======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 8, NUMBER 1 JAN/FEB 2008 ISSUE #57e ======================================================================= Bonjour et bienvenue! Welcome to another exciting edition of Fascination!, the Unofficial Cirque du Soleil Newsletter. We have a wonderfully packed issue in store for you and can’t wait to share it with you. As always, inside we have all the latest news and sightings posted to Fascination! Web throughout the months of January and February; however, this month we also have some great exclusive-to-issue features, which have not yet been posted or published anywhere! For those features, Keith Johnson explores the numbers behind Delirium’s 6th place boxoffice ranking (again) for 2007, explaining to us just how it got there. And in an issue-exclusive piece, he dives into «O» and uncovers the secrets of its curtain (and much more!). And Ricky Russo explores the three newly-released documentary DVDs from Cirque du Soleil: "FLOW: A tribute to the Aritsts of ‘O’", "The Mystery of Mystère" and "A Thrilling Ride through Koozå", as well as, telling all about his trip to Monterrey, Mexico for Quidam! And that’s not all! From our Archives we have "From One Dream to Another" a wonderful review of Quidam written by T. Clay Buck and published in our March 2002 issue. Be sure to check out the Itinerary section for any last-minute changes to tour stops and extensions - especially the new information pertaining to 2008 dark dates for all resident productions! I also invite you to visit our website for the latest news, rumors and information about Cirque du Soleil. What you're reading here is only a collection of what was posted daily on the Fascination website for a specific period of time (in this case July, August and September.) For more current information about Cirque du Soleil's activities, please visit < www.cirquefascination.com >. And if you're interested in having our daily postings sent directly to you, don't hesitate to take advantage of our Really Simple Syndication (RSS) feed! Simply use the following URI with your favorite email/news program: < http://www.cirquefascination.com/?feed=rss2 >. - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Compartments -- Information on Tour and Behind the Curtain * Itinéraire -- Tour/Show Information * Historia -- Cirque du Soleil's History o) Fascination! Features *) "Delirium Ranks Near the Top(Again), Sort Of(Again)" By: Keith Johnson - Seattle, Washington (USA) *) "FLOW: The Thrilling MYSTERY of Koozå" By: Ricky Russo - Orlando, Florida (USA) *) "Secrets of the «O» Curtain" By: Keith Johnson - Seattle, Washington (USA) *) "Bienvenidos a Mèxico - Quidam in Monterrey" By: Ricky Russo - Orlando, Florida (USA) *) "Backstage @ Cirque with SWA's Spirit Magazine" [EXPANDED] By: Sarah Max, Soutwest Airlines Spirit Magazine o) From the Fascination! Archives... *) "From One Dream to Another - Quidam" By: T. Clay Buck {Originally Published: Issue #7 - March 2002} o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= CirqueFAQ v3.1.0 Now Available! {Jan.01.2008} ------------------------------------------ An update to CirqueFAQ is now available. In this update: New show information has been added, information pertaining to Singles, music heard on Fire Within and Delirium Vinyl releases. Also a re-arrangement of sections and general clean up. Next edition Feb.01.2008! You can find the new version of the FAQ at the following link: CirqueFAQ v3.1.0 - http://www.richasi.com/Cirque/soleil.txt Stats: o) No. of Pages: 74 o) File Size: 162,587bytes (159k) o) v3.1.0 - Jan.01.2008 New Compendium Issues Available {Jan.03.2008} ------------------------------------------ Over the past few days we’ve worked very hard to bring the Fascination Newsletter archives up to date by compiling all the news and other posts here since April 2007 and I’d like to announce that they’re all now available!: MAY/JUN -- http://www.cirquefascination.com/Issues/issue53.txt JUL/AUG -- http://www.cirquefascination.com/Issues/issue54.txt SEP/OCT -- http://www.cirquefascination.com/Issues/issue55.txt NOV/DEC -- http://www.cirquefascination.com/Issues/issue56.txt And inside those four issues we have some exciting new content! Our MAY/JUN issue features a fun interview with those fabulous ladies of the trapeze, the Steben Sisters. Read what they had to say about creating their act, life in the circus, and what inspires them. And JUL/AUG has an interview with John-Paul Gasparreli, one-time musical director for "O". This articulate man had some interesting things to say about the music industry and what it means to be a "working musician". "Six Thousand Fifty-Seven" from SEP/OCT has a first-hand account of what it was like playing POPPA at Mystère during CirqueCon 2006 in Las Vegas. And our current issue, NOV/DEC, explores La Nouba incorporating texts written or sampled for the CirqueCon 2007 Orlando event guide. We’ve been busy (even though we haven’t been noisy). Here’s a list of Featured Articles waiting for you inside those new issues - don’t miss’em! From May/June: * "Steben Sisters Interview for Fascination!" By: Keith Johnson - Seattle, Washington (USA) Read it Direct: http://www.cirquefascination.com/?p=519 From Jul/Aug: * "The John-Paul Interview" By: Keith Johnson - Seattle, Washington (USA) Read it Direct: http://www.cirquefascination.com/?p=517 From Sep/Oct: * "So, What’s Next?: Upcoming Cirque Shows" By: Ricky Russo - Orlando, Florida (USA) Read it Direct: http://www.cirquefascination.com/?p=465 * "Six Thousand Fifty-Seven" By: Rich Alford - Bothel, Washington (USA) Read it Direct: http://www.cirquefascination.com/?p=516 From Nov/Dec: * "A Penny for Your Thoughts (A Survey)!" By: Keith Johnson - Seattle, Washington (USA) Read it Direct: http://www.cirquefascination.com/?p=462 * "Faire La Nouba!" (CirqueCon 2007) By: Ricky Russo - Orlando, Florida (USA) Read it Direct: http://www.cirquefascination.com/?p=505 * "Performance Space: La Nouba" (CirqueCon 2007) By: Ricky Russo - Orlando, Florida (USA) Read it Direct: http://www.cirquefascination.com/?p=506 Wintuk: Cirque by the Numbers? {Jan.04.2008} ------------------------------------------ APP.com is running a review this morning of Cirque du Soleil’s WINTUK, which will wrap up its first season at the WAMU Theater at Madison Square Garden in New York City this weekend. The review was not favorable, citing it did not live up to Cirque’s usually high standards: "Everything here is but a shell of the usual Cirque du Soleil whimsical spirit and creativity. This is not an experience that will take your breath away or make you gasp in amazement at the beauty of it all. [...] That whole aspect of wondering "How did they do that?" is missing here." {SOURCE: APP.com} A Couple New Cirque Books {Jan.04.2008} ------------------------------------------ This morning we were browsing around and noticed that Amazon.com had a couple of new books on Cirque du Soleil listed that I was previously unaware of, these are: "The Best of Cirque du Soleil: Piano/Vocal/Chords" and "The Cirque du Soleil Sticker Book". What are these about? "The Best of Cirque du Soleil: Piano/Vocal/Chords" Arranged For Piano & Guitar With Chords & Chord Frames. 20 selections from various Cirque Du Soleil productions. Also includes 4 pages of full color photographs designed by Cirque Du Soleil. A must for all fans! Contents: O, Pageant, Mio Bello Bello Amore, Kunya Sobe, If I Could Reach Your Heart, Love Dance, Nostalgie, Liama, L’Innocent, Querer, Alegria , Pokinoi , Triangle Tango, Kumbalawe, Quidam, Ombra, Gamelan, Let Me Fall, Alone, Time Flies . Editor: Alfred Publishing Paperback: 120 Pages Dimensions (in): 11.7 x 9.4 x 0.4 Dimensions (cm): 29.7 x 23.9 x 1 Publisher: Alfred Publishing Company, July.26.2007 ISBN-10: 07-3904-786-8 ISBN-13: 978-07-3904-786-6 SRP: $19.95 CDN LINK: Check it out here: < http://www.amazon.com/Cirque-Du-Soleil-Collection- Songbook/dp/0739047868 > "The Cirque du Soleil Sticker Book" This book is not yet released but looks to be your typical run- of-the-mill sticker book and at present does not appear to be getting a US release. Author: Dorling Kindersley Paperback: 16 Pages Dimensions (cm): 27.9 x 21.6 x 0.2 Publisher: Dorling Kindersley Ltd. Release Dates: Mar.25.2008 (CAN) / May.2008 (UK) ISBN-10: 07-5663-806-2 ISBN-13: 978-07-5663-806-1 SRP: $7.99 CDN LINK: Check it out here: < http://www.amazon.ca/Cirque-Du-Soleil-Sticker- Book/dp/0756638062/ref=sr_1_23?ie=UTF8&s=books&qid=1199419358& sr=1-23 > How Cirque Deals with a Star {Jan.08.2008} ------------------------------------------ While creating their first show that depends on a living "star," (Criss Angel in this case) Cirque has its bases covered. According to Norm Clark in the Las Vegas Review-Journal: "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 was 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." Late July? If you check out the Criss Angel "countdown clock" at www.crissangel.com, it shows a "zero hour" date of September 30. Hmmm. "It will be a big year for Angel, who has a role in a film version of the Depression-era comic strip “Mandrake the M agician.” Angel was originally set to play Mandrake before Jonathan Rhys-Meyers was signed for the role. The Irish actor played Elvis in the 2005 CBS miniseries “Elvis.” { SOURCE: Las Vegas Review-Journal } Corteo celebrates 1000 {Jan.18.2008} ------------------------------------------ On Sunday, January 20, 2008, Cirque du Soleil’s Corteo will celebrate its 1,000th funeral, er, we mean performance, under the Grand Chapiteau. Happy 1000th Corteo! CirqueCon 2008: Tokyo! Announces a date {Jan.18.2008} ------------------------------------------ CirqueCon 2008: Tokyo! is pleased to announce our dates. WHEN ARE WE GOING? - Our weekend is from Thursday, November 6, 2008 to Sunday, November 9, 2008. OUR "OFFICIAL" SHOW? - Will be on Friday, November 7, starting at 7:30pm (1930h). WHAT ARE WE DOING? - Visiting Japan!! Tokyo Disneyland and DisneySea!! A new resident Cirque show!! Gathering with old and new friends in a far-away place! Who knows, we might even have some "Cirque-sponsored activities" - you never know. HOW MUCH WILL IT COST? - Memberships are $20.00 ($21.00 PayPal). A note on vacation budgeting is on our FAQ page. MAILING LIST? - You can receive all the latest info first by sending your email address to Tokyo@cirquecon.com. Up next on our agenda is getting a block of show tickets and finding some hotel rooms (a theater seating diagram and hotel candidate info is on our updated website). I’ll update this thread as we get more confirmed. -Keith Johnson Part of the CirqueCon 2008: Tokyo! team www.cirquecon.com Tokyo@cirquecon.com CirqueCon 2008 has Tickets! {Jan.30.2008} ------------------------------------------ Cirque du Soleil has graciously offered CirqueCon 2008: Tokyo! exclusive tickets for our "Official" show Friday, November 7, 2008 at 7:30pm (1930h): Category 1, "Section 103?, lower center section-first five rows - Y17,100, approx. USD$160.00 Category 3, "Section 204?, upper center section in front of the sound booth, first five rows - Y9,310, approx. USD $87.25 The website has a seating diagram and further details. You must be a member of CirqueCon 2008: Tokyo! to obtain tickets through this offer. -Keith Johnson Part of the CirqueCon 2008: Tokyo! team www.cirquecon.com Tokyo@cirquecon.com Dralion goes to Australia {Jan.31.2008} ------------------------------------------ CirqueClub recently sent out an email detailing Dralion’s next tour - It’s Australia! From their email: I am very excited to announce that Cirque du Soleil is headed back to Australia! Get ready to be thrilled by Dralion! What is Dralion? Dralion is the fusion of ancient Chinese circus tradition and the avant-garde approach of Cirque du Soleil. The show’s name is drawn from its two main symbols: the dragon, representing the East, and the lion, representing the West. Dralion is a dynamic performance that transcends the boundaries of the imagination and leads us into a dreamscape with a new and sparkling perspective.... Australian tour plan Cities we plan to visit include; Sydney, Canberra, Brisbane, Perth and Melbourne. Performances begin in Sydney in July under the Grand Chapiteau. Tickets for our stop in Sydney will be on sale very soon to Cirque Club members. Be sure to check your inbox regularly over the coming weeks for your invitation to beat the crowds and access the best seats available. Spread the word In the meantime, help us spread the news about our upcoming return! Please forward this email to your family, friends and co-workers. They too can become a Cirque Club member for the chance to purchase their tickets in advance for Dralion. DELIRIUM's Final Curtain Call {Feb.02.2008} ------------------------------------------ Fascination! has been advised that DELIRIUM, Cirque du Soleil’s arena musical experiment, will have its final curtain call the weekend of April 20, 2008 in London, England. DELIRIUM premiered on January 26, 2006 in Montreal and has visited over 130 cities in 20 countries on two continents dazzling thousands of spectators since. Challenges in finding proper venues to fit DELIRIUM’s unique design were cited as reasons for the decision to end the show’s