las Vegas has ever seen and redefine magic in the same way Cirque du Soleil has redefined the circus." Daniel Lamarre, President and CEO of Cirque du Soleil, said, "This production represents a new, distinctive type of creation for Cirque du Soleil. We believe there is a market for an unconventional magic show with production values audiences have come to expect from Cirque du Soleil." Gilles Ste-Croix, Senior Vice President of Creative Content at Cirque du Soleil said " Cirque du Soleil has always worked with an acrobatic foundation for each of our shows; with The Beatles LOVE we were privileged enough to have The Beatles music as our center; with this project - magic will be at the core. We are excited to combine our years of research and creative expertise in the areas of staging, lighting, sound design, projections, costume and make-up design with Criss Angel's one of a kind experience as a creator and performer of illusion, special effects and magic." Felix Rappaport, President and COO of Luxor Resort and Casino, said," This partnership represents a new era for Luxor. Cirque du Soleil and Criss Angel will bring a distinctive element to the property. We are thrilled Luxor is the place their creativity will come together." CRACKS IN THE MIRROR? --------------------- "Cirque du Soleil has taken out a huge insurance policy to cover its first headliner, illusionist Criss Angel. Vegas Confidential has also learned that Cirque is working on a Plan B in the event that the 'Mindfreak' star is not able to carry out his commitment to do 4,000 performances in the $100 million production at Luxor over the next 10 years. The show is to open in late July." The blurb above, from Norm Clark of the Las Vegas Review-Journal in early 2008, raised a lot of eyebrows. It would be the first indication that all was not well with the partnership even in this early stage, although nobody understood that fully at the time. Indeed, many long- time Vegas entertainment journalists began to ask: how much Cirque is too much? Mike Weatherford of the Review-Journal posed that very question in an article for his paper. Indeed fans and followers of Cirque have been asking that very question since Zumanity premiered in 2003. Renewed concern came in part from the 20% stake in Cirque du Soleil that Nakheel and Istithmar World of Dubai purchased on August 6th: The Dubai money should aid the "acceleration of our development," Cirque's president, Daniel Lamarre, noted. [...] But each time Cirque opens a show on the Strip, there is a renewed gap between the company's ambitious plans and the skeptical local reaction. Talk to Cirque, and you hear something like this: "Give me as many venues as you have, and I'll find the right creators," Lamarre says. "When I walk into our creative center in Montreal, there are more ideas than there are theaters available to us." Talk to Las Vegas locals and others in the show community, and you hear something like this: "The Cirque shows are wonderful, but enough already. Isn't there anything else out there?" The reason for the insurance policy became clear when it was announced that on Wednesday, July 30th 2008, Criss Angel would attempt to escape from the Spyglass Hotel in Clearwater Beach, Florida before it imploded – all on live television: "There's 550 sticks of dynamite that will be below my feet, there's a helicopter that needs to hover 30 feet above the roof. If I don't make it through the handcuffs, five locks and four doors in no more than three minutes and 30 seconds - if I'm one second late, that helicopter needs to leave without me. Who knows, I could trip, I could have trouble picking a lock." And how happy was Cirque with this stunt? "Cirque is not very happy about my decision to do this because they have a lot of money invested in me and in the show. They would prefer that I don't do it. Whether I kill myself or twist my ankle, it would still have a detrimental effect -- obviously one more than another -- on us opening. And there's a lot of money that ticks away every day that show's not open and we're not ready to roll. So they don't want me to do it. They're not happy with this decision." Angel did attempt the stunt, and survived of course, crawling away from the wrecked building after seemingly missing his helicopter getaway. (It was also one of the lamest "escape" attempts we've ever seen. No attempt was even made to suggest some sort of "magic" was involved...) beLIEve ------- A year after rumors of discord between Cirque and its new star personality began circulating (they really didn't want him doing the implosion stunt) the name of the new show was announced by Cirque (on April 17, 2008) – BELIEVE – and we got our first glimpse of its presentation: On his death bed, legendary magician and escape artist, Harry Houdini told his wife the following; "After my death, many people will claim that they are still able to communicate with me. If their claims are valid, they will be able to tell you a code word - that word is BELIEVE." CRISS ANGEL Believe, from Cirque du Soleil is a haunting exploration deep inside the inventive mind of mystifier Criss Angel as he hovers between the land of the living and a surreal world uniquely woven together by the distinctive imaginations of Criss Angel and Cirque du Soleil seen exclusively at Luxor Las Vegas. Unlike traditional magic-themed shows, CRISS ANGEL Believe transcends any preconceived notion of what it means to be emotionally engaged by the arts of mysticism and illusion. A fantasy, an allegory, a highly theatrical tableau of mood, reverie and emotion set against a backdrop of dreamlike darkness and light. Criss Angel stars as a surreal, enigmatic