======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 ------------------------------------------------------------ ======================================================================= Issue #43e www.CirqueFascination.com April 2005 ======================================================================= We're off and running again! And we are running... and running... and running... and running! In a matter of hours now Fascination! will descend upon Montreal for the premiere of Corteo, Cirque du Soleil's newest touring production, as part of the festivities surrounding CirqueCon 2005 Montreal. There's not much to tell about the show at this stage (a press-release by Cirque du Soleil is featured in our news section this month); however, next month we'll blow the canvas off the big top with reviews, analysis and reflections about the show's premiere, about CirqueCon and about Corteo -- so stay tuned! Want to know more about CirqueCon? Visit the official web page for the convention at < www.CirqueCon.com >. Speaking of official websites, last month we introduced a new home for Fascination! on the web, at a temporary address. This month we'd like to welcome everyone to join us at our new permanent home: < www.CirqueFascination.com >. Through this website you'll have access to all our back issues, certain historical columns, the issue/photo archive and much, much more. So come take a look at our new permanent home and let us know what you think! Inside our pages this month we conclude the three-part review of KÀ, Cirque du Soleil's newest permanent production at the MGM-Grand in Las Vegas, Nevada. Wayne attended a "preview performance" and shares his insights on all aspects of this "finished" production. If you've yet to see KÀ and aren't bothered by spoilers you'll want to read Wayne's Review, as he concludes with his own personal reflections. We also continue our series about auditioning for Cirque du Soleil. Keith and his wife LouAnna received the opportunity to observe the audition process and share their experience. Fascination! proudly presents the third part of this four-part series. Also, check the TV Listings this month for an updated schedule to Bravo's Cirque-a-Thon. They snuck in "Lovesick", the Zumanity behind- the-scenes documentary, at the beginning of the month; however, Bravo USA will re-run the documentary during the Cirque-a-Thon week so mark your calendars! You can find more information regarding this documentary by visiting its website: < http://www.lovesickthemovie.com/ >. We hope you enjoy this issue of Fascination! /// EXPANDED ISSUE: There's just one small item we expanded upon for this issue, a brief mention of Cirque in Tokyo for the news section this month. You'll find it in CIRQUE BUZZ! /// - Ricky =========== CONTENTS =========== * Cirque Buzz -- News, Rumours & Sightings * CRQ-TV -- Cirque on Television * CRQ.NET -- Cirque du Soleil Online * Itinéraire -- Tour/Show Information * Didyaknow? -- Facts About Cirque * Le Spectacle: "New Kid on the Block: KÀ, Cirque du Soleil's Fourth Resident Show in Las Vegas (Part 3 of 3)" By: Wayne Leung - Ottawa, Ontario (Canada) * Special Engagement: "CirqueCon Montreal 2005 Update" By: Keith Johnson - Seattle, Washington (USA) * Behind the Curtain: "Who Has What It Takes? (Part 3 of 4)" By: Keith Johnson & LouAnna Valentine - Seattle, Wash (USA) * Parting Quote * Subscription Information * Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Cirque 2005 is CORTEO --------------------- MONTREAL, April 5 /CNW Telbec/ - Corteo(TM), Cirque du Soleil's latest touring show, will premiere in Montreal's Old Port on April 21. This 17th production from Cirque du Soleil will be joining ten other productions currently in performance around the world. Corteo, which means "cortege" in Italian, combines the craft of the actor with the prowess of the acrobat to plunge the audience into a world of playfulness and spontaneity situated in a mysterious area between Heaven and Earth. Corteo is a grand procession, a festive parade imagined by a clown. Juxtaposing the large with the small, the ridiculous with the tragic and the magic of perfection with the charm of imperfection, the show highlights the strength and fragility of the clown, as well as his wisdom and kindness, to illustrate the portion of humanity that is within each of us. The clown is Everyman, a cunning idiot, a colourful loser who shines a light on all that is difficult and beautiful in life. Corteo evokes the full spectrum of emotion and experience: love, friendship, pain, joy, wisdom, beauty, life and even death. Corteo, a timeless revel in which illusion teases reality. The cast of Corteo brings together over 50 artists from 14 different countries: Armenia, Belarus, Brazil, Bulgaria, Canada, France, Italy, Kenya, Romania, Russia, Spain, Ukraine, the United Kingdom and the United States. Corteo explores the circus arts in a way that is brand new to Cirque du Soleil. Once again, the very limits of acrobatics are challenged as Daniele Finzi Pasca lends his unique touch to Cirque du Soleil's spectacular performances. Corteo redefines the springboard, the Korean frame and the tightwire, and presents acts that are as original as they are innovative. The desire to surprise and move audiences is a big part of the inspiration behind Corteo. Daniele Finzi Pasca is the director of this new production, which calls on the talents of 14 different creators, nearly half of whom are working with Cirque du Soleil for the first time. Members of the creative team are: Guy Laliberté Guide Daniele Finzi Pasca Creator and Director Line Tremblay Director of Creation Jean Rabasse Set Designer and Decorator Dominique Lemieux Costume Designer Philippe Leduc Composer and Musical Director Maria Bonzanigo Composer and Musical Director Martin Labrecque Lighting Designer Jonathan Deans Lighting Designer Hugo Gargiulo - Teatro Sunil Acting Designer Antonio Vergamini - Teatro Sunil Acting Designer Dolores Heredia - Teatro Sunil Dramaturgical Analyst Danny Zen Acrobatic Rigging Designer Nathalie Gagné Make-up Designer After its Montreal run, Corteo's North American tour will take it to Quebec City and Toronto before the show goes on to the United States. Fascination! will attend some of the very first public runs of Corteo! We'll have full coverage of Cirque's newest touring production and on CirqueCon 2005 in our next issue. What may we see? According to Umbridge.com, a Cirque du Soleil fan-site, Corteo has a myriad of acts: Chandelier Cradle, Korean Plank, Tightrope, Juggling, Combination High Bar/Korean Plank/Fast Track, Wrestling and perhaps a contortion number. We, of course, will have full details after the premiere. Stay tuned! Cirque to open Permanent Theater in Japan! ------------------------------------------ It's official! Cirque du Soleil has come to an agreement with the Oriental Land Co, Ltd. and the Walt Disney Company to open a permanent theater at the Tokyo Disneyland Resort. "This will be Cirque du Soleil's first permanent theater and show in Japan and its first permanent venture outside North America," mentions a Cirque du Soleil press release. Currently all permanent ventures reside in the United States (Mystère, "O", Zumanity and KÀ in Las Vegas, Nevada and La Nouba in Orlando, Florida), but there have been rumors of possible installations in