run. DELIRIUM is a partnership between Cirque du Soleil and Live Nation. See our Arena Tour Itinerary schedule for upcoming cities on this, the final leg of the tour. LOVE at the Grammy's! {Feb.08.2008} ------------------------------------------ Cirquesters, tune your televisions to CBS this Sunday to see Cirque du Soleil perform LIVE at the 50th Annual Grammy Awards. A specially edited performance of "A Day in the Life" from The Beatles/Cirque du Soleil LOVE at the Mirage will be presented followed by a rendition of "Let it Be" from the Beatles-inspired film "Across the Universe". You won’t want to miss it! Cirque du Soleil, the Martins and The Beatles are up for two awards for its LOVE album: in "Best Compilation Soundtrack Album for Motion Picture, Television or other Visual Medium" and "Best Surround Sound Album." Check your local listings for channel and times of the 50th Annual Grammy Awards on CBS! Cirque WINS 2 Grammy's for LOVE! {Feb.10.2008} ------------------------------------------ Cirque du Soleil, the Martins and The Beatles won two awards for its LOVE album: in "Best Compilation Soundtrack Album for Motion Picture, Television or other Visual Medium" and "Best Surround Sound Album." Congratulations! The Beatles LOVE Cirque du Soleil album beat out the following nominees: In the Best Compilation Soundtrack Album for Motion Picture, Television or other Visual Media) category: o) Across The Universe (Various Artists) T Bone Burnett, Elliot Goldenthal & Teese Gohl, producers. [Interscope Records] o) Dreamgirls (Beyoncé Knowles, Jennifer Hudson & Anika Noni Rose) Harvey Mason, Jr., Randy Spendlove, Matt Sullivan & Damon Thomas, producers [Music World Music/Sony Urban Music/Columbia/Sony Music Soundtrax] o) Hairspray (Various Artists) Marc Shaiman, producer [New Line Records] o) Once Glen Hansard & Marketa Irglova Glen Hansard, producer [Canvasback/Columbia/Sony Music Soundtrax] And in "Best Surround Sound Album" category, LOVE beat out: o) At War With The Mystics 5.1 The Flaming Lips & Dave Fridmann, surround mix engineers; The Flaming Lips & Dave Fridmann, surround mastering engineers; The Flaming Lips & Dave Fridmann, surround producers (The Flaming Lips) [Warner Bros.] o) Fear Of A Blank Planet Steven Wilson, surround mix engineer; Darcy Proper, surround mastering engineer; Porcupine Tree, surround producers (Porcupine Tree) [Atlantic Records] o) Grechaninov: Passion Week John Newton, surround mix engineer; Jonathan Cooper, surround mastering engineer; Blanton Alspaugh, surround producer (Charles Bruffy, Kansas City Chorale & Phoenix Bach Choir) [Chandos Records] o) Vaughan Williams: Symphony No. 5; Fantasia On A Theme By Thomas Tallis; Serenade To Music Michael Bishop, surround mix engineer; Michael Bishop, surround mastering engineer; Elaine Martone, surround producer (Robert Spano & Atlanta Symphony Orchestra & Chamber Chorus) [Telarc] A Few Questions for Marie-Michelle Faber [EXPANDED] {Feb.11.2008} ------------------------------------------ Recently, Will Carless of the online newspaper "The Voice of San Diego" sat down to ask a few questions of Marie-Michelle Faber, chandelier swinger extraordinaire in Cirque du Soleil’s Corteo, now appearing under the big-top in San Diego through Sunday, February 17th. What did he ask? * * * Walking into the inner recesses of Cirque du Soleil's blue and yellow big top is like walking into a cliché. Acrobats are flinging themselves against trampolines and soaring through the air. A tiny woman walks past a gigantic man, at least seven feet tall, who's teaching magic tricks to a group of star-struck children. Squat, gymnastic men with overdeveloped biceps prop themselves on parallel bars, swinging and arcing their legs. Inside the big top itself, Marie-Michelle Faber, wrapped in a scarf and wooly sweater, perched herself on one of the thousands of blue seats and answered questions as a sound check threw clownish noises and circus music into the chilly dome of the tent. Faber, who comes from a Quebecoise family of athletes and performers, is the principal female vocalist and performs an aerial acrobatics act on three giant chandeliers for Cirque du Soleil's Corteo show, running at the Del Mar fairgrounds through Feb. 17. We sat down with her in the big top to ask her about her diet, her makeup, and whether people ever ask her to swing from chandeliers at dinner parties. Q. How long does it take you to put on your makeup for the show? It depends on the mood I'm in. Usually I take 20-25 minutes, maximum, because I like to take my time and make really defined lines and everything. But sometimes, if I'm in a rush, I can do it in 10 minutes. Q. Does the whole Cirque du Soleil crew hang out together? Do you go out and have fun as a group? There are a lot of people that do that. They do hang out together but in my job it's very difficult to do that, because I work physically on the chandeliers and I'm a singer too. I use my vocal chords and it's very aggressive on my inner ears, so at the end of the show, whether it's one or two shows a day, I just shut off. I just go home and rest. Q. How did you end up in Corteo, what was your career path? Every path for every artist is very different. In my path, I'm very happy where I am now. I was on Quidam with Cirque de Soleil for five years, in and out. I was on an aerial hoop in Quidam. I did that for a good five years, and then I did the "tissue," the aerial silk contortion, in Quidam too. That was a solo act, so I did an improvement, in my view, of coming from a group act to a solo act. Then I quit that and came here and created a new show from the start. That was another improvement, then becoming a singer in the show, I couldn't have asked for better. Q. So which talent came first, the singing or the gymnastics? Gymnastics. I started at the age of five. I did that for 12 years. I also did high diving and a lot of coaching and judging in gymnastics. That was my part-time job. Some people go and work in McDonalds, but that was what I did, coaching and judging competitions. Q. Over the years, you must have hurt yourself, what's been your worst injury? I'm very lucky, I knock on my head (she knocks on her head and then on the floor beneath her seat) I never had a really big injury. My worst was before stopping gymnastics, my two ankles, I sprained them, one second-degree and one third-degree sprain, both at the same time.That was like the end of my career. I was 17. I wasn't out of action because I was so young and, you know, you just want to go again. I think I was out a good three months and then I started high-diving because there was less impact on my ankles. Q. You must be very careful about what you eat. What's your diet like? Cirque de Soleil doesn't have strict rules for us, but I do it for myself because I want to perform well and sing well. Just for the singing, it's so important to not take too much milk or cheese, you know. At the intermission I can't take a cookie, you know.I don't take butter, I take coconut oil and I drink a lot of water, I'm always carrying a bottle of water. After the show, when I come home, I'm often hungry and I try not to eat munchies at the end of the show. Q. Besides practicing on the chandeliers, what else do you do to keep fit, to keep healthy? The tissue, the aerial silk, because I miss it a lot from Quidam. Like today, I came here early and I checked the schedule of everyone, so I didn't interfere with any training, then I hung my tissue and did an hour. I do a little jogging. Q. While the show is in San Diego, have you done any surfing? I would love to, but I have to be careful with my ears, wearing my earpieces is like wearing an iPod for five hours every day. Q. If you had to lose either of your talents, either singing or gymnastics, which one would you chose? Oh, I can't! No no, no! Oooh, wow, no! Replace something, OK, but I can't. Well, at the age I am, I'm 29, I know that in a couple of years or maybe 10 years, I want to give myself another push physically and I know I have to stop in order to stay healthy, physically, because overstretching all the time, it can affect you physically. So I would say, my abilities physically. Because I can sing all my life. Q. Are there other performers, other gymnasts that have inspired you? My brother. He's with Cirque du Soleil also, with Wintuk, the new show in New York. He's so multi-talented too. He does the backup act on the show, where he manipulates a giant cube, and next year he's going to sing too. Q. When you meet people at dinner or out with friends, how do people normally react when you tell them you're in Cirque du Soleil? Most of them are like "Oh my gosh! Cirque du Soleil." They're usually excited and so happy to meet someone from Cirque, it's like having an interview, they start asking "How did you start?" And la la la. I like it. Q. When you are out, do people ever ask you to perform for them? It's been almost 10 years I've been with Cirque but my parents will find new things from Cirque and say "Try that." I'm like, "Can I have a break? I have a week off, come on!"Between the cities, I just want to rest. It happens sometimes, but now they are more respectful. Q. So have you ever been asked to swing from somebody's chandeliers? No, because I don't go out very often. {SOURCE: Voice of SanDiego Online} LV Residents go Backstage at KÀ! {Feb.14.2008} ------------------------------------------ According to Mike Weatherford of the Las Vegas Review Journal, residents of Las Vegas can see Cirque du Soleil’s KÀ at the MGM- Grand for a 50% discount... with also a promise of a behind-the- scenes tour on special dates. Here’s what Mike had to say: "Cirque du Soleil’s KÀ is offering a locals discount that throws in backstage tours for good measure. The 50 percent discount offer is through April 12, with the 5 p.m. tours offered to the first 50 people who request it on the three nights it’s available during the promotional period." {SOURCE: Las Vegas Review-Journal} CirqueFAQ v3.2.0 Now Available! {Jan.15.2008} ------------------------------------------ Another update to CirqueFAQ is now available! In this update: Information on classic shows has been added (Le Grand Tour, Le Magie Continue, Cirque Reinvente, Nouvelle Experience and Fascination), three new book listings, a re- arrangement of sections and general cleanup, as well as, the video catalogue numbers and release dates listings. More to come! Next edition: Apr.01.2008! You can find the new version of the FAQ at the following link: CirqueFAQ v3.2.0 - http://www.richasi.com/Cirque/soleil.txt Stats: o) No. of Pages: 89 o) File Size: 197,313bytes (192k) o) v3.2.0 - Feb.15.2008 "Journey of Man" in Atlanta {Feb.17.2008} ------------------------------------------ Interested in seeing Cirque du Soleil’s IMAX film "Journey of Man" on the big screen one more time? You can at Fernbank Museum of Natural History in Atlanta, Georgia: Martinis & IMAX presented by Turner Broadcasting System, Inc., is offered every Friday evening from January through November with live music, a full cash bar specializing in martinis, dinner options, mingling under the world’s largest dinosaurs, and special IMAX film screenings. The event is offered from 5:30 p.m. to 10 p.m. with film screenings on the hour from 6 p.m. to 10 p.m. On Friday’s from February 22nd through March 21st see "Journey of Man" at 7:00pm and 9:00pm. {SOURCE: The Weekly Online} Cirque a Finalist in TZoo Awards {Feb.22.2008} ------------------------------------------ NEW YORK, Feb 21, 2008 (PrimeNewswire via COMTEX) - Travelzoo (Nasdaq:TZOO), a global Internet media company, today announced the finalists for the 2008 Travelzoo Awards. The Travelzoo Awards, also known as ‘The Tzoos’, celebrate the companies behind the best deals in 20 categories, including airlines, hotels, vacation companies, cruise agencies, cruise lines, shows & events, car rentals and destinations. Best overall provider of show & event deals * Alan Wasser Associates * Cirque du Soleil, Las Vegas * Davenport Theatrical Enterprises * Situation Marketing * Wynn Las Vegas Travelzoo Award finalists will be recognized at the Travelzoo Awards ceremony on Wednesday, April 9, 2008 at the Fairmont Chicago. The event is scheduled to take place during TravelCom 2008, which attracts more than 1,000 travel industry professionals and media. For more information visit http://www.travelzoo.com/tzoos. {SOURCE: TravelZoo} Backstage @ Cirque with SWA's Spirit Magazine {Feb.22.2008} ---------------------------------------------- Interested in the goings-on behind-the-scenes at Cirque du Soleil’s "O" at Bellagio and the cast that works hard to put on the show night after night after night? Readers of Spirit Magazine, Southwest Airline’s on-board publication, recently published a 10-page spread by free-lance writer Sarah Max who had a chance to visit backstage and mingle with the aritsts and ask them what paths they took to be in one of Cirque du Soleil’s signature shows. It is a fabulous peek into the human side of "O" we sometimes forget about when enjoying the spectacle around us. Read Sarah's backstage antics in our Features section below. {SOURCE: Spirit Magazine} Cirque in Taipei {Feb.26.2008} ------------------------------------------ According