Victorian Noble. Along a path of imaginative exploration, he encounters Kayala and Crimson, two women who represent different aspects of femininity. Along his path he also discovers four comical Ushers who introduce the audience to the baroque theater of Criss' mind. Also part of the production is an intense troupe of characters and dancers who mix a multitude of styles into a high-energy visual feast, punctuated by moments of grace and sensuality. The stunning illusions in CRISS ANGEL Believe are not presented as standalone elements, but as interdependent components using heightened imagery, fantastical creatures and impossible feats of legerdemain, all of which are integrated into the dazzling, colorful fabric of the story. Criss Angel BELIEVE was slated to celebrate its gala premiere on October 31, 2008, chosen because every Halloween for 10 years following Harry Houdini's death, his wife held a vigil to test the legitimacy of people who claimed to be able to communicate with Houdini. To claim success they needed to say the code word – BELIEVE. But would fans of Criss Angel be able to hold a vigil for him on Halloween? THE CURLY SHUFFLE ----------------- Just weeks after Cirque du Soleil and MGM/Mirage made the official announcement about BELIEVE, its thematic content, and when the show was slated to premiere, rumors began circulating that the show would have to be delayed for "unforeseen circumstances". By June 30, 2008 some truth to those rumors became known: Cirque du Soleil announced that the debut of "Criss Angel Believe" would be pushed back two weeks. Ticketed previews that were to begin on Sept. 1 would begin Sept. 12. The private party to mark the "official" debut had been pushed from Sept. 12 to Oct. 9. Spokeswoman Anita Nelving said technical delays made the cast about five weeks late moving from an off-strip warehouse into the custom theater at the Luxor. The move affected 14 shows that already were on sale but they would not be the first. On September 8, 2008, Mike Weatherford in the Review-Journal had some interesting things to say about the cause of the latest delay for the Criss Angel show: With [KA and LOVE], the main goal of previews was to make tweaks or changes based partly on audience reaction, Cirque spokeswoman Anita Nelving explains. If automated props or sets broke down in the course of things, everyone took it in stride. This time illusions are involved and "there are elements that can't be worked out during previews," she says. If a technical gaffe exposes how a trick is done, that's a real problem. "This is the first time we've created a show of illusion, and we underestimated the amount of time we needed." On the other hand, a member of the show's production staff reports (through a third party) that "Believe" is "just out and out boring," and that the illusions are more of the close-up variety that don't hold up in a large theater. Then the show was delayed yet again. On September 17, 2008, just mere days before the show was set to begin its original set of preview performances, came official word of yet another delay. The $100-million showcase would now publically debut at the Luxor on October 31st according to the Review-Journal with a gala premiere to happen sometime after... "I can't imagine a more fitting night all year for Criss than Halloween, the night that marks the 82nd anniversary of the death of his and the show's inspiration, Harry Houdini," Angel's publicist, Steve Flynn, said. "Believe" originally was scheduled to open publicly on Sept. 12. Publicists for Angel and Cirque say the magician and show's director, Serge Denoncourt, insist every aspect of the technical show, which includes illusions, acrobatics and pyrotechnics, be perfect before it opens, and more time was needed. The latest decision to delay the premiere was announced Saturday after more than 400 Cirque employees and artists took in a performance Friday. The creative team met afterward and it was then decided to move the premiere to Oct. 31 and restore the preview period to its original timeframe. Organizers first delayed the premiere in late June because of apparent technical difficulties. The premiere was then rescheduled for Oct. 10. Further "enormous complexities" were cited on Sept. 2 as the schedule for preview performances was pushed back a second time. While the change didn't affect the Oct. 10 premiere, the decision effectively axed the first two weeks of preview performances. Saturday's announcement restores the preview period to its original five-week run, with the first performance taking place Sept. 26. "The preview period is an important part of our creative process as it allows the show to develop in front of a live audience," Cirque du Soleil spokeswoman Anita Nelving said. "Believe" will blend Angel's illusions with the costumes and acrobatics that are part of Cirque du Soleil productions. Angel will give about 5,200 performances over the next decade. His contract will see him perform five nights a week for the next 10 years, with an additional five-year extension option. JUST A PEEK... -------------- On September 18, 2008, with public previews still a week away, Cirque du Soleil sent out a little peek into the world of illusionist Criss Angel to whet our appetites so we'd BELIEVE: "Clear your mind; recognize the principles of being, and feel yourself being transported into a fantastical world of surreality. Allow a visionary journey to begin where the child within you is reborn, setting free the wonder and amazement of your own imagination. Feast on this imaginative vision. Experience the reality of what you see on stage but remember reality is only what you think you