London, England; Paris, France; Berlin, Germany and, of course, Tokyo, Japan throughout the years. Cirque will develop an original exclusive show, which is set to premiere August 2008. This as yet named project is to cost approximately $140-million US ($115-million provided by Japan's Oriental Land Co.) and include a theater for 2,000 spectators. [Source: Cirque du Soleil; Oriental Land Co; Yahoo! News] Delirium Now Available ---------------------- The new Solarium/Delirium Combination Album is now available in the Cirque du Soleil Online Boutique for $35.00 US! "Solarium is a cool, ambient chill-out album that includes remixes by Ibizarre, A Man Called Adam, Cottonbelly, Christophe Goze and Thievery Corporation, to name but a few. Delirium captures the hot, sparkling energy of a festive dance party and features innovative remixes by several key DJs and producers such as Louie Vega (featuring Jaffa), Julien Jabre, Roger Sanchez, Sasha, François K and Eric Kupper... and many more!" Delirium Track Listing: 1. Emballa - Louie Vega featuring Jaffa "Album Mix" 2. Querer - Julien Jabre Remix 3. Kumbalawé - Roger Sanchez Release Mix 4. Aborigenes Jam - François K / Eric Kupper "Vocal Mix" 5. Pokinoï - Sasha Remix 6. Africa - Quicksound / Alain Vinet Remix 7. Terre aride - Jori Hulkkonen Remix 8. Spiritual spiral - Carmen Rizzo Remix 9. Mer noire - Tiësto Remix For a more detailed look at Delirium, see Keith Johnson's review featured in Issue #42 - March 2005. Cirque in Tokyo! [EXPANDED] --------------------------- The Cirque du Soleil is taking advantage of its popularity in Japan to establish a permanent theatre at the Walt Disney Resort in the suburbs of Tokyo. The deal with the American entertainment conglomerate and Oriental Land Co. Ltd. was announced Wednesday by Daniel Lamarre, the Cirque's president and chief of operations. The $140-million project is to include a theatre for 2,000 spectators. Oriental Land is providing $115 million to build an earthquake-proof building, with the remainder coming from the Cirque, Lamarre said during a conference call from Japan. An original show is scheduled to premiere in August 2008. The Tokyo project is expected to create 150 jobs at the Cirque's headquarters in Montreal. The company will continue its strategy of running unique shows in each permanent location, Lamarre said. "People who want to see 'O' (show) have to go to Las Vegas and people who want to see this show will have to come here to Tokyo," he told reporters. The most Cirque du Soleil tickets in the world are sold in Tokyo, the conference call was told. The company is also interested in establishing permanent sites in Paris, London and several other cities, said Lamarre. "There are certainly five or six big cities in the world where we wish to have a permanent show in 10 years." [Source: Yahoo News] ======================================================================= CRQ-TV -- CIRQUE ON TELEVISION! ======================================================================= * CIRQUE-A-THON ------------- Network: BRAVO (USA) * April 22nd (Friday) 08:00pm -- Varekai 10:00pm -- Dralion * April 23rd (Saturday) 12:00am -- Varekai 02:00pm -- Nouvelle Experience 03:00pm -- Varekai 08:00pm -- La Nouba 10:00pm -- Alegría * April 24th (Sunday) 12:00am -- La Nouba 02:00am -- Lovesick (Documentary) 02:00pm -- Saltimbanco 03:00pm -- Dralion 09:00pm -- La Nouba 11:00pm -- Saltimbanco * NOTE: Check your local listings for complete information. Schedule is subject to change. ======================================================================= CRQ.NET -- CIRQUE DU SOLEIL ONLINE ======================================================================= This Month in Cirque Club (By: Keith Johnson) ------------------------- With the press conference for new touring production Corteo concluded, Cirque Club has archived the performance section on its website. They didn't, however, include the comments by Guy Laliberte, Line Tremblay and director Daniele Finzi Pasca. We, being the completists we have always been, would have liked these translated from French and placed on the site, as they had been done for some of the other press events. The complete press release for the show can be found in the Press Services section of the site. The Boutique, on the other hand, has been relatively silent, with no new items we can see. In Cirque Club marketing messages, Anne-Josée was busy: She wrote about a special appearance by Varekai characters: "With only eleven days left of our stay in Austin, we couldn't have asked for a better send-off! Today-Thursday, March 17-Texas State Senator Gonzalo Barrientos and Texas State Representative Dawnna Dukes, on behalf of the Texas State Legislature, will commemorate Cirque's 20th anniversary and its return to Texas with Varekai by reading a special proclamation prior to the beginning of session on the House and Senate floors of the Capitol. A few Varekai characters will be on hand to create a little havoc!" She also wrote about the winner of their Cirque du Soleil and Me contest: "I wanted to thank Cirque Club members for all your wonderful stories and for making our contest such a great success. The Grand Final Vote ended last Sunday and we are proud to announce that the winner is Claire Martel from Jonquière with her story entitled "First Steps." She will be living out her dream to go to Orlando and see La Nouba with her family. The first 20 years of our history have been filled with many memorable experiences and we thank you for having been there throughout. And with the worldwide launch of Cirque 2005 less than a month away, we look forward to many more!" Mentioning a "special performance" during Quidam's Melbourne run: "I thought you might like to hear about a very special event taking place in Melbourne. We are delighted to be working with four local artists specializing in stencil and aerosol art, who will create a unique Quidam-inspired panel during a live "performance" this Saturday, April 9 between noon and 6 p.m. at Federation Square. This unique project is in keeping with the spirit of Cirque du Soleil's Arts du Monde program, which encourages local artists to express themselves and share their own creativity with the world. Drop by on Saturday to enjoy the artwork in person as it is created!" And Saltimbanco is now performing near Paris! Anne-Josée again: "After months, even years, of meticulous planning, last night Saltimbanco performed for the very first time under the Grand Chapiteau in Boulogne-Billancourt, just a short distance from the heart of Paris. The evening was simply magical! The audience loved the show and truly embraced the spirit of Saltimbanco. A number of famous faces were spotted in the crowd enjoying the evening's festivities, including Caroline Barclay, Jean-Paul Belmondo, Guillaume Canet, Roberto Cavalli, Catherine Deneuve, Charlotte Gainsbourg, Garou, Jeanne Moreau, Sandrine Bonnaire, Marie-Laure De Villepin and Roman Polanksi." And Madame surfaced again, to remind us of the "Lovesick" documentary on Zumanity being broadcast on Bravo: "Hello gorgeous. I have great news for the voyeur in you! On April 8, 9 and 24 on Bravo USA, you will have the chance to put your eye to the keyhole and take a peek into the lives of some very special people. Director Lewis Cohen was given unprecedented access to what was going on during the creation of