to China Post, an English-speaking newspaper in Taiwan, Cirque du Soleil will set up its trademark Grand Chapiteau on the island for the very first time in early 2009. From the article: "Canada’s globe-trotting circus group "Cirque du Soleil" finalized an agreement with Taipei City yesterday where its debut performance in Taipei would take place early next year, announced Jacques Cartier, vice president of the group. Taipei has been selected along with South America to see the "Alegria" show, which is "characterized by its evocative Baroque style" whose music and drama are exemplified by an expressive mood of grandeur, "along with a sense of speed coupled with delicate elegance," said a press release." {SOURCE: China Post Taiwan} ======================================================================= COMPARTMENTS -- INFORMATION ON TOUR AND BEHIND THE CURTAIN ======================================================================= o) ITINÉRAIRE - Tour/Show Information o) HISTORIA - Cirque du Soleil History ================ ITINÉRAIRE ================ NOTE: The information presented below is for historical purposes only. For current, up-to-the-moment information on Cirque's whereabouts, please visit our website < http://www.CirqueFascination.com/ >. [Touring Shows] Alegría: Rio de Janerio, Brazil - Dec 27, 2007 to Jan 27, 2008 Sao Paulo, Brazil - Feb 7, 2008 to May 4, 2008 Porto Alegre, Brazil - May 15, 2008 to Jun 8, 2008 Buenos Aires, Argentina - TBA Corteo: San Diego, California -- Jan 11, 2008 to Feb 3, 2008 Portland, Oregon -- Mar 4, 2008 to Apr 13, 2008 Seattle, Washington -- Apr 24, 2008 to May 18, 2008 Vancouver, BC -- Jun 12, 2008 to Jul 6, 2008 Calgary, Alberta -- Jul 31, 2008 to Aug 17, 2008 Ottawa, Ontario -- TBA Miami, Florida -- TBA (2009) Tokyo, Japan -- TBA (2009) Dralion: Nagoya, Japan -- Oct 31, 2007 to Jan 6, 2008 Tokyo, Japan -- Jan 25, 2008 to Apr 6, 2008 Fukuoka, Japan -- Apr 23, 2008 to Jun 15, 2008 Sydney, Australia -- Jul 17, 2008 to Aug 17, 2008 Canberra, Australia - Opens Oct 23, 2008 Brisbane, Australia - Opens Nov 27, 2008 Perth, Australia - Open Jan 28, 2009 Melbourne, Australia - Opens Apr 9, 2009 Koozå: San Francisco, California - Nov 16 to Jan 20, 2008 San Jose, California - Jan 31, 2008 to Mar 16, 2008 Hartford, Connecticut - Apr 1, 2008 to Apr 27, 2008 Philadelphia, Pennsylvania - May 8, 2008 to Jun 15, 2008 Chicago, Illinois - Jun 26, 2008 to Jul 27, 2008 Boston, Massachusetts - Sep 5, 2008 to Sep 28, 2008 Quidam: Mexico City, Mexico - Nov 16, 2007 to Jan 13, 2008 Monterrey, Mexico - Jan 17, 2008 to Feb 10, 2008 Veracruz, Mexico - Feb 27, 2008 to Mar 16, 2008 Lisbon, Portugal - Apr 20, 2008 to May 22, 2008 Màlaga, Spain - Jun 5, 2008 to Jul 13, 2008 Alicante, Spain - Jul 24, 2008 to Aug 31, 2008 Varekai: London, UK - Jan 6, 2008 to Feb 3, 2008 Amsterdam, NL - Feb 28, 2008 to May 11, 2008 Berlin, Germany - Jun 5, 2008 to Jul 13, 2008 Oberhausen, Germany - Jul 31, 2008 to Sep 14, 2008 Vienna, Austria - Sep 25, 2008 to Oct 26, 2008 [Arena Shows] Delirium: Oberhausen, Germany - Feb 1 & 2 Hanover, Germany - Feb 5 & 6 Bremen, Germany - Feb 9 & 10 Stockholm, Sweden - Feb 13 & 14 Turku, Finland - Feb 16 & 17 Zurich, Switzerland - Feb 25 & 26 Budapest, Hungary - Feb 29 & Mar 1 Berlin, Germany - Mar 6 Nurnberg, Germany - Mar 8 & 9 Milan, Italy - Mar 11, 12 & 13 Turin, Italy - Mar 15, 16 & 17 Birmingham, UK - Mar 22 & 23 Liverpool, UK - Mar 25 & 26 Paris, France - Mar 31 & Apr 1, 2 Antwerp, Belgium - Apr 5 & 6 Glasgow, UK - Apr 9 & 10 Belfast, UK - Apr 12 London, UK - Apr 18 & 19 (Delirium will fold in London) Saltimbanco: Quebec, Quebec - Jan 3, 4, 5, 6, 7 & 8 Chicoutimi, Quebec - Jan 16, 17, 18 & 19 Detroit, Michigan - Jan 23, 24, 25, 26 & 27 Cleveland, Ohio - Jan 29, 30, 31 & Feb 1 Memphis, Tennessee - Feb 20 & 21 Charlottesville, Virginia - Feb 26, 27, 28, 29 & Mar 1 Little Rock, Arkansas - Mar 4, 5, & 6 Shreveport, Louisiana - Mar 8 & 9 San Antonio, Texas - Mar 12, 13, 14, 15 & 16 Laredo, Texas - Mar 18 & 19 Corpus Christi, Texas - Mar 21 & 22 Wichita, Kansas - Mar 26, 27, 28, 39 & 30 Omaha, Nebraska - Apr 2, 3, 4, 5 & 6 Des Moines, Iowa - Apr 10, 11, 12 & 13 Moline, Illinois - Apr 15, 16, 17 & 18 Cedar Rapids, Iowa - Apr 23, 24, 25, 26 & 27 Alberquerque, New Mexico - May 14, 15, 16 & 17 Boise, Idaho - May 21, 22, 23, 24 & 25 Victoria, BC - May 29, 30, 31 & Jun 1 Kelowana, BC - Jun 4, 5, 6, 7 & 8 Kamloops, BC - Jun 11, 12, 13, 14 & 15 Edmonton, Alberta - Jun 18, 19, 20, 21 & 22 Saskatoon, Saskatchewan - Jun 25, 26, 27, 28 & 29 Regina, Saskatchewan - Jul 2, 3, 4, 5 & 6 Winnipeg, Manatoba - Jul 9, 10, 11, 12 & 13 Toronto, Ontario - Aug 13, 14, 15, 16, 17, 20, 21, 22, 23 & 24 Hamilton, Ontario - Aug 27, 28, 29, 30 & 31 [Resident Shows] NOTE: (*) Prices are in United States Dollars (USD) unless otherwise noted. (*) Price reflected in brackets [] is inclusive of 10% Las Vegas Entertainment Tax where applicable, but does not include Sales Tax. La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tue through Sat, Dark: Sun/Mon Two shows Nightly - 6:00pm and 9:00pm 2008 Ticket Prices (adults) / (child 3-9): o Category 0: $121.41 / $96.92 o Category 1: $105.44 / $84.14 o Category 2: $86.27 / $69.23 o Category 3: $69.23 / $55.38 2008 Dark Dates: o January 22 to 26 o March 25 o May 20 to 24 o May 27 to 312 o July 29 o September 23 to 27 o November 18 Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - o Saturday: 7:00pm & 9:30pm o Sunday: 4:30pm & 7:00pm o Monday - Wednesday: 7:00pm & 9:30pm 2008 Ticket Prices: o Category 1: $95.00 [$104.50] o Category 2: $75.00 [$82.50] o Category 3: $60.00 [$66.00] 2008 Dark Dates: o January 3 to 18 o February 3 o March 12 o May 1 to 9 o July 9 o September 4 to 12 o November 5 o December 24 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:30pm 2008 Ticket Prices: o Orchestra: $150.00 [$165.00] o Loggia: $125.00 [$137.50] o Balcony: $99.00 [$108.90] o Limited View: $93.50 [102.85] 2008 Dark Dates: o February 10 o April 7 to 15 o June 8 o August 11 to 19 o October 12 o December 8 to 23 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:30pm and 10:30pm 2008 Ticket Prices (18+ Only!): o Sofas: $129.00 USD [$141.90 USD] (Sold in pairs) o Seats: $99.00 USD [$108.90 USD] (Lower Orcestra) O Seats: $79.00 USD [$86.90 USD] (Upper Orchestra) o Balcony: $69.00 USD [$75.90 USD] o Stools: $69.00 USD [$75.90 USD] 2008 Dark Dates: o Feburary 3 o February 19 & 20 o April 6 to 14 o June 9 to 11 o August 3 to 11 o October 14 & 15 o December 1 to 16 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Fri through Tue, Dark Wed/Thu Two Shows Nightly - 7:00pm and 9:30pm 2008 Ticket Prices (adult) / (child 5-12): NOTE: Category locations change based on Early vs Late Show o Category 1: $150.00 [$165.00] / $75.00 [$82.50] o Category 2: $125.00 [$137.50] / $62.50 [$68.75] o Category 3: $99.00 [$108.90] / $49.50 [$54.45] o Category 4: $69.00 [$75.90] / $34.50 [$37.95] 2008 Dark Dates o January 13 to 28 o March 16 to 19 o May 11 to 19 o July 13 to 16 o September 7 to 15 o November 2 to 4 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 10:30pm 2008 Ticket Prices: o Lower Orchestra: $150.00 [$165.00] o Upper Orchestra: $125.00 [137.50] o Lower Balcony: $99.00 [$108.80] o Middle Balcony: $93.50 [$102.85] o Upper Balcony: $69.00 [$75.90] 2008 Dark Dates: o February 3 & 4 o February 11 o April 1 to 9 o May 12 o June 12 o July 29 to August 6 o October 9 o December 2 to 17 Wintuk: Location: Madison Square Garden, New York City (USA) Performs: Wednesday through Sunday, Dark Monday/Tuesday Multiple Shows Daily - Wednesday: 2:00pm, 7:30pm Thursday: 11:00am, 7:30pm Friday: 2:00pm, 7:30pm Saturday: 11:00am, 3:00pm, 7:00pm Sunday: 11:00am, 3:00pm, 7:00pm 2008 Ticket Prices (adult) / (child 2-12): Wednesday & Sunday: o Category 1: $99.00 / $89.55 o Category 2: $65.00 / $59.95 o Category 3: $40.00 / $36.45 Thursday, Friday & Saturday: o Category 1: $200.00 / $180.45 o Category 2: $110.00 / $99.45 o Category 3: $75.00 / $67.95 o Category 4: $50.00 / $45.45 Information regarding the 2008 season is not yet available. ==================================== HISTORIA: Cirque du Soleil History ==================================== [January] * Jan.03.2008 -- Saltimbanco Arena opened Quebec, QC * Jan.04.2007 -- Quidam opened Dubai, UAE * Jan.05.1996 -- Saltimbanco opened London * Jan.05.1999 -- Alegría opened London * Jan.05.2006 -- Alegría opened London * Jan.05.2007 -- Alegría opened London * Jan.05.2007 -- Varekai opened Auckland, New Zealand (Asia-Pacific Tour Begins) * Jan.05.2007 -- REVOLUTION Lounge opens (based on Beatles/LOVE) * Jan.06.2003 -- Premiere of Fire Within on BRAVO * Jan.06.2005 -- Saltimbanco opened Manchester * Jan.06.2005 -- Varekai opened Houston * Jan.06.2005 -- Dralion opened London * Jan.06.2008 -- Varekai opened London, UK * Jan.07.1998 -- Alegría opened London * Jan.07.1999 -- Saltimbanco Asia-Pacific Tour Began (Sydney) * Jan.07.2003 -- Saltimbanco Euro Tour II began London * Jan.07.2003 -- Varekai CD Released in US (BMG/CDS Musique) * Jan.09.2004 -- Dralion opened London * Jan.09.2004 -- Alegría opened Miami * Jan.10.1999 -- Alegría: Le Film showcased in Palm Springs * Jan.10.2001 -- Alegría opened Auckland, Australia * Jan.13.2006 -- Saltimbanco opened Mexico City * Jan.14.1997 -- Quidam CD Released in US (RCA/Victor) * Jan.16.2003 -- Varekai opened San Jose * Jan.16.2004 -- Saltimbanco opened Seville * Jan.16.2004 -- Varekai opened Costa Mesa * Jan.16.2008 - Saltimbanco Arena opened Chicoutimi, QC * Jan.17.1999 -- Banquine Act awarded in the 23rd Festival du Cirque de Monte-Carlo. * Jan.17.2002 -- Dralion opened Houston, Texas * Jan.17.2008 -- Quidam opened Monterrey, Mexico * Jan.19.2006 -- Quidam opened San Diego * Jan.19.2006 -- Dralion opened Seville * Jan.19.2006 -- Corteo opened San Jose * Jan.20.2000 -- Quidam opened Barcelona * Jan.20.2006 -- Varekai opened Miami * Jan.20.2008 -- Corteo celebrated 1,000th performance [San Diego, CA] * Jan.23.2003 -- Alegría opened Dallas * Jan.23.2008 -- Saltimbanco Arena opened Detroit, MI * Jan.24.1995 -- Alegría opened Costa Mesa * Jan.24.2007 -- Delirium opened Detroit, MI * Jan.25.2000 -- Saltimbanco opened Hong Kong * Jan.25.2008 -- Dralion opened Tokyo * Jan.26.1991 -- Nouvelle Expérience opened San Diego * Jan.27.2004 -- Order of Canada bestowed upon Guy Laliberté * Jan.28.1999 -- La Nouba Premiere Gala (Previews End) * Jan.29.1997 -- Quidam opened Orange County * Jan.29.2008 -- Saltimbanco Arena opened Cleveland, OH * Jan.30.1993 -- Saltimbanco opened Costa Mesa * Jan.31.2007 -- Delirium opened Grand Rapids, MI * Jan.31.2008 -- Koozå opened San Jose, CA [February] * Feb.01.2008 -- Delirium opened Oberhausen, Germany * Feb.01.2008 -- Announcement that Delirium will fold in London, UK (April 2008) * Feb.02.2001 -- La Nouba celebrated 1000th performance [Friday, 6:00pm] * Feb.03.2000 -- Dralion opened San Francisco, California * Feb.03.2005 -- KÀ Premiere Gala (Previews End) * Feb.04.1988 -- Le Cirque Réinventé opened Santa Monica (again) * Feb.04.2007 -- Cirque du Soleil performs at Super Bowl XLI. * Feb.05.2007 -- iShares Announces Sponsorship of 2007-2008 US Teams * Feb.05.2008 -- Delirium opened Hanover, Germany * Feb.06.2003 -- Dralion opened New Orleans * Feb.07.2002 -- Quidam opened Miami, Florida * Feb.07.2003 -- Region 2 DVDs released: Saltimbanco, Quidam, Dralion * Feb.07.2003 -- Quidam opened Tokyo * Feb.07.2007 -- Dralion opened Tokyo * Feb.07.2007 -- Koozå Creative Team Announced * Feb.07.2007 -- Delirium opened Moline, IL * Feb.07.2008 -- Alegria opened Sao Paulo * Feb.08.1996 -- Saltimbanco opened Hambourg * Feb.09.2001 -- Saltimbanco opened Fukuoka, Japan * Feb.09.2005 -- Alegría opened Fukuoka, Japan * Feb.09.2007 -- Corteo opened Dallas * Feb.09.2007 -- Delirium opened Minneapolis/St. Paul, MN. * Feb.10.2008 -- Delirium opened Bremen, Germany * Feb.10.2006 -- Cirque announced/launched Fashion Line * Feb.10.2008 -- Cirque du Soleil performs "A Day in the Life" from The Beatles/Cirque du Soleil LOVE at the Mirage at Grammy’s. * Feb.10.2008 -- Cirque du Soleil wins 2 Grammy’s for LOVE album. - "Best Compilation Soundtrack Album for Motion Picture, Television or other Visual Medium" - "Best Surround Sound Album" * Feb.11.1998 -- Quidam opened Dallas * Feb.12.2007 -- Cirque & Orange Business Services sign Partnership * Feb.13.2008 -- Delirium opened Stockholm, Sweden * Feb.14.2001 -- Dralion opened Miami, Florida * Feb.14.2002 -- Saltimbanco opened Amsterdam * Feb.14.2007 -- Delirium opened Fort Wayne, IN * Feb.15.2005 -- Cirque Music available on iTunes * Feb.15.2007 -- Cirque Partners with Champ Car race * Feb.16.2001 -- Quidam opened Manchester * Feb.16.2008 -- Delirium opened Turku, Finland * Feb.17.2005 -- Saltimbanco (2005) CD Released (CDS Musique) * Feb.17.2007 -- Delirium opened Chicago, IL. * Feb.19.1998 -- Alegría opened Madrid * Feb.19.2002 -- Quidam Extended CD Released (BMG/CDS Musique) * Feb.19.2004 -- Alegría opened St. Petersburg * Feb.20.2007 -- Cimarron gives KÀ new visual style * Feb.20.2008 -- Saltimbanco Arena opened Memphis, TN * Feb.21.2007 -- CirqueCon’s 2007 & 2008 Announced * Feb.21.2007 -- Delirium opened Kansas City, MO * Feb.22.1991 -- Nouvelle Expérience opened Cosa Mesa * Feb.22.2000 -- Alegría: Le Film CD Released in US (RCA/Victor) * Feb.22.2007 -- Alegría opened Barcelona * Feb.23.2006 -- Alegría opened Milan * Feb.24.2005 -- Saltimbanco opened Birmingham * Feb.24.2005 -- Varekai opened Austin * Feb.24.2007 -- Delirium opened Ames, IA * Feb.25.1988 -- Le Cirque Réinventé opened Calgary * Feb.25.2001 -- Quidam opened Manchester * Feb.25.2008 -- Delirium opened Zurich, Germany * Feb.26.2003 -- Saltimbanco opened Bilbao * Feb.26.2008 -- Saltimbanco Arena opened Charlottesville, VA * Feb.27.2005 -- Dralion opened Amsterdam * Feb.27.2008 -- Quidam opened Veracrux, Mexico * Feb.28.2000 -- La Nouba celebrated 500th performance [Monday] * Feb.28.2002 -- Alegría opened Singapore * Feb.28.2007 -- Delirium opened Green Bay, WI * Feb.29.2008 -- Varekai opened Amsterdam * Feb.29.2008 -- Delirium opened Budapest, Hungary ======================================================================= FASCINATION! FEATURES ======================================================================= Within... o) "Delirium Ranks Near the Top (Again), Sort Of (Again)" By: Keith Johnson - Seattle, Washington (USA) o) "FLOW: The Thrilling MYSTERY of Koozå" By: Ricky Russo - Orlando, Florida (USA) o) "Secrets of the «O» Curtain" By: Keith Johnson - Seattle, Washington (USA) o) "Bienvenidos a Mèxico - Quidam in Monterrey" By: Ricky Russo - Orlando, Florida (USA) ------------------------------------------------------- "Delirium Ranks Near the Top (Again), Sort Of (Again)" By: Keith Johnson - Seattle, Washington (USA) {Jan.14.2008} ------------------------------------------------------- A year ago, we reported that Cirque du Soleil’s Delirium had made it into the Top 10 tours of 2006, as published in the Year-End Charts issue of Billboard Magazine. And we can say the same this year! Delirium came in at number six (again), beating out such popular acts as Aerosmith, Tim McGraw/Faith Hill and the Dave Matthews Band. Their $59.5 million total gross was only bested by: 1. The Police Reunion, $212.2 million (66 performances, average $114 per ticket) 2. Genesis Reunion, $129 million (46 performances, average $102 per ticket) 3. Justin Timberlake, $126.8 million (106 performances, average $78 per ticket) 4. Kenny Chesney, $71.2 million (55 performances, average $62 per ticket) 5. Rod Stewart, $70 million (56 performances, average $93 per ticket) 6. Delirium, $59.4 million (150 performances, average $87 per ticket). While this looks impressive, an analysis of the figures presents a different view. We’ve attached the chart as an EXCEL spreadsheet for you to download and manipulate to your heart’s content with our download here: http://www.cirquefascination.com/newspix/delirium2.xls. There are many factors that lead to a show’s total gross dollars - number of performances, theater capacity, attendance, and ticket price being primary. It’s in these numbers where Delirium lacks in relation to the other acts in the Top 25 rankings. Deliriums total gross is listed at $59,447,450.00 (2006’s gross was $78,529,777). They sold out the next to least number of performances, at four (2006-two). Though they rank ninth in the number of possible seats that they could have sold (836,070, 2006-1,356,514), they sold 679,754 (2006-892,714), the lowest percentage (81%, 2006-66%) of anyone on the chart other than Rush (what, are they still together?). The average attendance per show was also lowest, at 4,532 (2006-6,157) per show. Their average gross per show was second lowest, at $396,316 (2006-$541,585); the only act with lower grosses, Trans-Siberian Orchestra, charged half of Delirium’s $87 (2006-$88) average ticket price. Then how did Delirium get onto the chart? Hard work! Their total gross is spread over 150 performances (145 in 2006), far more than anyone else on the chart except Justin Timberlake (at 106). They played almost three times as many shows, on average, as any other act. The most shows at the lowest attendance can still equal high grosses, a model that seems to work for Cirque and presenter Live Nation. A further look reveals that the concert business was down in 2007 compared to 2006 (when there were megabuck tours like the Rolling Stones and Madonna to tip the averages). But it seems Cirque and Live Nation are now putting Delirium into smaller venues better suited for the projected attendance. Though they had almost the same amount of shows, their total capacity went down 40% (while total gross only went down 32%). And they managed to fill that capacity better, raising their capacity percentage to 81%, up from 66%. It might be more fair to rate Delirium against other "special performance" type shows, such as Cirque Dreams, against which it would certainly excel on all financial fronts. It is the "odd duck" nature of Delirium - not quite a regular Cirque du Soleil show, not quite a musical concert in the traditional sense - that keeps it from fitting into almost any category. Here’s a review of where Delirium ranks in the standings: o) Total Gross - 6th (again) o) Total attendance - 12th (2006-9th) o) Total capacity available - 9th (2006-3rd) o) Number of shows - First (again) o) Number of sellouts - Next to last (2006-Last) o) Average attendance per show - Last (again) o) Average capacity per show - Next to last (2006-Last) o) Average gross per show - Next to last (2006-21st) o) Average ticket price - 8th (2006-6th) Check out the figures for yourself with our download here: < http://www.cirquefascination.com/newspix/delirium2.xls > ------------------------------------------------------- "FLOW: The Thrilling MYSTERY of Koozå" By: Ricky Russo - Orlando, Florida (USA) {Issue Exclusive} ------------------------------------------------------- It's morning and a small shard of light has prickled across your face, tempting you to stir from a blissful night's rest. You resist, snuggled in under a large, fluffy comforter because there's still a chill in the air. The sun has not had enough time to bring warmth to the day yet and you'd rather wait it out than face the cold, harsh reality of a frosty morning. But then a stray thought wanders into your consciousness... there's something about this particular morning you've been waiting for. Slowly your eyes open and focus; blood begins to flow more freely and your heart begins to beat more strongly. Then it hits you: it's no ordinary morning, it's Christmas morning! A time for making snowmen, savoring a big mug of hot cocoa with melted marshmallows and resting by a warm fire, snuggling into a big, warm sweater and... oh yeah! Presents! Off the comforter is thrown and at once you bolt out of bed - cold or not - and rush downstairs to check under the tree, in your stockings hanging neatly over the fireplace, and -- well, I don't have a fireplace here in Florida (or a real tree, or snow for that matter) but I did find something wonderful in my Stitch stocking this year... three wonderful somethings. New Cirque du Soleil documentaries on DVD! In Mid-December, just in time for the Christmas gift season, Cirque du Soleil released three new exciting behind-the-scenes lookyloos to their video repertoire: The Mystery of Mystère: When Art and Science Merge, FLOW: A Tribute to the Artists of "O", and A Thrilling Ride Through Koozå. Each has their own visual style, storytelling method and degree of performance footage shown but they do share at least two things in common: each has colorful, animated menus (featuring characters from their respective shows) and new cardboard packaging that is 100% recyclable. Now, let's unwrap our presents and take a quick peek into these new documentaries. -{ THE MYSTERY OF MYSTÈRE }- UPC -- 4-00005-08747-9 Catalog -- 508747 Video -- 1.78:1 Wide screen Audio -- English 5.1 Run Time -- Approx 65 Minutes Directed by -- Sylvie Joanisse & Mario Rouleu This is a uniquely filmed and presented documentary on Cirque du Soleil's first resident show, Mystère at Treasure Island in Las Vegas. In this piece we "meet world renowned anthropologist Philippe Frey, geneticist David Suzuki, physicist Fred Alan Wolf and astrophysicist Trinh Xuan Thuan as they boldly explore The Mystery of Mystère through each of their fascinating and distinctive scientific fields of expertise." Mystère is as much a story of the universe (from the dawn of time to the end of the millennium) as it is a telling of man's journey from infancy to adulthood, but if you're scratching your head and asking what scientist's points of view about the universe have to do with a Cirque du Soleil show you're not alone. And, unfortunately, viewing the documentary does little to explain the reasons why this particular approach was taken, for the scientist's contributions do little to show the causality between Mystère and its creative universe. Be that as it may, much of the show is on display in glorious widescreen and this alone makes the disc a must buy for Cirque fans. Clips with the artists and creators and their wonderful insights into their roles intermixed with the live music of Mystère is such a delight. And while the footage is always a treat to see (as this show has never been filmed for home audiences) the way Cirque du Soleil went about presenting it is pretentious at best. As the documentary plays on, the show and its mythology are continuously explored through seemingly less and less relevant conversational clips from the scientists, and the meaning of their contributions become more and more mysterious (read: boring). Discussions about the origin of man and his relationship to the desert not withstanding, how does relativity theory and quantum physics concepts relate? As for the bonus features included on the disc, I find they are also mixed fare: o) "Franco Dragone meets the Scientists" (13:33) -- As the title suggests, Mystère's Director joins the crew poolside at Treasure Island and an even more banal conversation with these universal experts ensues. o) "Food for Thought" (16:00) -- This selection gives the scientists a chance to voice their concerns about topics foremost on their minds, while characters from the show interact with the desert backdrop behind them. While their insights prove to be interesting, discussing such topics like the air we breathe, death, life and the meaning of existence, nothing of what the scientists discuss in this feature has a real connection to the show or Cirque du Soleil itself, so its inclusion is somewhat strange. o) "Impressions and Interrogations" (2:37) -- Earlier we’ve heard from the scientists about what the mystery of Mystère is, now it’s time to hear from the artists who put on the show: why does Mystère remain popular after all these years? We hear from Brian Dewhurst (Clown), Florence Gaillard (Dancer), Eligiusz Skoczylas (Chinese Poles), Ashley Jean Lamb, Vladislav Lissenkov (Korean Plank), Michelle Cronje (Dancer), Arnaud Bertrand (Dancer), Paul Cameron, and Steel Wallis in this very short montage. o) "Cirque du Soleil in Las Vegas" (2:30) - Besides the short Impressions clip, this may be one of the best parts of the disc! For the first time we are treated to all five official Las Vegas show promos. Normally these are plastered across large LCD screens at the airport or in specific locations on MGM-Mirage resort properties, but for the first time you get to watch them over and over and over again! o) "FLOW DVD Promo" (1:38) -- A decent sized preview of the FLOW DVD, the counter-part documentary to this disc. o) "Join CirqueClub!" (0:30) -- Last, but not least, a small CirqueClub promo. In the end perhaps Cirque du Soleil took their avant-garde approach a little too far. The show footage and interviews with cast and creators alike were a treat to see, but conversations with scientists over the mysteries of the universe seemed very much out of place. Perhaps a return to the proverbial drawing board is in order. And perhaps THAT is the great Mystery of Mystère. All in all, the "Mystery of Mystère" receives a B-. -{ FLOW: A TRIBUTE TO THE ARTISTS OF «O» }- UPC -- 4-00005-08746-2 Catalog -- 508746 Video -- 1.78:1 wide screen Audio -- English 5.1 Run Time -- Approx 80 minutes Directed by -- Oana Suteu Khintirian The back cover states, "Cirque du Soleil presents FLOW, a poetic immersion into the Depths of «O» and over the meandering Colorado River. A metaphorical musing of human presence on the blue planet is raised as the artists of «O» express and explore the intimacy they share with the four elements: Fire, Air, Earth and Water." After sitting through the previous disc, FLOW turned out to be everything that Mystery of Mystère wasn’t - it was funny, artistic, and most of all entertaining! Drawing a queue from Mystery of Mystère (submerging the show’s characters in real-life settings like the Colorado River and surrounding desert) but taking it in an entirely different direction (no scientists!), FLOW takes us on a journey of discovery: how the water relates to the show and how the show and its space relate to the water. There are wonderful insights into the creative aspects of «O» within - quips with creators and artists alike - as well as beautifully shot scenes from each of the accompanying acts. This is definitely a must-have for fans of Cirque du Soleil. The disc’s bonus features are also equally compelling, once again setting this disc apart from its "mysterious" counterpart: o) "Steps below the Surface" (6:09) -- A wonderful birds-eye view (or is that scuba-eye view?) of the carefully crafted ballet that ensues below the stage in the depths of the pool. Watch the water change from blue to red to green as we witness the changes from a point of view that only a select few have seen... until now. o) "Water in the Desert" (9:51) -- "Water is the memory of the world and theater is the expression of memory" and many other insights are gleaned from this piece, a look into the Creation of «O». We hear from Director Franco Dragone and Director of Creation Gilles Ste-Croix, as they sit pool-side at the Treasure Island and reminisce about creating Cirque du Soleil's first aquatic show. o) "Russian Swing" (3:51) -- Complete from beginning to end, see the entire Russian Swing number as presented in the show! Last, but not least, two of the same features found on the Mystery of Mystère DVD: the "Cirque du Soleil in Las Vegas" promos and the "Join CirqueClub!" preview. Overall, this disc and its accompanying documentary are much more rounded. While the program does infuse the same style as Mystery of Mystère, it leaves out the use of scientists to help explain abstract rules of the universe in attempting to explore the show’s theme. The only complaint we might have about the documentary is the repeated multi-language voiceover for the word water. Twice really would have been sufficient. All in all, "FLOW: A Tribute to the Artists of «O»" receives an A-. -{ A THRILLING RIDE THROUGH KOOZÅ }- UPC -- 4-00005-09122-3 Catalog -- 509122 Video -- 1.78:1 wide screen Audio - English/French 2.0/5.1 Run Time -- Approx 47 minutes Last, but not least, is this "captivating documentary that looks at the creative process of Koozå, the latest and critically acclaimed touring show from Cirque du Soleil." Koozå whose name is inspired by the Sanskrit word "koza," meaning "box," "chest" or "treasure," tells the story of a melancholy loner (The Innocent) in search of his place in the world and through his search we are taken on a journey through strength, fragility, laughter, turmoil and harmony. In this piece, Cirque du Soleil invites us to "embark on a journey that starts at the humble Beginnings of some of Cirque's creative pioneers as they share their personal voyage - and a few revealing anecdotes - that highlight the multiple stages of the creation of a live show. Meet the clowns and acrobats that bring Koozå to life as these audacious performers discuss their experience and share a few insights into this daring acrobatic show - from studio rehearsals to the big top raising, to the world premiere in Montreal!" But does it live up to its hype? Yes! Starting in early 2007 and taking us through to the official premiere in August, "A Thrilling Ride through Koozå" is everything a documentary should be and more! We hear from Director David Shiner, the ideas and thoughts behind what kind of show he was looking to create (one that brought us back to Cirque roots - thrills, chills and emotions) and all the work that he put in to conceiving a show of this caliber. We’re taken on the journey the costume, make-up, and set designers must undergo in order to bring the spectacle to life. We see the artists as they train for their parts, as well as settle into every-day Cirque life. And what did Guy think about the show a month before the first public performance? Watch and see! There are no bonus features on this disc, but it doesn’t need any. The documentary is perfect all on its own. If you’ve not seen the brand- new touring show yet, check out this disc for a nice preview! I give "A Thrilling Ride Through Koozå" an A+! Pick up all three new documentaries today at the Cirque du Soleil Online Boutique. "Mystery of Mystère" and "FLOW" are $25.00 USD each and "A Thrilling Ride Through Koozå" is $19.00. ------------------------------------------------------- "Secrets of the «O» Curtain" By: Keith Johnson - Seattle, Washington (USA) {Issue Exclusive} ------------------------------------------------------- Few moments in theater have the power to suck you in as completely as the opening of Cirque du Soleil’s "O". From the moment the luscious red velvet curtain "whoosh’s" away one is immediately startled and transported into a wonderful watery world. And if you’re like us you might take a second to wonder, "How did they do that?" before the next visual treat commands your attention. Fisher Technical Services of Las Vegas, Nevada (www.fishertechnical.com) built the apparatus that whisks the curtain away. The "Fisher" is Scott Fisher, a former Technical Manager for Ziegfried & Roy who formed his own company which designs and maintains automation equipment for the entertainment industry, specializing in winches and flying rigs. A kind source, whom we’ll call "Mr. E" or just "E," was involved with the construction of the "O" theater. He started his career with the Ziegfried & Roy show. This included a relationship with one of the biggest props in the show, the dragon. "When I first saw the plans for it, it was absolutely the most incredible piece of lights and stage automation I’d ever seen in my life. It’s 20 axis of total insanity." The Ziegfried and Roy magic production show at Steve Wynn’s groundbreaking Mirage was the first big production-type show to turn an incredible profit for a casino in both ticket and ancillary revenue. (Prior to Z&R, the "showroom" of a casino was considered a loss leader as shows were cheaply priced so as to bring in gamblers.) When the show originally opened tickets were USD$65.00, which at the time was thought to be very expensive. But high demand spurred tickets to $80, $90 and then $100 with no ceasing of demand. It was the success of The Mirage, and the gambling industry discovering that revenue could be realized from shows, food, and hotel rooms as well as gambling that spurred the building of the current crop of "mega resorts" (and the creation of more Cirque productions!). Fisher Technical won the contract to create the "O" Curtain winch and "Comet" and "Aurora" flying winches, which were some of Fishers first projects. During that time they also supplied water tube/sculptures for Blue Man Group for its show at the Luxor. (Fisher’s website, www.fishertechnical.com , has several cool galleries in their "Past Projects" section and videos in their "Media" section of their installations, its worth checking out.) Part of why Fisher got Cirque’s business had as much to do with the quality of their winches as their ability to help Cirque communicate their technical needs. Owner Scott Fisher is not only a very good technical designer, but also a very good technical writer, which requires a specific set of writing skills to specify equipment correctly. Consider that an order for a winch might only consist of, "We need 25 winches that go five feet per second and lift 700 pounds." That’s fine for an initial conversation, but how do you translate that into language you can then send to contractors so they know exactly what you want and bid the job correctly? To create a technical specification much more information is needed. As Mr. E. explained, you have to be specific. VERY specific. "The shafts have to be this weight, and have to abide by this standard, and they can’t be made out of this material, and they can only be so noisy, and they can’t leak, and they have to have this type of service factor. There are a whole slew of technical issues related to how you specify that equipment. And since all of it is prototype and custom manufactured, you have to write out the specs every time." And in this Scott Fisher excelled, which was a talent Cirque needed. BUILDING BELLAGIO By the time Bellagio was announced, Cirque had already established itself as a force on the Las Vegas scene with "Mystère" at the Treasure Island. "The first room that was as close to a theater as Vegas has ever had is Mystère," says Mr. E. "The only thing that prevents it from absolutely being a "theater" with a Capital "T" is cup holders. My training says theaters don’t have cup holders." (Even that theater had its own set of challenges as it had to have the control side of its automation system rebuilt when the original turned out to be a failure.) So it was a foregone conclusion that Cirque du Soleil would be involved in some way with Steve Wynn and his dream Bellagio. And Cirque was thinking big; their original plans were for a Bellagio theater twice as costly as the theater that exists today. The stage was twice as big as what eventually got built - you would need four current stage footprints placed together to equal the original planned stage size. "It was absolutely, unbelievably huge." The original capacity of the theater was estimated to be somewhere between 2,000- 2,500 patrons (a bit more than the 1,800 it ended up with). Those lofty dreams need to be considered in context. Original hotel plans suggested the resort would sit on a man-made island, with one huge curved hotel tower and all the back-of-house functions (housekeeping, kitchens) underground. That plan ran aground, so to speak, with the same problem many strip hotels face, the Las Vegas water table. Vegas’ water table (the distance below the topsoil where water resides) is very shallow. And just underneath the water table is very hard bleached rock, called Calishe, which is costly to dig through. This explains why so many hotels (including the Bellagio) have a three-wing structure; it’s easier to support on the ground. (Wynn was later able to achieve his dream of one curved hotel tower at his Wynn Las Vegas - evidently resolving the soil issue.) After the initial hotel plans fell back to Earth everything went through a re-design, including the Cirque theater. Other than losing the huge stage, however, theater plans stayed close to their original design. There was a natural tension between Cirque, who had their eyes on their creation, and Mirage resorts, who had eyes on what was practical for the bottom line. "I think that those negotiations were workable with Steve [Wynn] because Steve has a pretty good vision and is willing to take that bet," suggests Mr. E. For the Bellagio project, Cirque would first discuss plans with the theater consultants, Scéno Plus (www.sceno-plus.com, former Cirque set designer Michel Crete’s group). They would come up with blueprints, drawings and specifications, which would then go to Mirage Resorts. Mirage would then give them to the general contractor to build the theater and supply the automation, rigging, lights, sound, and so on. "The biggest challenge with the Bellagio theater was simply having to deal with contractors who are in the theater business [but] who are not theater people. They do not understand the creative vision. They are not willing to do whatever it takes to try and reach the goal. You’re dealing with people who will sell you crap if you let them get away with it. And there’s an awful lot of that that comes in the door that you just have to deal with." Though he did not have a lot of interface directly with Cirque staff, what contact E. had was pleasant. "They’re always professional. Theater people are theater people. [Their main goal is] trying to do what they need to do to meet the designer and director - the creative teams’ - vision. Everybody at Cirque that I’ve interfaced with, that’s always the goal." A goal with a few quirks. "I’ve sat in meetings [with Cirque] where people start talking and they’ll be some guy who will say, in French, "Why are we speaking English?" And he’s obviously upset that a meeting has been started in English." (This would be because Mr. E and his colleagues don’t speak French.) "[After being told this] he’ll be like, "Oh." BUILDING WINCHES An "O" viewer’s first exposure to the winches provided by Fisher Technical comes during pre-show animation. The winches that drop Guifà’s object of desire ("Aurora") from the ceiling of the theater are Fisher creations. They also built the winches that the Comets use while "flying" from one point on stage to another. Cirque’s use of winches to propel artists through the air can be traced back to earlier "flying man" rigs. As Mr. E. commented, "I think the genesis for [Cirque’s use of winches] was the old Vladimir strap act." Vladimir Kehkaial left "Nouvélle Experience" for a more lucrative offer from the Stardust Casino, and moved into a starring role in their production show, "Into the Night". But adapting the act from the Chapiteau (where he flew over the audience suspended from a point high at the top of the tent) to the constraining 13-foot limit of the "Into the Night" showroom ceiling was an insurmountable challenge. "It was horrible. It was a stupid idea to begin with." "Vladimir, and some of the other guys that followed, had these winches they built without safety devices and other things like that. And Scott [Fisher was one] of the only people who had experience with higher levels of automation and could build winches that had all the appropriate kind of safety mechanisms and could perform in a way that Cirque needed them to. And that’s been an ongoing process." The winch requisition process was a fairly straightforward conversation. "They’d say, ‘We need three flying winches.’ ‘OK, how much weight do you want to pick up?’ ‘250 pounds, 1 person.’ ‘How fast?’ ‘14 feet per second.’ ‘OK!’ And you go do the engineering and you tell them, ‘This is how much it will cost.’ And they go, ‘Oh my God! OK we’ll pay it.’ And then you go build it." BUILDING THE "O" CURTAIN Cirque’s publicity machine often recounts the difficulties they had working with water while creating "O." The opening curtain presented challenges as well. The first curtains were made from expensive china silk, which only lasted about a week. As Mr. E. explains, "There was a lot of testing done. That curtain shredded many, many times. [It] would catch on anything." And in a humorous aside he adds, "There’s some law of physics that says that if a piece of silk or nylon is moving faster than a couple of feet per second, it will then be attracted to any sort of snag-able object." Each time they would test the effect the curtain would snag or shred and "the costumers would roll out with their sewing machines and stitch it up." Trying to get the curtain effect to work, they turned to Fisher Technical. "The curtain was really [Cirque saying], ‘Here’s what we want.’ That was then followed by several very good riggers pounding their heads against it for several months as the show was loaded in, until it was what you now see." The custom-built winch that pulls the curtain resides high in the grid rigging over the stage. Weighing around 500 pounds and about 5 ½ feet in height, its 8-foot winding drum (with high sides to take up the curtain) acts as a big sewing spool, powered by a 20-horsepower SEW EuroDrive induction motor mounted vertically. Once activated by a technician holding a joystick touch screen, over its six seconds of "cycle time" (the time it takes the winch to pull the curtain) it pulls at 15 feet per second. The curtain itself is nylon, approximately 50 feet high by 100 feet wide, and light in weight. To the casual observer’s eye, however, it looks like luxurious velvet because "it’s lit exquisitely." Two ropes from the winch attach to the curtain (which is really two pieces) at the center. When the signal is given the winch starts pulling, the hooks at the top of the stage release, and the curtain (and audience) is swept away. The frequent winching does hurt the curtain and it occasionally needs to be replaced, but not as often as while it was under development. The curtain that appears out of the basket at the end of the show is a different curtain from the one at the beginning. This, too, presented challenges, says Mr. E. "You can see all the ropes it’s attached to, it was just insane. If it’s screwed up, it’s like mis-packing your parachute, it’s a total write-off. If you don’t get it right, it doesn’t work. You can’t just say ‘Stop!’ and work it all out." So a special device, called a "Kabuki Release System" was developed for the curtain to allow it to unroll uniformly and not get tangled in its ropes. FINDING THE "MAGIC SPARK" Mr. E’s approach toward the creative process of "O" gave him his most satisfying Cirque moment. "I worked on the hell that is getting [the theater] ready to begin rehearsal. And [I stuck around for] just a bit of the rehearsal process, (starting around May of 1998) making sure everything was sorted out. Once everything that the hotel was required to do to give them the gear was done, and they had all their people brought in, I just very quietly drifted off. Unless I was needed, I intentionally did not go back into that theater for the rest of that summer. I really had no idea what they were going to do [with the equipment]. I knew what it would do, from the standpoint of speeds and loads and that sort of stuff, but that doesn’t speak to what the show might be. And then I was able to go to opening night and see the show. And it was absolutely amazing, absolutely spectacular, to see what they had done with all of that equipment. And that was the most gratifying experience I had with Cirque." When Mirage Resorts was bought by MGM a different set of relationships with vendors and suppliers of equipment came into play, so Fisher Technical wasn’t involved in Cirque shows post-"O". Fisher expanded to new clients and new challenges, many of which are detailed on their website. It is they and other suppliers of theatrical technical equipment that help bring the "magic spark" of creative vision to life on the stage. But no amount of equipment can create a magical show like "O" without that special "magic spark." We asked Mr. E. what provides his greatest challenge. "Not being able to provide equipment that is a real paintbrush for the director. We have yet to achieve that mode of allowing the director to just be free to be spontaneous with the technology. The technology still holds us back. And so the biggest challenge is really trying to get to that point. And with anything you do there are always mis-steps and mis- directions. You have to come back and try again and keep going down that path. Whether or not we’ll get to that before my natural life is over I don’t know." What provides his greatest satisfaction? Working on effects that create that "magic spark." "Remember the illusion of the lady who transformed into a tiger during the Ziegfried and Roy show? What’s your reaction to that? It’s quick and it’s a charge in that environment. And it’s the same with ["O"’s] opening curtain. It absolutely sucks you in to what’s going on. It’s that experience, as well as watching that experience in others, that I first encountered when I was doing plays in high school. [It’s a] melding between show and audience. When that happens - what the Grateful Dead used to call "walking the wolf," when a mysterious wolf ‘walks’ through the audience and through the stage, when there’s a connection there that happens - that’s the theater thing. And that’s what drives me." ------------------------------------------------------- "Bienvenidos a Mexico - Quidam in Monterrey" By: Ricky Russo - Orlando, Florida (USA) {Issue Exclusive} ------------------------------------------------------- From the very first moment I stepped off the small jetliner and felt the warmth of the afternoon sun wash across my face I sensed I was in a strange, new land. The place I left was cold, dark and still tucked in for the night. The sun here was full and bright - sharing its radiant energy with us unabated by cloud or storm, and at the same time becoming playful with a zephyr, teasing it to tottle about in excited rushes, bringing balance to the day's warm brilliance. And on those breezes a tantalizing hint of spice. Ahhhhhhhhhh. In all my voyages since I’d been bitten by the travel bug in 2002, though I’ve visited north many times, I had yet to trek south of the border to Mexico, where I find myself now for the very first time. And why am I here? For Cirque du Soleil of course! I’m here to see Quidam, one of Cirque du Soleil’s signature shows with one of Mexico’s most fervent fans of the troupe: Rodolfo Elizondo! My exhilarating adventure began the moment I met Rodolfo and left General Mariano Escobedo International Airport (MTY) making our way into the zona centro of Monterrey, 30 minutes away. It was a whirl- wind weekend that I shall not soon forget. The City of Mountains ----------------------- Monterrey (pronounced with a heavy 'rrrrr') is a very modern Mexico City situated in the northeastern state of Nuevo León, approximately 150 miles south of the United States border. This state capital boasts a populace that ranks it third behind the Greater Mexico City and Greater Guadalajara metropolises and is home to many businesses, industries, universities and families. But for only three short weeks, Monterrey would also be home to Quidam. Rodolfo and I scrambled into his Toyota SUV and made haste to the center of Monterrey where the blue-and-yellow striped big-top awaited us. While we had a number of hours yet to go before our performance began, neither of us could wait to steal a look at the Grand Chapiteau standing triumphantly in Parque Fundidora. And as soon as we rounded the corner of this millworks-turned-greenspace, I spotted it. "There it is! There it is!" I said, mimicking a short clip from Star Trek II: The Wrath of Khan (Trekkies will no doubt recognize a similar line spoken by Khan as he tracks the Enterprise down in the Mutara Nebula.) After spying the Grand Chapiteau and its immediate surroundings from the car, we grabbed lunch at one of Rodolfo’s favorite eating establishments at the Galerias Valle Oriente. It was a buffet of wonderful Mexican cuisine: beans and rice, chicken with a chocolate sauce (chicken mole), grilled beef, salads, fruits and chips! After lunch Rodolfo took me on a whirl-wind tour of his hometown, which not only thoroughly encompassed the brightest spots of Monterrey but also a journey that I found culturally fascinating. Our first stop was the Mirador del Obispado (Bishop's Lookout), which is located atop Cerro del Obispado, the hill of the same name. Rising about 775 meters above sea level, this viewpoint is adorned with a fabulous circular esplanade with a humongous flag and pole at its center. Besides a fantastic panoramic view of the surrounding city - you can easily spot all of downtown Monterrey and its sprawling environs from here, and Monterrey's namesake mountains: Cerro de las Mitras (Miter Hill), Cerro del Topo Chico (Small Mole Hill), Cerro de la Loma Larga (Long Slope Hill), La Huasteca, and, of course, Cerro de la Silla (or Saddle Hill), which rises above 1800-meters (or 5900- feet) - you'll also find Mexico's biggest monumental flag here. This larger-than-life flag, which is a focal point of Mexican independence celebrations here in Nuevo León, weighs over 200- kilograms and measures 50 x 28.6 meters. That's one huge flapping green, white and red symbol of these Mexican states! And this atop a pole that stands slightly over 100-meters high and weighing over 120 tons itself. While that is impressive and a fabulous sight to see the vista of the surrounding environs is the reason to come here. And on a clear, sunny day like this day, the sky's the limit! Next we made our way down to the Macroplaza, which is a 400,000 square meter court consisting of various museums, monuments, gardens, fountains and various other green-space accoutrements. It's anchored by the Palacio Municipal (Municipal Palace) on the south end at Constitución Avenue and the Antiqua Palacio Federal (Antique Federal Palace) on the north end at Cinco-de-Mayo Avenue. The Macroplaza features a number of monuments and other pedestrian zones, but the one item that fascinated me most was Fuente de Neptuno (the Fountain of Neptune), a beautiful bronze fountain that represents Neptune, the Roman god of the Sea (also formally known as Fuente de la Vida - the fountain of Life). After snapping a few pictures - I really love fountains - we made our way underground and I got to experience the metro system first hand. We ducked underground at Zaragoza station (a stop on Line 2, or the Green Line) and rode it four stops up to Cuauhtémoc, switched lines to Line 1 (the yellow line) and took it all the way out to Estación Parque Fundidora, which is about 2 blocks from the Parque and, of course, is the site of the Grand Chapiteau. Metrorey is one of the more modern systems I’ve ever used (opening in 1991 and 1994 respectively) and it has a unique identifier for each of its stations, which I found very interesting: a logo. The one at Cuauhtémoc, for example, is a stylized headshot of the important Aztec ruler of the same name. Parque Fundidora’s logo has trees to represent the park. Other more interesting ones include: a phonograph for Edison station; a canon for the Felix U. Gomez station (since he was a Mexican Military General); a stylized head shot of Simón Bolivar (a liberator), for the station of the same name; a pictograph of a train under maintenance for the Talleres station, a flame and atom diagram for the Universidad station, and an obelisk to mark the Fundadores station. We took our leave of the metro and made our way across the road into Parque Fundidora, the sun still shining brightly overhead. Our destination at the parque, of course, was the Grand Chapiteau. And once we got on-site we immediately took more pictures of us next to the advertisement banners in all sorts of wacky stances and poses and- -Oh, wait... did I neglect to mention that earlier?! Banner pictures on-site were just a continuation of this morning’s antics that were truly a three-ring circus all on its own. Let me explain: On our way up to the Mirador del Obispado earlier in the morning, I spotted one of the very, very few advertisement banners for Quidam in Monterrey; crazy Rodolfo immediately slammed on the brakes and whipped out his digital camera. Snap! Snap! Flash! Snap! The next thing I know the SUV lurches round and comes to a rushed stop into a driveway nook about 10 paces from the banner. Rodolfo was already on foot before I could say "¿Qué tal?" ("What’s up?"). At first I wondered what he had stopped for but then it hit me. He was going to get personal, up close shots! The two of us then posed with glee in front of this particular banner, featuring the headless one himself (Quidam), holding his signature green