see. This mystifying adventure is nothing more than an allegory which tells the tale of one man's search for love and meaning as he attempts to decipher his existence within a multifaceted vortex of reality and illusion. Immerse yourself in a metaphysical dreamlike state where dancing rabbits and similar oddities are the norm. Magic is now reborn. Prepare yourself for an intimate celebration of art forms bleeding together to create a virtual landscape of Illusion, song, dance movement and mysticism. All pre-conceived notions of truth and existence be left at the door. What you're seeing may not be real. Don't believe your eyes. Welcome to CRISS ANGEL Believe." o) The Ushers – Luigi (Martin Boisvert), Lars (Abdelkader Chelef), Slim (Mariano Nicolas De Yorio) and Maestro (Mateo Amieva). o) Kayala (Elena Serafimovich) – a wondrous beauty draped in white. o) Crimson (Aminah Abdul-Jillil) – a monster of nightmarish proportions. o) Lucky, the Rabbit in "Homage to the Rabbits." o) Other Characters – The Dolls (Gigi, Taz and Charissa), Hyena (a rabbit gone rabid), The Paparazzi (with cameras ablaze), The Crowmen (black birds to prey on the weak), Grand Master Tronik (a grand and beastly puppet), Mole (a creature of the underworld), Zangelica (half girl, half rabbit, all legs), Dega (a young rabbiteer), Auntie B & Father Luminus. o) Dancers – Deirdre Barnes, Liana Blackburn, Angela Brickhouse, Matt Carroll, Pamela Chu, Hiroaki Kumagi, Martha Nichols, Donnell Flanrico Quaker, Logan Schyvynck, Sherisse Springer, Ben Susak, Jesse Weafer, Bruce Weber, Shigeki Yamada, and Sara Zanelletti. o) Musicians – Elvis Lederer (Guitar), Jose Pepe Jimenez (Percussian, Electronic Percussion & Drums), Nitza (Singer), and Jean-Francois (Djeff) Houle (Bandleader, Bass & Electronics) TRAIN WRECK? ------------ "I've spent 15 years creating and evolving a concept that the world of entertainment has never seen," said Criss Angel in a release by Cirque du Soleil. "Now, I'm thrilled to be working with Cirque du Soleil and Felix Rappaport and his amazing team here at the Luxor to create an experience that goes beyond even my wildest expectations. I am confident that this collaboration will culminate in what is destined to become one of the most exciting shows Las Vegas has ever seen and redefine magic in the same way Cirque du Soleil has redefined the circus." Criss Angel BELIEVE had its first "Lion's Den" performance on September 12th, opened its doors to preview performances on the 26th and by the 30th, reviews were pouring in: everything from "horrible" to "terrible" and all points in between. It was clear that BELIEVE was nothing short of a train-wreck, but the coup de grace - DOUG ELFMAN's article from the Las Vegas Review-Journal - seemed to sum it up nicely: Criss Angel fans flew in from as far away as London to see his new Cirque du Soleil show open at the Luxor on Friday. The verdict by many? Creatively, "Believe" is a possibly unsalvageable "waste of time" and a "dead end" that literally bored some audience members to sleep. On Saturday night, reaction was even worse. "Everyone in the bathroom was chanting 'bull—-'" from the urinals, Damon Ranger of Chicago told me Saturday. "It was absolutely awful. You can 'Believe' how bad it is — because it's terrible!" People streamed out of the theater on Saturday screaming about how poor it was. A group of six women was led by a woman yelling furiously, demanding their money back. "Dude, it's a train wreck," Ranger said. On a scale of 1 to 10, he declared "Believe" a zero. Here's what they saw, as described on Wikipedia: Premonition -- Criss comes towards the audience and throws his wristband into the crowd. Once a spectator catches it, Criss has the person tell their name, where they're from, and to pick any word out of the English language. A small, locked box (always within the view of the audience) is then lowered from the top of the stage, where Maestro opens it and brings its contents - a clear plastic jar with a piece of paper in it - to Criss and the selected audience member. Much to the amazement of the audience, the paper contains the name, location, and chosen word of the participant. Tesla Coil -- Criss is suited up in a chainmail outfit as a very large Tesla coil is presented onstage. Criss goes to enter the cage surrounding the coil, but Crimson has other plans. She turns the power to the coil all the way on, causing sparks to fly and the theatre lights to go out. A pained shout is heard from Criss, and he writhes on the ground in pain as human-sized rabbits in doctor's coats lift him onto a gurney and roll him offstage. Lucky and Homage to the Rabbits -- A small rabbit appears on a large projection screen, desperately trying to escape. It makes its way out and hops onto a box, taking a small microphone and discussing Cirque du Soleil show rules and how it is now going to take over the show. While assuring the audience that no animals were harmed during the production of the show, a large light burns out and falls from the top of the stage, crushing Lucky and killing him instantly. The Ushers come out to find Lucky, placing him on the front of the stage as multiple rabbits come out to dance for their fallen friend. While they dance, Lucky's corpse is taken away, only to be replaced with Criss' body on a gurney. Crimson, who seems to be leading the dance, rips Criss' form off of the gurney and onto the floor, where all of the rabbits fight over it to get a piece. They then dance around with his limbs, head and torso, before being shooed away by the Ushers. Humbodik -- The Ushers reassemble Criss, before running offstage to get "the machine". Crimson reappears, dancing