ZUMANITY, and he captured some exceptionally raw and intense moments for you to see. The lens focused on five incredible creatures from the human zoo, and followed them as they challenged their limits and in the end redefined their identities. Lovesick is tailor-made for those yearning to delve into the intense, sensual and chaotic personal lives of these artists. So turn down the lights, pour yourself a nice glass of wine and prepare to be riveted to your loveseat! This is no ordinary reality." Above text courtest of Cirque Club. La Presse --------- 1. [ Varekai Photo Shoot - Bride's Magazine] < http://www.brides.com/fashion/bride/popup_photo.ssf? index=0&g_id=4823 > 2. [Zink! Varekai Photo Shoot, Behind the Scenes] < www.stylezonetv.com/cirque.html > ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= [Touring Shows] Alegría: * Fukuoka, Japan: Feb 9, 2005 to Apr 3, 2005 * Nagoya, Japan: Apr 20, 2005 to Jun 12, 2005 * Osaka, Japan: Jun 25, 2005 to Aug 10, 2005 * London, England: Jan 5, 2006 to Jan 29, 2006 Corteo: * Montreal, Quebec, Canada: Apr 21, 2005 to Jun 19, 2005 * Quebec City, Quebec, Canada: Jun 30, 2003 to Jul 24, 2005 * Toronto, Ontraio, Canada: Aug 4, 2005 to Sep 11, 2005 * Minneapolis, Minnesota: Sep 23, 2005 to Oct 23, 2005 * San Francisco, California -- TBA * San Jose, California -- TBA Dralion: * Barcelona, Spain: Mar 17, 2005 to May 20, 2005 * Rotterdam, Netherlands: Jun 3, 2005 to Jun 19, 2005 * Oostende, Belgium: Jul 21, 2005 to Aug 14, 2005 * Zurich, Switzerland: Sep 8, 2005 to Oct 16, 2005 * Bilbao, Spain: Nov 18, 2005 to Dec 4, 2005 * Seville, Spain: Jan 12, 2006 to Jan 29, 2006 * Valencia, Spain -- TBA Quidam: * Melbourne, Australia: Mar 4, 2005 to May 1, 2005 * Adelaide, Australia: May 12, 2005 to Jun 5, 2005 * Perth, Australia: Jul 1, 2005 to Jul 17, 2005 * Singapore -- TBA Saltimbanco: * Boulogne Billancourt (West of Paris): Apr 8, 2005 to Jun 3, 2005 * Sao Paulo, Brazil -- TBA Varekai: * Pittsburg, Pennsylvania: Apr 9, 2005 to May 8, 2005 * Baltimore, Maryland: May 19, 2005 to Jun 19, 2005 * East Rutherford, New Jersey: Jun 30, 2005 to Jul 17, 2005 * Columbus, Ohio Aug 11, 2005 to Sep 11, 2005 * Hartford, Connecticut -- TBA * Charlotte, North Carolina -- TBA * St. Petersburg, Florida -- TBA * Miami, Florida -- TBA [Resident Shows] La Nouba: * Two shows Nightly - 6:00pm and 9:00pm * Performs: Tuesday through Saturday, Dark Sunday/Monday * Location: Walt Disney World Resort, Orlando (USA) * 2005 Dark Dates: -- February 6th - 9th -- August 28th - 30th -- April 3rd - 6th -- October 9th - 12th -- June 5th - 20th -- November 13th - 15th -- August 14th - 17th -- December 4th - 13th Mystère: * Two shows Nightly - 7:30pm and 10:30pm Beginning June 13th: Except Sundays; 4:30pm and 7:30pm * Performs: Friday through Tuesday, Dark Wednesday/Thursday Beginning June 9th: Wednesday - Sunday, Dark Monday/Tuesday * Location: Treasure Island, Las Vegas (USA) * 2005 Dark Dates: -- January 3rd - 18th -- July 10th - 12th -- February 6th - 8th -- September 12th - 20th -- March 13th - 15th -- November 13th - 15th -- May 16th - 24th "O": * Two shows Nightly - 7:30pm and 10:30pm * Performs: Wednesday through Sunday, Dark Monday/Tuesday * Location: Bellagio, Las Vegas (USA) * 2005 Dark Dates: -- February 20th - 22nd -- October 16th - 18th -- April 18th - 26th -- December 5th - 20th -- August 22 - 30th Zumanity: * Two Shows Nightly - 7:30pm and 10:30pm * Performs: Tuesday through Saturday, Dark: Sunday/Monday * Location: New York-New York, Las Vegas (USA) * 2005 Dark Dates: -- February 7th - 10th -- August 15th - 18th -- April 18th - 21st -- October 10th - 13th -- June 8th - Jun 16th -- December 7th - 22nd KÀ: * Two Shows Nightly - 7:00pm and 10:30pm * Performs: Friday through Tuesday, Dark Wednesday/Thursday * Location: MGM Grand: City of Entertainment, Las Vegas (USA) * Note: One show nightly at 8:00pm from Nov 26 to Dec 7. * 2005 Dark Dates: -- January 24th - 27th -- June 6th - 7th -- February 1st - 4th -- August 1st - 2nd -- March 23rd - 31st -- September 9th - 13th -- April 1st - 14th -- November 14th - 15th ======================================================================= DIDYAKNOW? -- FACTS ABOUT CIRQUE ======================================================================= IN THEIR OWN WORDS - Questions and answers from people we've had the honor of meeting and talking with in the last three years. While we can't reveal identities, since several of them still work for Cirque, we think some of the things they have to say would be interesting to fans and aspiring artists and musicians. We asked a musician what recommendations they would give to young folks just starting out, musicians who are interested in a career in music (as opposed to those who think they'll make the rare "big splash"): "As with anything getting a real foundation in the basics of a craft is essential to having longevity in the chosen industry. These kids that just want to "be a star" are living very dangerously. They have no real skills at the craft, and I think it's more reliable and desirable to have a real, tangible ability to perform a service that cannot be subjective in it's inherent worth. For example; you may think you're going to be the next Madonna but not everyone else will think so. But if you spend 20 years becoming a great musician no one can dispute that you are a great musician, if that's what happens from it. You will most likely always work. But as the next Madonna you may work, but most likely you will not. It's about choices and about how much time and effort you are willing to put into something. "I always thought that investing in developing content and quality as a musician was much smarter than trying to figure out how to fool people with image and glitz. What I do and what I am as a musician may not be as "sexy" as what Billy Idol, does but I'm not complaining. I take great comfort in knowing that, despite what trends may come and go, no one can dispute that I am a competant player and that I know my stuff. And this is because of the time and work I have put in and nothing more. It was a choice. "But this has definitely come at a price; a lot of time, sacrifice and work. But I wouldn't have it any other way. To me you either do something right or you don't do it at all. To think that you can depend upon what's "trendy" at the moment to propel yourself to riches and fame is a crapshoot at best. "To aspiring musicians wanting to have a long, enjoyable career in the arts I say this: learn the fundamentals, learn the basics, and learn them well. Do it right from the beginning and you won't regret it. There is no shortcut. Even if you become an amazing musician it is still a hard, tough road, full of uncertainty. And that's where you need to hone your people skills. You need both - hard work at the basics of your craft and great people skills. One without the other and you won't make it. And then be prepared to spend 20 years making it happen. And then keeping it happening. I never let my guard down for a minute. The time I do someone will come in and move me out. And one more thing to remember: have fun and don't take it too seriously. Important words. But by all means - learn music and your craft FOR REAL, not a shortcut via image and fads." ======================================================================= LE SPECTACLE: "New Kid on the Block: KÀ, Cirque