umbrella. We took turns placing ourselves in front of the banner and then in place of the character (assuming the role). It was a blast! Some shots required us to stand in the middle of the road, which while not a busy thoroughfare, was still quite steady with traffic. But anything for Cirque du Soleil... right Rodolfo? (¡ay caramba!... he’s trying to get me killed...) The site itself was also covered with banners in several varieties: one with Quidam, one featuring Steven Ragatz as the character of Father, Olga Pikhienko the Hand-balancer (who was not going to be performing for personal reasons), one of Mark Ward being quirky John, and one of Viktor Katona as Boum Boum, the gloved one. And naturally we took our pictures with these banners too - again with Quidam pretending to hold his umbrella, one with Olga pretending to hold up her canes, and a third with Boum Boum. The third one I took a little differently: rather than stand next to the banner holding up my arms in the same pose as the character, I used the setting sun as a backdrop, and took the shot of my extended shadow on the ground in the same arms-over-head pose. It really turned out to be a neat picture! Before long we made ourselves leave the Grand Chapiteau (Quidaaaaaam!) and continued our explorations in the park. Our next stop was Horno 3 at the old Monterrey Foundry. This blast furnace was once part of the now defunct Monterrey Steel Foundry Company and was in use from 1900 until the company’s bankruptcy in 1986. Two years later the park was born. Horno 3 is a museum these days, and you can take a trip to the top of this monstrosity for one spectacular view of the city. It’s 130ft (40m) from ground-level and is on a slated platform - so not only can you see all around but below you too; hold on! The incline chair (that seats about eight) will take you up to the top for about 80 pesos (approx $8.00) and from there all of Monterrey opens up to you. Below, while patrons explored the Foundry History Gallery (a look at the events which forged the steel industry in Mexico), the Steel Gallery (a look at a productive industrial processes, and the Blast Furnace show (a multi-sensorial show complete with stunning effects simulating the workings at No 3. Blast Furnace), Rodolfo and I were taking in the relative peace and quiet in the skies above the park. You really get a fantastic view of your surroundings from here including the fantastic ‘M’-shaped Cerro de la Silla, my hotel (the Holiday Inn at Parque Fundidora) and the Grand Chapiteau itself (sitting next to Plaza Sesamo, a Sesame Street theme park.) On the way back to the car, which was parked at the far end of the Macroplaza, Rodolfo and I took one of the most interesting and best modes of transportation in Monterrey: a boat on the Paseo Santa Lucia, an artificial water canal that connects Parque Fundidora 2.5- kilometers to the east with Museo de Historia/Plaza 400 (Museum of Mexican History) at the Macroplaza. Between the group of school kids singing and playing for the park crowd as we waited to get on the boat, and a dinghy filled with a Mexican instrumental quartet, and traversing this waterway in the twilight of sunset was such a delightful and relaxing cap to our afternoon. On the way you pass beyond the park, through beautiful fountains and other waterworks displays, around a whirlpool maker and finally into the water-filled Plaza 400 at the Macroplaza, entertained not only by the city lights around you but by the tour guide driving the boat. Fantastico! But before running off to our vehicle, Rodolfo and I make one final stop along the Macroplaza: to the Palacio de Gobierno on the Explanada de los Hèros. This is the official seat of the Governor, or at least where his office is located, but it also serves as a Museum of local history and political development. The whole story of Nuevo León is adorned on the walls: you learn about what the early inhabitants were like, see some important artifacts of state, and see how the people of the region used to live. One of the nice things you’ll learn here is the meaning behind the coat of arms. Since my Spanish was rather rusty, I could not appreciate the full story so I looked it up later. According to the Encyclopedia of Mexican States, "The coat of arms of Nuevo León is made up [of] four squares. Six bees representing the hard-working nature of the local citizens are at the top. The upper-left square features a picture of the sun over La Silla Hill (a landmark that often symbolizes the state) with an orange tree. In the upper right- hand square a crowned lion is [featured] ready to attack. In the lower-left there is a picture of the San Francisco convent. On the lower-right five smoking chimneys represent area industry. The weapons around the border represent both native warriors and Spanish conquerors." And then there’s the state’s motto: Sempre Ascendens (Always Rising). Cool! Seeing the palace lit up at night is just as brilliant. And if you’re looking to connect with the young locals, the surrounding esplanade is a wonderful place to hang out. Also be sure to look for a statue of a stylized horse... he’s very popular! Then, after checking into my hotel and resting for merely a moment, Rodolfo and I were back on foot across the parque toward the Grand Chapiteau... We were ready for Quidam. Quidam, Quidam! ----------------- Tendré alguna vez la valentía de mi indignación? Me hubiera gustado no morir. Me hubiera gustado no crecer nunca. Hubiera querido romperme el alma. Hubiera querido desterrar todas las penas enterradas. Deso que lo quieran con locura. Me hubiera gustado rasgar con una voz áspera la superficie demasiado lisa de nuestras buenas intenciones. From the moment John quietly appears to us and slips into his purple coat hanging neatly upon the coat-rack on stage, we’re not quite sure what to make of this zany world we find ourselves in. Many words have been used to describe Cirque du Soleil’s Quidam over the years - artistic, cinematic, poignant, touching, agonizing, disturbing, striking, alluring and beautiful - and regardless of which of these words you choose, it is hard to deny that Quidam is one of those quintessential productions that strikes a raw emotional chord within each of us, one that is too hard to dismiss. Quidam, which comes from the Latin for "a nameless passerby" marks Cirque du Soleil's ninth production, premiering in Montreal on April 23, 1996. Since then it has been heralded as one of Cirque du Soleil's quintessential productions, showing us that we are all Quidams. "It could be anyone, anybody," the show's programme allows. "Someone coming, going, living in our anonymous society. A member of the crowd, one of the silent majority. One who cries out; sings and dreams within us all." In the world of Cirque du Soleil's Quidam, the one who cries out is Zoë, a young girl who fumes because she believes she's seen everything there is to see, experienced all there is to experience. For her, the world has lost all meaning. Her anger, sharp and unforgiving, shatters her little world and soon she finds herself in the universe of Quidam. Within this realm she finds she is not alone - Zoë is joined by a joyful companion (Target) and a more mysterious character (John) that will attempt to seduce her with the marvelous, the unsettling, and the terrifying. We find the space before us is set as a typical family sitting room - two slanted, metallic chairs, a curvy floor lamp, a birdcage (with a red ball perched in the bird’s spot), an old-style transistor radio sitting comfortably upon a side table, and a swirl-patterned throw-rug are dotted about - and we watch as John busies himself about this rather unremarkable room. The radio catches John’s eye, however, and he saunters over, flipping it on and filling the big-top with a nice, light tango. Satisfied with his selection, John then proceeds to run amok: carousing with audience members as they come through the doorway, playing with their hair (or lack-thereof in some cases), taking patrons on a wild goose chase, eating others’ popcorn and generally being a playful nuisance. When John returns to the radio and attempts to find something new to lift our spirits we see what kind of a ham John really aspires to be. Passing through the frequencies, he lands upon a station playing the soothing notes of "Kumbalawé", a song from Saltimbanco, an older (chronologically speaking) Cirque du Soleil show. When that does not elicit a response from his audience, he turns the dial and blasts the harsh overture of "Eclipse" from Nouvelle Expérience (an even older Cirque du Soleil show, chronologically speaking). Satisfied that he’s once again captured our attention, he changes the dial quickly and finds a station playing the title song from Alegría. Everyone in the big-top recognizes this song and they begin to clap and cheer. John doesn’t think highly of this, however, and he clamps his nose shut in disgust (pee-you!) then mock gags himself with his index finger. (I love it!) Eventually John advises us of the rules to be followed under the Grand Chapiteau (en español) and then the world turns dark and still. Until... *click* The floor-lamp in the middle of the room suddenly flickers to life and we find ourselves in observance of Zoë and family on a typical day, seated comfortably in their sitting room (the room we saw as we entered the Big Top). Dad is content reading his newspaper and avoiding everything around him. Mom is expressionless, vacantly staring out into the nothingness of space while clutching that old transistor radio. Zoë, the child, is bored and in her attempt to gain her parents’ attention, hopscotch’s across the floor in front of them. But when they pay her no notice, Zoë becomes despondent and she wanders around the room - tracing a message on an imaginary window, running her finger across the family bird cage. But just when she thinks about turning off the light and returning to her room to sulk... There’s a knock on the front door. Startled, Zoë runs over to see who it could be, but what she finds on the other side frightens her - there’s a headless man with an umbrella on her doorstep! This man enters and she backpedals into the room. She watches him silently then with a flash of lightning and a rumble of thunder, he drops his hat in the middle of the room and leaves. Frightened, yet undeniably curious, Zoë picks up the hat, holds it up to her ear and smiles at the whimsical sounds coming from within. Checking Mom and Dad to see if they’re watching, she tentatively places the hat upon her head. In the moment the hat comes to rest upon her brow, Zoë’s world comes alive - Mom, Dad and the entire living room slowly float away and Zoë (with us) becomes swept up into the universe of Quidam! For those unfamiliar with the show, the performance is broken up into two one-hour halves with a 30-minute intermission between the two, and flows in the following manner: German Wheel, Diabolos, Aerial Contortion in Silk, Skipping Ropes, Aerial Hoops, (Intermission), Hand Balancing, Spanish Webs, Statue (Vis Versa), Cloud Swing, and Banquine. All too soon the red proscenium-like curtains of Quidam float into place, signaling that the end is near. Zoë makes her re-appearance through a man-hole with the assistance of our resident clown (who is very funny, btw!) and she rejoins her family, who has finally taken note of the wondrous world around them. The Generics, androgynous characters dressed in white that appear in and disappear from the world of Quidam at will, have reappeared and have begun (with the assistance of John and Fritz) an energetic, ballet of happiness - dancing with each other, playing with one another and hopping, skipping and jumping around. But a loud thunder crack sends them all to the stage where they lay motionless, lifeless and the Family is puzzled and insecure. Quidam, who had been watching the final scene unfold from the depths of the stage, steps forward now to reclaim his blue bowler hat from Zoë; she is startled and becomes exasperated - she realizes he has come to take this fantastical world away from her! But a glance to the side shows her that the journey is not yet over - her family appears reanimated and full of life, which is what she wanted most. So, very reluctantly Zoë displaces the hat from her head, holds it in her arms and looks around one last time. Her white-garbed friends, who have been laying there lifeless, are now staring directly at her! She gently hands Quidam the hat, re-joins her newly-restored family and begins to sing (the signature song of the show.) John removes the dad’s shoes and returns them to him (he stepped into them just after the living room floated away, figuratively taking his place) and the Generics come alive, slowly filling the edges of the stage. And once encapsulating the entire stage - and thus closing off the world of Quidam to us - they move to zipper away their hoods to reveal who they really are... the colorful artists in the show! Wow! Although our performance was not status quo, and many of the traditional pieces, character and story queues, and even a couple of the acts were missing (both Hand-Balancing and Statue were out, but Steven Ragatz’s juggling act was in); experiencing