for the body of Criss while the machine is brought out. Criss' body is then lifted from the ground, before being engulfed in CO2. After the CO2 is blown away, we see Criss, whole again. The Dolls -- Three dolls - Gigi, Taz and Charissa - appear, dancing seductively while they dress Criss. Doves -- Criss does some sleight of hand with doves, before he disappears into a cloud of CO2, reemerging with his own pair of wings. He levitates above the stage for a few moments, before disappearing into the stage. Poppy -- Grit, a rabbit, appears on the stage and performs some contact juggling, while a large rabbit hops onstage to watch him. Two men dressed up as poppies come out and spin around, as a very large poppy is brought onstage. Suddenly, the poppy opens to reveal a beautiful woman clad in a white unitard. She performs some aerial acrobatics as Criss appears through a trapdoor in the middle of the stage. He stands on a platform made of thorns, staring up at the woman in awe, a hand clutching at his heart. The woman descends from her flower into Criss' arms. The two embrace before she gets off of the platform. Scarecrow -- Two men in white, billowy skirts wave large white fans before Criss, hiding him from view. When he is show again, he is shouting in pain, as Crimson is crawling through his body. Kayala hides behind the Ushers, who urge her to save Criss. She goes to run offstage as Crimson exits Criss' body, but Crimson catches her and begins to strangle Kayala. Criss has escaped his thorny prison, and runs over with a large white cloth to protect Kayala. He makes Kayala vanish under the white cloth, as Crimson makes herself vanish under a red cloth. Criss rips the red cloth away to reveal a burning tree. He then runs offstage to follow Kayala. De Kolta Chair -- The four Ushers appear on the dark stage with flashlights, looking for Criss. They come upon many rabbits, before Zangelica appears onstage with a baby carriage. The doll-sized Criss and Kayala appear from the carriage, before Lars picks up the smaller Criss and sits him on a chair. Lars and Maestro then lift a cloth over the chair, allowing Criss to reappear as normal. Maestro then begs him to perform his "favorite trick", the De Kolta chair. Kayala, a chair, and a large box are then brought onstage. Criss places a purple cape over Kayala, having her move her hands before she disappears. The box is then opened to reveal her. Dance-off -- Multiple Moles appears onstage and begin to dance. Criss and Kayala run offstage as the Ushers begin to play Rock, Paper, Scissors to decide who will dance against the moles. Each dances in turn, the most notable being Lars break-dancing on his head. Tronik -- Criss and Kayala return, and the Ushers begin to haggle them about their romance. Criss only smirks and replays that they "can kiss the monster", the monster being a lurking Tronik. Kayala runs offstage as Criss and Maestro run into the audience, Lars, Luigi and Slim running offstage to get whips and shields. Criss goes back onstage and defeats Tronik with magic. The creature staggers back for a moment, before regaining itself and heading toward Maestro, who cowers. The creature then removes its arms and torso, revealing Criss inside. Metamorphosis -- Crimson appears onstage and begins to seduce Criss, along with partially undressing him. He is then thrown into a wooden crate, while Crimson and her minions writhe upon the stage, tying up the crate. Crimson then climbs atop it, hidden in a cloud of CO2 before a firewall goes off. Criss then appears atop the crate, and begins to open it, revealing a straight-jacketed Crimson inside. Wedding -- Kayala is revealed, wearing a white wedding gown with a huge train following her. The Ushers come out to congratulate her as Criss is seen to appear atop the wall of the train. He then begins to walk down it, marrying Kayala after his descent. The two proceed to kiss as the Ushers pose for photographs. A large pool of blood begins to form on the gown's train, growing large with each flash of the camera. Finally, the gown is ripped from Kayala. A spotlight shines on Crimson and her paparazzi, before Criss is illuminated, Kayala lying on the ground next to him. Paparazzi -- Criss and his Ushers fight to keep the paparazzi away from Kayala's lifeless form, the paparazzi dancing with Crimson before the wind blows them away. Criss mourns for Kayala before the Ushers take her away. A large projection of Crimson appears before Criss, knocking him to the ground. In Two -- A large, mechanical-like table is rolled out, along with figures sharpening chainsaws on it. Criss is chased offstage by a Crowman, before one of the Dolls brings him back on and throws him upon the table. Crimson takes a chainsaw from one of her henchmen as Criss is bound and shackled to the table, before sawing him in half. Blood and gore spill out everywhere, each half of Criss' now-lifeless body pulled in separate directions offstage. Funeral -- The Ushers come out and mourn over Criss, placing red roses on his grave. Crimson walks out with a Crowman and a wheelchair, spitting on Criss' grave before throwing her black rose on the ground. She is then covered by a blanket on the wheelchair and spun around so that she is no longer facing the audience. More mourners bestow roses upon Criss' grave as Kayala comes out in a black mourning gown, placing her white rose gently upon her beloved's grave. A large scrim comes down upon the stage before the wheelchair begins spinning. The figure seated removed the blanket, revealing Criss. He turns around to look at the characters of his surreal adventure, but the lights have gone dark and they are no longer visible. He