du Soleil's Fourth Resident Show in Las Vegas (Part 3 of 3)" By: Wayne Leung - Ottawa, Ontario (Canada) ======================================================================= PART III: Impressions: ====================== ---------------------------------------------------------------------- ** SPOILER WARNING ** I should warn the reader that this article will be choc full of spoilers, so for those who have yet to see the show and want to keep its contents a surprise I suggest you skip through to the end. Also, I am writing this article based on preview performances of the show, and the information contained herein may no longer be completely accurate once the show has officially premiered. ---------------------------------------------------------------------- With KÀ, it is evident that Cirque du Soleil set forth its loftiest set of goals ever and the production meets these goals with varying degrees of success. While I thoroughly enjoyed the show I also think that it still needs some work to be a truly great production. My first impression of the show is that it is very big, visually stunning and technologically spectacular but it's also emotionally distant. After the show I overheard a comment that sums up the experience, "Oh it was spectacular . . . but y'know, the real star of the show was that stage!" The show would benefit from stronger character development in order for the Twins to really connect with the audience so that we actually care about their fate. Also, the motives of each of the factions and even individual characters need to be more fleshed out. KÀ is supposed to be an epic and while it is epic in its scale, truly great epics also need to have emotional depth provided through strong characters. Another element that needs improvement is the show's pacing, while some scenes flow very well others seem kind of slow and meandering. Unlike other Cirque shows where each scene is a dreamscape replete with activity and images, KÀ's focused narrative means that the staging is also much more linear so the slower moments of the show tend to drag out and seem longer. One of my favourite scenes in the production is the aerial Forest Scene, in which performers fly through the air, jump from swinging poles and perform on aerial straps. It is a visually arresting scene and although only marginally important to the narrative it most closely resembles scenes from a traditional Cirque show. The final climactic battle viewed from an overhead perspective with characters performing on a vertically oriented Sand-Cliff Deck is also visually stunning. The sheer size of the battle and the fact that it's performed while the stage is vertical is amazing to behold. However, the way in which the battle is staged lacks focus; a well- staged battle should be very tightly scripted and choreographed, a good theatrical fight should go through different beats towards its conclusion, very much like dance. The choreography for the battle lacked this focus and resulted in a somewhat sloppy looking scene once the novelty of the vertical stage wore off. One thing that was really lacking for me is the lack of metaphorical, symbolic and interpretive elements that the good Cirque shows are usually replete with. Aside from the very obvious overarching themes of good versus evil, love, the abuse of power and the ability of technology to create and to destroy, the show's linear storyline can really only be taken at face value. Through interpretive elements, shows like Quidam, Alegría, Mystère and "O" tell much more powerful and moving "stories" because they are allegorical shows and can be interpreted in ways that have meaning for each individual spectator. Another slight disappointment was the show's surprising lack of fire effects. Having been heavily advertised as an exploration of the theme of fire, there are very few pyrotechnics and the few effects that are in the show are run-of-the-mill theatrical fireworks. No work was done to develop new pyrotechnic effects and their absence detracts from the overall show. It became evident after viewing KÀ that this is a completely different kind of Cirque show directed at new demographics. The director has described the show as "more masculine" than other Cirque shows and the incorporation of martial arts will undoubtedly attract an audience that may not otherwise be interested in Cirque du Soleil. However, being a Vegas show places many burdensome limitations on KÀ The show is limited to just over 90 minutes in running time which means there isn't a lot of time to fully flesh out a story. Also, there is an unwritten requisite for Vegas shows to be "light" and as such it feels as if many of KÀ's darker moments have been toned down; the combat sequences are muted in their level of violence and fights never result in death. This limitation is regrettable, I think if the show were darker in some parts the emotional gravity would be increased and the contrast with the light moments would make the action much more compelling. Having said all of that, KÀ is not at all a bad show. At face value it is spectacular and entertaining and contains many grand, spectacular moments. Also, the individual design elements of the show are some of the best ever created by Cirque du Soleil. I'm a huge fan of Robert Lepage, he is arguably Canada's foremost stage director and he is well known for his inventive use of imagery in his theatrical productions and I'd say this show is really equal parts Robert Lepage and Cirque du Soleil in terms of style. René Dupéré's score is sweeping and epic and serves to drive the story forward. It is structured and arranged much more like a movie soundtrack than a traditional Cirque score. The music is a fusion of rock and sweeping orchestral and choral arrangements. While there is also a definite world beat influence it is much less prominent than in other Cirque scores. There is a very talented live band for KÀ consisting of Band Leader Richard Oberaker, Principal Singer/Percussionist/Hammered Dulcimer player Beth Quist, Keyboard player/Vocalist Janine de Lorenzo, Drummer Serge Durocher, Accordion player Hubert Gall, Guitarist Lionel Hamel, Cellist/Vocalist/Guitarist Julie McInnes. However, much of the music is pre-recorded; specifically, the large orchestra and choir sound that adds much of the depth to the arrangements. Because the show is so cinematic in its scope, the score requires a full orchestra and choir. However, it would have been nice if Cirque could have actually invested in a live orchestra for KÀ as many shows on Broadway do, for a truly live experience. Though the recorded tracks suffice, Cirque cannot claim to have spared no expense for the show because of the lack of live musicians. Luc Lafortune's lighting design is excellent on this production. He rises up to the challenge of illuminating the massive performance space and expertly designed the lighting to establish the scope of each scene, whether it is the intimately lit shadow puppet scene or the grand epic forest scene. Because the theatre is so large, the show relies heavily on the lighting to establish the magnitude of the locations. Jonathan Deans' sound design is stunning, a superlative not usually associated with a sound design. The level of intimacy that is achieved with the speaker placement is unprecedented. With the speakers in the seats, the sound effects can be very precisely delivered and the spectator feels completely enveloped by the music, often it sounds as if you're listening to the show through headphones. It's almost disorienting at first but once you're used to it, it really accentuates out the sound environment for both the intimate moments and epic moments of the show. KÀ's costumes are superb; truly some of Cirque du Soleil's best work. Designer Marie-Chantale Vaillancourt's costumes are evocative and original. While some costumes are heavily-Asian influenced (specifically referencing the Peking Opera), others have ancient Aztec and Egyptian accents. Building on these traditional influences, the designer also stylizes some costumes to look futuristic. Being a heavily story-driven show the costume design along with the make-up design (by Nathalie Gagné) is especially important as the characters must be recognizable and differentiated through their appearance. In the end, KÀ is a big, spectacular show with many well-designed elements. Cirque shows are living entities and as such KÀ will continue to evolve and improve even after its opening date. There is a lot of potential for KÀ to become a truly great epic show. References: Article: "Into the Abyss for KÀ" by Ellen Lampert-Greaux, Entertainment Design Mag, January 2005 Article: "Into the Void" by Richard Corliss and Steven Frank, Time Canada, November 2004 Article: "Spend! Spend! Spend!" by Dan Glaister, The Guardian, January 27, 2005 {end} ======================================================================= SPECIAL ENGAGEMENT: "CirqueCon Montreal 2005 Update: " By: Keith Johnson - Seattle, Washington (USA) ======================================================================= Along with the announcement of Cirque 2005's official name - "Corteo" - we are pleased to announce the schedule for our Montreal weekend. We now have 133 total members, with almost 90 folks either paid Standard members of part of a members' group. I'm aware of 108 who actually have tickets to the show, and so far 52 have purchased tickets to our "Group Dinner." On to the schedule! We won't be telling people where to go or whom to go with; that's their business. Also note we offer NO TRANSPORTATION. Please note the following group activities. FRIDAY - APRIL 22, 2005 ----------------------- 3:00pm-5:00pm TOHU - La Cité Des Arts du Cirque 2345, Jarry Street East Montreal, QC H1Z 4P3 514-376-TOHU www.tohu.ca "TOHU Tour" - A combination of dream merged with reality (kind of like a Cirque show), TOHU is creating a "hub" of circus performing arts in Montreal. The tour will take two hours and probably require lots of standing. It covers all aspects of the site, from environmental considerations to their burgeoning circus memorabilia and art collection. Since I arranged this outside of Cirque's influence, this isn't an "official" Cirque du Soleil experience. So this will be limited to our PAID STANDARD MEMBERS ONLY, limited to FIFTY PEOPLE MAXIMUM for the tour. 6:00pm-7:30pm Keith Johnson/LouAnna Valentines room (Room # TBA) Marriott SpringHill Suites Vieux-Montreal 445, rue St-Jean-Baptiste Montreal (Quebec) Canada H2Y 2Z7 514-875-4333 www.springhillmontreal.com "Welcome to CirqueCon Montreal 2005 - Meet and Greet" OPEN TO EVERYBODY! We invite everyone (not attending a show) to stop by our room (we'll try and announce the room number ahead of time) for a little "get to know you." We'll have a few munchies and stuff for consumption, all laid out by my lovely wife LouAnna. We'll get a chance to meet each other and also start talking about our next sojourn - CirqueCon Vegas 2006 (shh, we're trying to keep it a secret.) We'll also show off rare Cirque collectible. Have something interesting you're sure other people would want to see? Label it as yours and bring it along! YOU CAN HELP!! We invite our members to bring brochures from their part of the country. We also welcome delicacies and drinks for our munchie table, too! Don't bring a lot, just stick something unique to your area of the country in your luggage (candies are good - no fresh fruits or meat, and don't try and bring something that won't cross the border). Bring a sign saying who donated it, and where it came from. If necessary, also please bring a serving utensil. Then it's off to an evening of shopping, sightseeing, or clubbing - whatever! But some may wish to join a group of us who are going off to what looks like a fun show... 8:30pm-10:00pm La Basilique Notre-Dame de Montreal 110 Notre-Dame St. West (about a two-minute walk from our hotel) Montreal, QC H2Y 1T1 514-842-2295 866-842-2925 www.therewaslight.ca $10.00 CDN adults "And Then There Was Light" - Looking at the website, this sounds neat. A multi-media presentation in the Basilica, which tells the history of Montreal and the Basilica, in words, lights, and sounds. Projections are played across large screens and pieces of canvas throughout the sanctuary. (The soundtrack is presented on headphones in English or French). I'm a sucker for these "cutting-edge" kind of theatrical presentations even if one of my Cirque sources called it "Montreal for Dummies." We invite anyone interested to join us. SATURDAY, APRIL 23, 2005 ------------------------ 11:45am-approx. 4:00pm Cirque du Soleil International Headquarters 8400 2nd Avenue East Montreal QC H1Z 4M6 1-514-722-2324 www.cirquedusoleil.com "Special International Headquarters Tour" - This is it! Cirque du Soleil opens its doors especially for CirqueCon Montreal members. Note they will be checking ID at the door. No cameras are allowed inside. I have no idea what they have planned for it. A facility tour, presentations, who knows?! 5:00pm-7:00pm Restaurant du Vieux Port 39, Saint-Paul Street East Old Montreal, QC H2Y 1G2 514-866-3174 www.restaurantduvieuxport.com (At the corner of Saint-Paul Street East and Saint Gabriel, just down the block and east of our hotel) "CirqueCon Montreal 2005 Group Meal" - Note we have moved this forward one hour. We'll gather with like- minded Cirque fen, eat, drink, and talk of our shared "passion." A perfect way to prepare for the wonders to come. 7:00pm-10:30pm Jacque Cartier Pier Vieux Port - Montreal "Cirque du Soleil's Corteo" - Finally! The show, in only it's fourth public performance. With many of us sitting together in our special seats (purchased oh, so long ago) we will watch as Cirque "combines the passion of the actor with the grace and power of the acrobat to plunge the audience into a world of playfulness and spontaneity situated in a mysterious area between heaven and earth. Corteo evokes the full spectrum of emotion and experience: love, friendship, pain, joy, wisdom, beauty, life and even death, through a timeless celebration in which illusion teases reality." WHEW! AFTER THE SHOW Restaurant du Vieux Port "Time for Dessert!" - After the show ends, some of us might go back to the Restaurant du Vieux Port (open till Midnight), or even other places in Old Montreal, to have dessert or coffee and "de-compress." SUNDAY, APRIL 24 ---------------- Sunday is totally free of any scheduled activities. It's been a very busy time preparing for the weekend. So I better stop writing this update and get back to it! ======================================================================= BEHIND THE CURTAIN: "Who Has What It Takes? (Part 3 of 4)" By: Keith Johnson & LouAnna