then turns back to the audience, his whisper of "Believe" echoing throughout the theatre. ANGEL or DEVIL? --------------- The initial preview performance was not received well; audience reactions were thoroughly negative. The show opened to equally harsh reviews, citing a lack of the magic Angel is known for as well as a confusing and uninteresting theme; reviewers felt neither Angel nor Cirque du Soleil were able to perform their capabilities. By December 17, two months into the show's run, the Luxor was offering a 40% discount on show tickets. In lieu of quotes from theater critics, by January 2009 the Believe website used positive critical quotes from selected celebrities, including Angel's then-girlfriend, Holly Madison. Over the next year many reviews of the show would share roughly the same sentiment though the show continued to fill seats well enough (but whether it was making money or not remained to be seen). Criss also had his fair share of run-ins with the press and celebrities alike. After Cirque spent some weeks tweaking the show, blogger and television personality Perez Hilton attended a performance on Friday, April 17, 2009. During the show, Hilton used his Twitter account to message over half a million of his subscribers "We are 20 minutes in and Criss Angel's Vegas show, Believe, is unbelievably BAD!", as well as other criticism. As the show was ending, Angel singled out Hilton, had him stand up, and declared to the audience that "We have the world's biggest douche-bag asshole in the house!" To which Hilton replied "Thanks for the free tickets." Hilton, who is a fan of Cirque du Soleil, later noted that "until 'Believe,' Cirque has had an incredible track record of excellence. I have seen all of their Vegas shows and loved them all." In the aftermath of the incident, Cirque du Soleil, but not Angel, issued an apology to Hilton, as well as anyone else present in the family-oriented show. Speaking also on behalf of hotel owner MGM Mirage, Cirque du Soleil called Angel's remarks "inappropriate and disrespectful", noting that "Cirque management will address such behavior privately with any of its artists to ensure it will not happen again." The Vegas media reaction was strongly against Angel, who was viewed as having broken a major taboo among casino employees in the largely tourist economy by insulting a guest, notably during an economic downturn. Angel had even threatened Norm Clarke of the Review-Journal over some of his comments, suggesting he promised to take out his other eye (Norm wears an eye patch). Criss Angel was becoming a bad boy, and a very visible liability to Cirque du Soleil's brand. By December 14, 2009, though, according to Robin Leach's column for the Las Vegas Sun, Criss Angel was in the process of integrating seven new "extraordinary" illusions into BELIEVE, hoping to stem the negative press. He has already been rehearsing all of them during the day and performing his shows at night. Now he's waiting for Fire and Building Department approvals to add them into the show. Luxor President Felix Rappaport confirmed the delay in adding the illusions. "We'd hoped it would be December, then January, but now realistically with the additional building changes and the show coming up to code in every aspect, all the inspectors say Criss can have everything in place for March in time for new marketing and promotion." WHAT NOW? --------- With all the reaction to the debut and first performances of the show, it was obvious to fans that something had gone wrong and that changes would be in the offing. From what had been heard by rumor this had been happening all during the creation process, with Angel battling with Denoncourt and Cirque over the direction of the show. If there was a general conclusion to be drawn from most of the fan reaction, it was that the show was too much "Cirque" for Criss Angel Mindfreak fans and too much "Mindfreak" for Cirque du Soleil fans. Trying to straddle this middle ground, it couldn't succeed with either audience. Another area of contention was the entire approach of the show, which had Angel attempting a stunt which would go "horribly wrong" resulting in transporting him (and thereby the audience) into the fantasy realm where he would take on the persona of the "Victorian Noble." The problem with the approach was it was inconsistent; once Angel was in the Noble persona he would perform an illusion only to then directly address the crowd in the present as Criss Angel. He would go into the fantasy realm and back out again several times during the show, with no resolution of the plotline of his character. (Unlike the show of Ziegfried & Roy, who used a similar fantasy/reality motif but kept the fantasy sections distinctly separate from each other and reality.) Changes were coming. But the changes were slow to arrive, leading some to think nothing was being done. It was actually that, when dealing with two creative organizations (Angel and Cirque) more time needed to be taken to make sure all parties were satisfied with the new direction. It also took a long time for construction and rehearsal, as props and stage changes needed to be made to very tight tolerance. New illusions were incorporated into the show over time, but by then the reputation of the show had been established. After a bit more than a year of performance it was decided that Cirque's approach was not working, and that Angel's original approach would better fit his persona. This meant jettisoning nearly all of the "Cirque-ey" elements; Angel's Victorian Noble character, the continuing fantasy plotline, the multiple types of dancing rabbits, various characters, and live music. It was