Valentine - Seattle, Wash (USA) ======================================================================= 10:45am - Richard and Charles look for another song for Charmaine to use. They search through the CD collection, finally settling on a track. Charmaine teaches them a piece of choreography from one of Cirque's shows. LouAnna shoots more pictures and is already through here first roll. But the "No Flash" rule means she has to increase her exposure time, and attempt to capture the candidates in a rare moment of relative stillness. The selection process, Richard comments, is like carving a statue. The Audition Team are the miners of the rock, while the Director of Creation and Artistic Directors are the carvers, taking the raw stone and creating a thing of beauty. Cirque du Soleil is always in the process of creating, from KÀ to Cirque 2005 to the Celebrity Cruise Lines shows to the Beatles/Mirage show. The Montreal headquarters is now constantly buzzing with creative activity. "Cirque du Soleil: Fire Within" gave us a peek into that process for Varekai. How true-to-life is it?, we ask Richard. "What I liked about Fire Within was how well it documented what the artists went through. It showed the reactions to the different environment that's been created in Montreal. The creation process is one of the most wonderful things an artist can go through because something is created on them based on what they do and who they are, as opposed to something that's been done before by somebody else. But it's also incredibly demanding, physically, emotionally. That's what makes it wonderful, that intensity that you live with. But it's not for everyone, not everybody likes it, but some people thrive on it." "For some people, creation is all they'd like to do; go from one creation to another. Because artists are extreme, they love the intensity of emotions of the creation process. It starts out like a honeymoon and gets intense until the completion is in sight. When they look back on the creation they feel it was all worth it." Outside of roles in existing shows, the audition team is also on the lookout for artists that can be used in new shows and creation processes. "What's coming is a lot of fun too, because we don't know what they're going to ask for, so we just look for something special. People that are different, an open personality. For example, for a touring show you look for someone that likes to tour. So we look to what's already there and what might be coming later." "Anyone that can impress us in any kind of way - to show us their individuality - even if we can't see it in our shows right now, it's important for us to keep and document. Because what we in casting and the scouts present to the creators and artistic directors of our new shows can influence which direction they're going to go. Because if there's a "weird" talent or something they've never seen before they might say, "Oh yes, I want that person, I want that image." We feed them. And it's important to find these people so that we don't miss anything and we can present these things. It's all about getting new things." "Sometimes an artist creates a character that resembles themselves. It's what they do, they do one thing great and that's what we want. So they could perhaps have a career out of that [one thing]. One of the synchro swimmers in O, he had his arm behind his head in an unconventional way. One moment he was part of a group and the next he has a solo. Why? Because of one thing he does well. And it was a powerful dramatic image." How does the creation process work? "There's no formula. Each creator has a storyboard, and as the creation process develops things change. Artists might suggest certain things. A lot of times they'll start with too much. Zumanity was once a three-hour show and had to be cut. It's always better to have too much than not enough." "Sometime some elements get eliminated in the process. But eventually [the artists] understand why. Especially if it's the first time they go through the creation process, at the end they "get it." They understand why it happens [like it does]. It's usually because of the product that ends up on stage. Because it's trial and error. Some things will work, some things will change, and that's the creation process." "That's why Guy Laliberté, in his role as Guide, is wonderful. His strength is his eyes, his vision. The ability to look at what is on stage and simply see what works and what doesn't. With his experience and what he's done he's able to pinpoint - "This is what will work, I need more of this" - and that's one of his main roles now. That's probably why this company is doing so well artistically." 11:30am - A break is called. Several of the candidates hang out in the back room, chatting amiably with each other. This doesn't seem to be a high-pressure situation for them; this isn't a winner-take-all reality show. They come from such diverse places as Seattle, Portland, Vancouver, Phoenix, LA and Toronto. They sent in their demo tapes from 2 months to 1.5 years ago. I mention to one how much people are sweating. His answer, "Yeah, but we love to sweat." We ask Richard what kind of atmosphere they try to maintain during an audition. "It's tricky because some people are incredibly good at auditions but when they're in front of an audience it's a different story. And some people are not as strong in auditions but you put them on stage and they shine. So you have to try to see it. That's why we try to help them relax and create an atmosphere almost like a game. And you can see on the second day there's already a connection between the artists. All the auditions I've seen for dancers and actors it happens this way. They might never see each other the rest of their lives but during that moment they are sharing the same experience and emotions. So there's a very strong bond. And because of the nature of the roles we have, and how different we are, they understand very quickly that there's a place for each one of them so they're not in competition with each other." 11:45am - The improv section of the audition starts. The candidates watch from the far end of the room as each takes their turn in front of the team (and the camera). As we watch the Argentinean woman do her improv, Richard suggests, "It must be fun for them to watch the other do something independently." Would those who go later and can consider their reactions, we wonder, have an advantage over those who go early? "Sometimes the people at the beginning have more spontaneity," Richard responds. "Sometimes when you think too much about something it doesn't work because it's not natural." It is here we begin to see the difference between other auditions and Cirque du Soleil auditions. These artists are being asked to show their minds, their personality, their very essence to the audition team. It's obvious that just having the dancing chops won't be enough; candidates should be well versed in acting skills as well. "Some of the exercises we do are tools for evaluation to get to know the candidates," says Richard. "But acting and emoting skills are important. You have to be as complete as possible. It's important because of what we require from the artist, because of what they have to do on stage." 