decided to focus strongly on Angel and his interaction with the audience, and adding more illusions to the show. But change again was slow (taking more than a year), as instead of releasing artists immediately it was done as contracts expired, leading to the dancing contingent shrinking and shrinking over a period of time until just a couple remained (until their contracts expired). The debut of "Version 2.0" of Criss Angel Believe is hard to pinpoint, as Cirque has never "re-launched" the show or made a point of its re- invention. Our best guess is that most all the elements of the new show were in place by May, 2010. The show is now largely devoid of "plot," and has become a showcase for large-scale illusions featuring Angel (over 30 new illusions were added). Some of the characters (Ushers, Kayala, and Crimson) appear in a reduced form, and the music is now all pre-recorded (though it sounds to be original music). But that's not all... in short order, according to Robin Leach, a new opening is coming for BELIEVE (to celebrate the second half of the show's 10-year contract) and a potential new "revolutionary levitation" act, which has reportedly taken him nearly two decades to perfect. What's the trick? He will levitate many people from the audience simultaneously to float with him. I guess we'll have to see it to believe it! ---------------------------------------------------------- Michael Jackson ONE: "Hope, Love, Unity, 'ONE'" [EXPANDED] Special Reprint from MJ World ---------------------------------------------------------- Entering Las Vegas via the southern tip of Las Vegas Boulevard, the first impressive building to greet us was the Mandalay Bay resort, stupendously displaying a single word across the top floors – Michael! Mandalay Bay means business in landing Cirque Du Soleil’s masterpiece ‘Michael Jackson ONE,’ as their keynote, resident show and their advertisement campaign reflects this. Taxis, carriages on the mini- monorail connecting Mandalay Bay, Luxor and Excalibur, and the latest edition of the ‘MLife’ Magazine all carry the significant, essential image of the show. Michael is impossible to miss in Vegas! When you enter the Mandalay Bay resort, you are hit by the elegance of the casino and the prominent signage to the ‘Michael Jackson ONE’ theatre, where the ‘ONE’ Cirque show plays almost nightly. ‘ONE’ in the short time since its official premiere in June, has gained the critical recognition of fans, press and saged Vegas visitors alike, as THE show to see in Vegas! They are not wrong! The show is not being over-hyped at all as the overall emotion I felt as I reluctantly left the theatre was “WOW!” Or as they would say in America “AWESOME!” Okay, I could be accused by some, as having a biased view, being a seasoned fan and a member of the MJWN News team, but I can objectively state – ‘Michael Jackson ONE’ has the WOW factor! During visits to Vegas in recent years I have seen many Cirque Du Soleil productions, two dedicated to the music of other famous musicians, and in my opinion ‘ONE’ excels in many ways, mainly due to Michael’s music, Cirque’s exciting interpretation of Michael’s incredibly talented dancing and creativity, plus his message to the world, which are the underlying creative force separating this piece from its peers, resulting in the outstanding, dazzling show it is! As you approach the’ Michael Jackson ONE’ theatre, there are long banners adorning the walls – images of Michael in ‘Black Or White’ pose, which is the significant emblem of the show! Others show performers from the cast. On one side Michael artefacts are displayed, which are on loan from Michael’s Estate, and I noticed most of the audience stopped to scrutenise and admire Michael’s loafers and sparkling red jacket. Also here is the ‘ONE’ shop which sells a wide range of merchandise, from fedoras to t-shirts and trench coats to fridge magnets – there is something to suit most people’s taste and pocket. Along the wall is a panoramic series of photos of Michael performing his signature ‘Billie Jean,’ which are breath-taking in their size and importance. As I gazed at these iconic photographs I recalled the emotions I felt when Michael performed his famous ‘Moonwalk,’ during ‘Billie Jean’ on stage at Wembley and around the world, wowing audiences with his strength and dynamic moves! Michael was a special person with the ability to mesmerise an audience! Many people took the opportunity to photograph themselves alongside these…. little did they know what was waiting for them once stepping through the theatre doors into Michael’s world! As you turn inwards towards the theatre doors there is yet another large dynamic photo of Michael pointing, plus I was able to glimpse the doors which are decorated with jacket fasteners – very Michael in design! Once in the theatre foyer, the atmosphere changes to excitement, plus anticipation … here there is so much attention to detail before you even start experiencing the show itself – including all ushers dressed in Michael-style, gold-braided outfits including fedoras! I commented to one attendant; “I bet you never thought you’d wear that uniform to work!” To which he replied; “I always knew I’d work for the man one day, I am honoured Mam!” A strong feeling of respect and reverence for the main man, Michael, is very evident from all attendants, ushers, cast members and completes the vibes of the show itself. After being greeted at the theatre doors, and given the red-carpet treatment you are instantly invaded by red-coated, black fedora wearing papparazzi, as you are caught up in Michael’s world and the innovation of the ‘ONE’ show. This is how it feels to be famous! Papparazzi are everywhere, stopping audience members in their tracks – invading their ‘Privacy!’ Stairs lead to the theatre, its walls etched with Michael’s song titles and silhouette paintings of famous Michael poses! Every opportunity is tastefully taken to introduce the audience to Michael’s realm and into the mood for the show of a lifetime! The demographics of the audience were diverse from fans sporting fedoras to vacationers wearing shorts, enjoying the experience of a live Vegas show! Diverse in culture, origin and expectation – very much like the audience at one of Michael’s tour shows! Once inside the theatre, I settled in my well-positioned seat – central and towards the rear of the front section, which by the way aren’t just the ordinary seats, as there are speakers that vibrate the entire music theme several decibels higher than it would normally play. Brilliant as a total fan of Michael’s music! As I gazed around the auditorium, absorbing our surroundings – it was difficult to take everything in as there is so much going on! On either side of the stage were structures, reminiscent of the ‘Dangerous’ album cover and tour stage, plus large video screens flashing ridiculous newspaper headlines before us, making ludicrous statements and using evocative vocabulary such a LIAR, however, superimposing pictures of the audience itself!! Fun! You are immediately focussed on one element of the show – invasion of privacy, which everyone deserves in their private time, unlike the life Michael faced during his privileged life of superstardom and the sad downside of worldwide fame! Papparazzi continued to pop up spontaneously with their large cameras and flashlights, even as people innocently chatted, abruptly a pap’s head would lean over their shoulders completely out of the blue – most people’s reaction was laughter or total shock! The sound of rumbling incessantly beat in the background to the papparazzi antics. Meanwhile there on the stage before us was a magnified, swirling, floating image of a fedora, a pair of sunglasses, a sparkling sequin encrusted glove, not forgetting the sparkling socks and loafers, around a single upturned stool, surrounded by spotlights….Michael’s signature, iconic emblems! A Neverland timepiece was projected onto the stage which housed these icons of Michael’s career which symbolised an era! Meanwhile ‘Privacy’ reverberated around the theatre becoming increasingly intrusive. Everyone’s attention suddenly turned as out of the blue, a kafuffle started as four young people – the misfits – started to mingle with the audience, trying to sit in their seats and squeeze past, even climbing over seats, papparazzi immediately homed in on them as they ran towards the side of the stage, whence they disappeared into the ‘Dangerous’ world! “Ladies and Gentlemen! No flash photography, cameras or recording devices to be used during the performance!” Cirque Du Soleil’s ‘ONE’ began … There is so much to this amazing fast-moving show that I don’t wish to spoil it for anyone planning to book in the future, but I will highlight some segments, in no particular order. (To be honest it’s all worth a mention, but the element of surprise adds to the show’s effects! Don’t wanna be a party-pooper!) Where to start? The guitarist aka Jennifer Batten (lookalike) takes the stage early in the production – Michael loved Jennifer on stage and her inclusion speaks multitudes of the understanding and thoughtfulness that has gone into this Cirque Du Soleil production. In the opening sequence we are introduced to the evil elements of the world – a pack of journalists who have dog-shaped masks on. They flashed red neon words such as evil, hate, fear, greed, envy across their chests – they are there to prevent the four young misfits from finding Michael’s hat, sunglasses, socks and loafers and glove which will give them special, magical powers to dispel evil forces. Anti- tabloid messages feature strongly in this musical, which reflects Michael’s own experience. ‘BAD,’ ‘Smooth Criminal,’ ‘Jam,’ ‘In the Closet,’ they are all there – maybe not all in full but sound-bites and mixes! The costumes are Michael inspired with a twist – the colours are captivating – fedoras of all shades are well featured and of course the bling – very showbiz and very Michael! The choreography and dancing is exact and reflect the perfectionist Michael was himself. This is best replicated in ‘They Don’t Care About Us’ including the video planned for ‘This Is It’ and the very military, accurate choreography, performed with precision but as all fans understand Michael was enthralled by the military and uniforms. The sound of the drums resounding around the auditorium whilst the prison version of the ‘TDCAU’ short film was played, for me, was a ground-breaking moment for audiences around the world. The understanding behind the presentation of Michael’s music is truly remarkable. I would hope that Michael would be more than satisfied with the efforts of all involved. ‘Thriller’ is just amazing as dancers appear from below ground, zombie aerialists appear from above and ghouls lumber up the aisles, surprising the audience as they shamble and lurch past. Zombies surround you from every direction! All are dancing and performing that stellar ‘Thriller’ dance sequence to the loud, thumping beat of ‘Thriller!’ The video screens show scenes from the new footage Michael created for ‘This Is It!’ I have to add that the audience reaction to this was heart-rendering as they gasped and clapped! ‘The Way You Make Me Feel’ – I think Michael would have loved this sequence. Michael’s fans loved his strut as he wooed the girl in the video and tour performance of this song – well wow these Cirque ladies can certainly move and ‘strut their stuff,’ in their suggestive figure hugging costumes! The music is played at full-blast and is definitely an audience pleaser! I loved it! So up-lifting too! ‘Stranger In Moscow’ – Mother Earth floats above you entwined and surrounded by twinkling stars whilst sitting on a crescent shaped moon – she sings above us, she is beautiful, aerialists surround her as clusters of twinkling lights. Katherine Jackson, Princess Diana and Elizabeth Taylor’s images flash onto the background screen, Michael’s voice is heard asking us “Will you be there in my darkest hour, in my deepest despair?” Suddenly raindrops/snowflakes begin to rain down upon the audience – very moving and full of anguish – the audience feels Michael’s gloom. ‘Billie Jean’ – I find it hard to find the right words to describe this segment of the show – well there is one – AWESOME! The costumes, including the built in lights, the stage-lighting, the choreography, including wall walking as in Michael’s ‘Ghosts’ – they are all there and Michael moonwalking – the one and only ‘Moonwalker’ – this is fabulous, an earth-shattering moment in the show! People gasped, cried, wowed and were totally moved! Well done Cirque! ‘Dirty Diana’ – hmmmm – fabulous pole dancing at its best! That girl has got muscles on muscles – enough said! The audio and visuals are dynamic to say the least – Cirque have definitely raised the ante in this production, as did Michael himself always wanting to “Reach For The Stars!” It’s astounding. The visuals are state of the art as is the sound production, which tears right through you! I wished I had pairs of eyes all around my head because there was so much going-on, above, below, to the sides and behind you that you must try not to miss any of this fast-moving action! It’s everywhere. I enjoyed the playfulness of the four misfits as they searched for their iconic Michaelie pieces. The humour that is added such as the glove slapping one across the face is all part and parcel of Michael. His fun-loving, joke-playing attitude to life. This was well-received by the audience! Mime played a part here too and paid homage to Michael’s admiration and love of Marcel Marceau. ‘Man In The Mirror’ has always been one of my favourite Michael songs and this part of the show raised my saddest emotion, as I witnessed Michael’s hologram dancing with earnest amongst the performers. One moment he was there and then disappeared in a sprinkling of golden magic dust only to reappear again and again and again! A magic moment! At the close of the song Michael the man dissolves into Michael the child – the inner child – ‘The Man In The Mirror!’ Michael himself is a strong force throughout this loving, thoughtful, incredibly creative, explosive depiction of his music and legacy – whether in the form of video shots, his voice, his dancing, his iconic, history making musical legacy and not least, his humanity. The audience understands from the offset that this show is Michael’s, as no performer ‘plays’ Michael – he plays himself! The theme promotes all the positive elements of Michael’s character and personality which captured the world’s attention, through generations, and continues to do so. There are few entertainers who have a charismatic soul and energy – Michael did, so reflected by the army of dedicated, devoted fans who continue to understand his magic, his love and understanding of people. Of course Michael’s message of healing the world, hope, love, unity and harmony – we are all one are the strongest themes that this show leaves behind in my thoughts! The staging of the giving tree, the inclusion of ‘Speechless’ and ‘Earth Song’ have the desired effect upon the audience. Michael felt this yearning for a loving world very strongly and it was a recurrent theme in his writings and music. ‘ONE’ achieves its mantra of ‘We Are One.’ ‘ONE’ suggests that the media got him so wrong and their misinterpretation is annulled by this Cirque adaption, if people allow it to. There will always be those doubters but the audience who shared this experience were mesmerised, MESMERISED by this up-beat, fast- moving show. No-one can deny Michael’s musicianship, his talented dancing and creativity so ably interpreted by Cirque Du Soleil, unless they live in a world devoid of music, pathos, humanity and a fun-like approach to life! As the show drew to its finale the audience were on their feet, dancing, clapping and singing along. The cast received a well-earned and well-deserved standing ovation as performers interacted with them as the audience yelled for more! What a fantastic addition to the Vegas realm of Entertainment and I’m sure ‘ONE’ will command the strip for years to come! Cirque Du Soleil’s cast of aerialists, incredible dancers, street- dancers, pole-dancers and all the awe inspiring theatrical effects, pyrotechnics and illusions they are known for, accompany Michael’s amazing catalogue of music, providing a truly memorable, emotional, supreme experience – this Michael Jackson and Cirque Du Soleil collaboration is an event not to be missed! Recommendation: Don’t sit too near the front and be aware that this is an action-packed show that takes place all around you! Overall verdict: Outstandingly brilliant! ======================================================================= 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 13, Number 09 (Issue #116) - September 2013 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2013 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. { Sep.06.2013 } =======================================================================