12:38pm - As we break for lunch, cuts are made. A tall lanky young man, a girl with cornrow hair, and one other girl. They will not be back this afternoon and pack their things, faces grim. Ten of the original 27 artist candidates remain. Before heading off to lunch I comment to Richard how, with his help, we can see how people we thought would be cut in the morning are still here. "It's nice to know our process makes sense to other people" he smiles. "There's a purpose behind our madness." 1:40pm - After lunch, the group re-convenes. Anne-Marie gathers them again in a semi-circle to give instructions about the rest of the afternoon. Charles manipulates lights in the ceiling to better aid the videotaping; Richard helps by controlling the light board. An older woman with white hair has joined the troupe (we later find out she is 78 years old). She is a tap dancer who was here yesterday and has been asked to attend the last half of today as the morning session wasn't geared toward her skills. She's very open, we're told, and they want to test other aspect of her talent. LouAnna and I refer to her as "Taps." 1:55pm - The audition continues. The artists line up against the near wall, Anne-Marie sits on the floor near the audition table. The music is a lilting repeating melody from a French film soundtrack. One by one each is called forward for a solo improv exercise. Why do some of the exercises you do, we wonder. "The people on our stage are not just dancers, they're not just musicians or singers, they're characters," Richard says. "So we need to evaluate that. We want to see their range and their imagination, their quickness to respond to direction. It's a way for us to clarify our decision. Somebody could have beautiful legs and feet, but if that's all they have and they're totally blank up here [in the mind] and can't do anything else, can't communicate with the public, then they are not ready for us." "We're testing a different aspect of their talent. Some will be OK with it, some won't. For us it's easy to find the ones that fit right away. It's easy to find the ones that don't fit at all. The ones in the gray area, that's the hard part. Can we see them in one of our shows? There are so many questions, so you test. We give them a chance to show us what they can do, and if they can respond well." Anne-Marie often has to remind the artists not to move. Playing a character while not moving, Richard says, is "incredibly telling. The hardest part for an artist is to just stand there and project. It's easy to attract attention by a whole bunch of frantic movement." Is it the same process with musicians as well? "Musicians it's a little bit different because they are often in the background, or in the booth. But we do a little exercise with them to see their openness. Are they willing to participate with us or not? If you're not willing to be taken outside your comfort zone you might not be the best person to go into a creation. Also we want to know how easy they are to work with." 2:40pm - Time for a different exercise, this time a group improv. With this exercise, "we want them to show their creativity outside of dance, their versatility," Richard advises. 3:12pm - Time for a break. As the remaining candidates relax in the back room, LouAnna asks if she can get a group photo. They all huddle together and smile as if they were already a close-knit family. Shortly afterward, Anne-Marie asks if anyone has anything special they would like to share. If any of them has a specialty now's the time to show it! The Argentinean couple hands Richard a CD. With the video camera watching they perform a dance number, and they shine. They are very good! One candidate (influenced by street dancing) does a work- in-progress improvisation of an opera singer interrupted by a piece of hip-hop music and becoming influenced by it. 3:30pm - Taps does a tap number. To our eyes she isn't as polished and technical as we were expecting. One sings a song a cappella. The girl from Toronto shows off her athletic prowess, striking various gymnastic poses. Another also shows some skills. Anne-Marie asks her to do splits to both sides, which she executes flawlessly. 3:45pm - Anne-Marie announces a final exercise. 4:10pm - A break, and more cuts. Another girl is cut, as is Toronto. We were disappointed; we had been rooting for her since this morning when she had entered the building with us. She had gotten so far only to be cut at the last minute. But in watching her we could see she lacked maturity in her movements and thinking. To her credit she waits until the audition is over, asking Anne-Marie for feedback about why she wasn't chosen. Out of an initial group of 27, the group is down to 8, less than a third of what they started with. These are the finalists, the ones going into the database with positive marks and video highlights. While being videotaped, each is asked to walk from the left side of the room to the right, then forward to the audition table. What can you tell about a person by the way they walk, we ask Richard. "Self confidence. And posture. For singers it's very revealing. In Saltimbanco for example the singer has to walk in high heels, so we need to make sure the candidate would be able to walk with such shoes on." When they reach the camera Anne-Marie stands next to them for a moment. Everyone at Montreal IHQ knows Anne-Marie, Richard mentions, so at 5' 10" tall she is used as a height comparison. Then they speak their name and anything they would like artistic directors to know. They also sing. "We like to test the voice. They don't necessarily have to sing, but if they sing well and a creator wants to use that then we know they have it. It's a process of documentation. We try to document everything and not miss anything. Because that one little thing may be the difference between their getting the job and not getting the job." 4:46pm - The street-influenced dancer does her walk-up. At the end she points excitedly to herself and exclaims, "Pick Me! I'm the one!" Everyone laughs at her enthusiasm. 5:12pm - The audition is finished. Gathered again in a semi-circle, the entire audition team solicits feedback from the artists on how the audition went, what they liked, what they didn't like. This is as important a part of the process as the auditions themselves are for the team. Richard leaves his seat beside us to listen to the discussion. Each remaining artist is given a letter with a form to fill out. Several sit cross-legged on the floor, bending far forward to reach the paper as they write their information. The letter begins: "CONGRATULATIONS! YOU'VE MADE THE FIRST CUT! We are adding your name to our list of potential candidates. Of course, this does not represent an immediate commitment on our part. Making it through this first stage means that you may be selected for a position requiring your expertise. What happens now?" The letter asks for a photocopy of their passport (and advises them to keep it valid) as well as a recent resume and videocassette, and reminds them to keep Cirque appraised of any changes to their contact information. The letter concludes, "If we wish to approach you about replacing someone in one of our current shows or in any new production, someone from our Casting Department in Montreal will contact you. Please be patient while you wait to hear from us." There is also a form asking for a more detailed breakdown of their skill set. We ask Richard, as things are winding down, what he finds most rewarding and challenging about his job. The challenge in working for Cirque, Richard notes is not so much doing the work as it is thinking about how you're doing it. "You constantly have to re-examine your process and question it. To see if it's still valid, if you're going in the right direction, if you can do it better. It's the same thing creators do with shows, from show to show; you do Varekai, now what next? How can you do better? We go through the same process with our techniques, our process of auditions and casting. It's challenging because you're not second-guessing yourself, you're questioning. "It's part of our day-to-day routine. [After every audition day] we sit down and ask, "How did we do today? Are there things we did that we could have done better?" And we find we can push our limits and find new ways to do our thing. What we did 10 years ago may not work now, so you try something else. It's always encouraging to find you're able to do it, it gives you hope and an incentive to go through that questioning process; it's not threatening anymore. I think it makes us better at what we do. It makes us better people, too." Being able to work for a company you love and respect is a blessing too few of us enjoy. But not so for Cirque du Soleil employees. "There's a pride to working for Cirque. Yes, there's a lot of work; Cirque is a big machine and there's lots of work to be done. But people work incredibly hard. The interesting thing is that a lot of them will work late into the evening, 7-8pm. The scouts are renowned for working late and hard. Me too! "And it's because we love our jobs. I don't have any problem getting up in the morning to go to work. Going on an audition trip for me is a treat but I don't mind having to go home (to Montreal) and catch up." "You're proud of what you do and you want to do a good job. Like the scouts, looking for a particular type of artist. They'll search all over the world until they find what they're looking for. (This was strongly illustrated in "Fire Within" as they searched for a male singer.) That feeling is so strong that they want to deliver a good product. Because they know they have to live up to the quality of Cirque, or better it." "Cirque treats us right. At the Cirque Headquarters there are lots of things they do to enliven the atmosphere. Sometimes on Friday they'll have a big popcorn machine and they'll give us popcorn. Or the winter carnival. They organize trips for us to ski in the winter. So there's always something. And we get a lot of feedback. The letters people send are distributed throughout the company, "Here's the effect you have. "All those t-shirts [you see Cirque employees wearing], they're free for us. And we're proud to wear them. Like my Cirque jacket, I love that jacket. When I'm in the Montreal subway and I'm wearing my Cirque jacket, I won't sit down. I'll stand with my back to the biggest window of the car so the back of my jacket, with the Cirque logo, can be seen through the window." "At one point, Cirque was voted one of the best places in Canada to work, and I agree!" Cirque du Soleil has worked hard to achieve and maintain its reputation as the premiere circus arts production company. They have literally changed the face of circus, and have grown far beyond its creator's wildest dreams. But as Richard reminds us, it didn't start out that way. "I don't think Cirque du Soleil took on the mandate of changing the world of circus. Yes, one of the shows was titled, "We Reinvent the Circus" but I don't think that was meant as pretentiously as people think. There is one goal, and Guy reminds us of it all the time, to bring a smile to people faces. That may sound a bit hokey, but that's what it is. You put on a good show so that for an hour and a half people forget their problems and have a good time." "It just happened that in the process all those other things [came about]. And I think that's because of the integrity of keeping that goal. It's not about money, it's about putting out good product so that people live a wonderful experience through our shows and appreciate it." "And it brings good people to work for us. The working conditions at Cirque are really good, the artists and employees are well treated. And that's why we are able to get good people, good creators. That's why we end up with the type of product we have, because we innovate." And it all comes back to the man at the top of the triangle, Guy Laliberte. "I think the people that work for him have a lot of respect for him because of his vision and the way he runs the company. Because of what he gives back to us and to the community with Cirque du Monde and all that. Anybody who has that kind of vision is OK in my book." 5:23pm - The artists leave, knowing they're going into the database and, as is typical of the artist's life, may or may not be called. The audition team packs up and leaves, their day far from over. They will spend the rest of their evening de-briefing the day and making notes, ending about 10pm. They will then move on to the auditions in their other disciplines, staying in Seattle another two weeks. And the artists will go on with their lives, hoping for that special phone call. We'd like to express our deepest gratitude to those special Cirque people who helped us immeasurably with this series, most especially to Richard Dagenais - Head of Auditions and Logistic, Casting (our host) for his openness and willingness to let us in on the process. Also to the rest of the Seattle audition team; Anne-Marie Duchène - Artistic Scout, Charles St-Onge - Audition Coordinator, and Charmaine Hunter - Dance Evaluator. Also thanks to Chantal Côté - Corporate Publicist, and Simon Frances - Marketing Agent, Casting for helping arrange our day. And finally, thanks to all of the artists who allowed us to eavesdrop on their job interview. END OF PART THREE Next Issue: In Part 4 we're going to speak with a couple of candidates who made it all the way through the process! ======================================================================= PARTING QUOTE ======================================================================= "I grew up surrounded by images and imagery. And I put them into motion" - Daniele Finzi Pasca Creator and Director for Corteo ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly newsletter, available only through sub- scription. To subscribe, please send an email to: < CirqueFascination- subscribe@yahoogroups.com >. To unsubscribe, please send an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. To view back issues, please visit our Yahoo! Group address at: < http://groups.yahoo.com/group/CirqueFascination/ >, login using your Yahoo! ID (required) and select the Files menu option. If you have any questions, feel free to email us at: < CirqueFascination- owner@yahoogroups.com >. Have a comment, question or concern? Email the Fascination! Newsletter staff at: < CirqueFasincation-owner@yahoogroups.com >. We are anxious to hear any and all comments! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= "Fascination!" is Ricky Russo, Keith Johnson, and Wayne Leung. "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2005 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. =======================================================================