Quidam again under the Grand Chapiteau was a treat unsurpassed and the show still managed to rend my soul on more than one occasion. It was hard to leave the big top at the show’s finale. After the evening’s performance, Rodolfo and I hung around the sites exit to see if we could chat with some of the artists who were quickly trying to escape to catch their shuttle bus that would take them back to their hotel. (We came to find out there were only two shuttle runs: just after the show and then an hour later. Most of the artists and crew didn’t want to be left behind for that second shuttle!); a few stopped and chatted with us. Most of these artists were friends of Rodolfo’s and were glad to see him, but couldn’t stop for a long conversation, so after a quick hand-shake and congrats on a good show, they were off again. Many artists went by in a blur and thus the names of many escape me, but we did see Olga walk by, the German Wheel artist, the man who played Boum-Boum, the entire Spanish Webs gang and countless others. Once the bus took off so did Rodolfo and I. Now I’ve REALLY Been to Mexico -------------------------------- Come Sunday morning, as the two of us set off once again to explore the Macroplaza of Zona Centro, my guide said something very peculiar to me: I had not yet been to Mexico. What? "You’ve not been to Mexico," he said "until you’ve been to Vips!" Okay, vamanos! Vips? What is a Vips? VIPS, as it turns out, is a Mexican eatery chain owned and operated by Wal-Mart Mexico that specializes in breakfasts, lunches and dinners with - what else - a Mexican flair. It’s one of Mexico’s more famous chains (you can find more information at http://www.vips.com.mx), and it is said you’ve only really been to Mexico once you’ve eaten at a VIPS. Why? Because everyone has eaten at VIPS and, like McDonalds, they’re everywhere! Well... almost. I had a more traditional Mexican breakfast of soft tortias and salsa with melted cheese and sour cream on top, but you could get more traditional North American breakfast items such as: eggs, pancakes, waffles, bacon, etc. Why would you, though? And while we waited for our food Rodolfo and I reminisced about Quidam. Both he and I were disappointed that the Statue act was missing from the previous night’s show. While we didn’t know why it was missing, we both agreed the act was a seminal piece of Quidam and it’s hard to see the show continue in its absence. So many pieces of Quidam’s theme and story congregate based on this presentation so most of the second- half of the show was quite disjointed. At least, we both said, we were able to see Ragatz perform his juggling act and hear "Rivage" live under the big top again. We also talked about how we royally scared Boum-Boum. As a finale to the Diabolo’s act (which comes just prior to Tissue (or Aerial Contortion in Silk), a joyful celebration commences with streamers of blue and white raining down upon the stage and a dance and a jig by a few of the Egare class of characters. But Boum Boum, the ghastly gloved figure, makes a short life out of the celebration - he hates it - and comes right on point to bellow a gut wrenching scream of anguish, silencing the world around him. What causes this piercing call for help I do not know, but just as soon as he was done with his scream, Rodolfo and I yelled right back. This appeared to take Boum-Boum off guard; he became frightened and immediately ran away like a scared little boy! (Actually, if an audience member does yell back he will run away, rather than stand triumphant and defiant. But it was fun!) And speaking of the Tissue act, it’s another one of our favorite parts of the night’s show. At that time of the show the world of Quidam turns stranger yet, and even more dark: John re-appears with a megaphone in his hand, barking gibberish orders to various personages left on stage. Zoë sits dejected on a giant swing, slowly swinging herself back and forth observing the chaos around her. Her father is suspended in mid-air, unaware that he is so, and takes the paper from around his face and tears it up, allowing its torn pieces to fall below him. And at the sound of wind, Fritz gets down on all fours and howls at the moon. And through this fantastical kaleidoscope of abstraction, a strip of red silk floats into view and unfurls across the stage; swept up within it is the contorted body of Isabelle Vaudelle, contortionist extraordinaire. She climbs, twists, and slides through the silk slowly and deliberately at first, but thunderclaps signal a tense change and her movements become fast, chaotic and violent. And just when it seems she can not hang on any longer, her body suddenly drops and she becomes entangled within the silk. Her body flails for a moment... and again... and then becomes limp and lifeless. She has hung herself in the red silk. The moment her body began to flail, goose-bumps trickled down my arms and I trembled in uncontrollable shivers. Vaudelle’s given sacrifice in congruence with the hauntingly beautiful "Let Me Fall" wrenched at my insides. I stared, transfixed with mouth agape (for the first time), watching the entire scene unfold. This act has never affected me so, but it was just so powerful and so sad and so poignant, especially when the father came and carried her away from her misery, I couldn’t help it. If the phantasmagorical yet enormously powerful opening of the show doesn’t touch you emotionally (doesn’t that give you chills? It does me!), or the hauntingly beautiful tissue act, perhaps the melancholic conclusion to the first half of the show will touch you (it’s probably the third best emotional moment for me in the entire show): A thunderclap tears through the big-top. Rain is falling somewhere just off stage, the sound of a small hand-bell chimes in the distance, and a haunting male voice fills the void. Ominous creatures dressed in white appear and fill the stage, taking their rest. Zoë’s Mom is off to the side clutching onto a huge red balloon while Zoë’s Dad is dangling overhead with the birdcage in his hand seemingly ready to encapsulate something. At the sound of another chime Zoë looks up and is compelled to release her balloon; she does so and her father captures it, receding into the darkness. And then the entire sky is filled with red as the male voice comes to a crescendo, and the nameless quidams stir releasing their own troubled souls. One day I’m going to bring my own red balloon to let go right along with them... Oh, food! With our bellies full, we set off once again to explore the Zona Central of Monterrey, but unfortunately the weather wasn’t nearly as cooperative (or nice) - it turned cloudy, windy and cold. The worst part of it, though, was being ill prepared for the dip in temperature. All I had with me were short-sleeved T-shirts and shorts - typical Florida (and all points south) attire! Brr! Regardless of the weather, the two of us ended up on the streets of Monterrey, walking to our second destination of the day: MARCO. MARCO, short for Museo de Arte Contemporáneo de Monterrey (or the Contemporary Art Museum of Monterrey) is located on the corner of Zuazua and Ocampo Centro and offers temporary exhibits of the most outstanding new Latin American contemporary art around. Rodolfo took me on a tour of the "Mexican Room" where he showed me some outstanding paintings and drawings from such Mexican artists as Diego Creek, Carlos Mérida and Left Maria, many of which touched upon the various socio-politicial topics of the time. But political paintings weren’t the majority here: wonderful mosaics of nature and pencil-art were also on display. I highly recommend MARCO to experience the very singular and distinct style of Mexican art. It’s great! Next up was the Museo de Historia Mexicana (or the Mexican History Museum). This place is a treasure trove of exploration, art and enlightenment for those interested in the history of this land. At this museum you’ll find temporary and permanent exhibits divided into five areas which represent important periods in Mexican history: The initial creation of these lands ("Earth"), the Aztec and Mayan civilizations ("Ancient Mexico"), the Spanish conquistadores and the arrival of the Europeans ("The Viceroy Period"), the Spanish/American wars ("19th Century") and modern democratic Mexico ("Modern Mexico"). While I am not usually a museum-goer, this particular museum brings out a fascinating tale and places Mexican history into perspective, a story that an outsider seldom appreciates. For example, did you know that every schoolchild in Mexico must learn to count via the old Maya way using the dots and bars system? While simple on the surface, the Maya system of counting used a base-20 counting system intermixed with a base-5 system. Numbers one through 19 are relatively easy to discern, but after 19 the system changes. Rather than writing them using the same bars and dots, now they are written in powers of twenty. Wikipedia explains it thusly: "For example, thirty-three would be written as one dot above three dots, which are in turn atop two lines. The first dot represents "one twenty" or "1×20", which is added to three dots and two bars, or thirteen. Therefore, (1×20) + 13 = 33. Upon reaching 400, another row is started. The number 429 would be written as one dot above one dot above four dots and a bar, or (1×400) + (1×20) + 9 = 429." Besides learning how to count Maya style, I also learned about Mexico’s tri-color flag and the significance (and story) behind the coat-of-arms featured prominently in its center: The flag’s colors actually have two meanings these days. Originally the colors stood for Independencia (Green), Religión (White), and Unión (Red), but now stand for Hope, Unity and Religion respectively. The coat-of-arms is a scene inspired by an Aztec legend regarding the founding of Tenochtitlán (the ancient capital of the Aztec civilization where Mexico City now stands). According to legend, the nomadic Aztecs wandered throughout the Mexican lands searching for the sign that would indicate where their capital would be built. The sign, said war-god Huizilopochtil, was to be an eagle holding a serpent perched atop a nopal (a form of cactus) in the middle of a lake. After many years of wandering the tribe found this promised sign in the middle of Lake Texcoco and founded the city we know today as Mexico City. And it’s this image we see as the country’s coat-of-arms. But... Much like the finale of Quidam, all too soon my journey had to come to a close. And once I’d learned a bit about Mexican history at the Museo de Historia Mexicana, it was time to return to the airport and depart Monterrey. I wish to wholeheartedly thank Rodolfo Elizondo for being my friend and guide during my quick stay in Mexico. I wish above all else I could’ve had more time there, seeing the show again and tour more of Monterrey; alas it was not meant to be. But I do know this: I will not hesitate to travel to Monterrey or anywhere in Mexico in the future. So the next time Cirque is in Mexico I may just catch a plane! ------------------------------------------------------- "Backstage @ Cirque with SWA's Spirit Magazine" By: Sarah Max, Soutwest Airlines Spirit Magazine {SPECIAL EXPANDED FEATURE} ------------------------------------------------------- ‘You’re not scared of heights, I hope,’ says Larry Gill, as he leads me out of the elevator and into the darkness of ‘the grid,’ a metal screen floor 110 feet above the stage of Cirque du Soleil’s O show in Las Vegas. The head rigger and my tour guide one evening last October, Gill points out wires, winches, and other gravity-defying pieces of equipment as we make our way to the middle of the nervous system of the Bellagio hotel’s $100 million theater. Down in the audience, all 1,800 seats are full, as usual. But Gill prefers this view to theirs. As my eyes adjust and I see the colorful costumes and painted faces of the performers waiting to leave the grid and fly down to the stage, I have to agree with him. This is the best seat in the house. The lights dim, the crowd hushes, and a reluctant-looking young man picked out of the audience follows one of the characters onto the stage to read the pre-show instructions. “Good evening, ladies and gentlemen,” he reads. “During this performance, smoke effects will be used, but they are harmless to your health.” Gill motions for me to step back. The man continues, “Also, we kindly ask that you turn off all cellular phones.” A second after he utters his last syllable, an invisible force sucks him up nine stories and onto the grid. When the “volunteer” pops up in front of us, he unfastens his harness and bolts for the elevator. He is performer Jorge Castano. On the ride down, the 28-year-old changes out of his street clothes and into the costume of Philemon, a Sicilian boy who steps into the water-themed circus that is O. Over the next 90 minutes, about 75 divers, synchronized swimmers, and acrobats will perform seemingly impossible feats on, above, and below the stage. One second a character executes a spectacular headfirst somersault into the pool. The next moment another character runs across the surface of the water. Watch this or any Cirque production and you can’t help but wonder, How in the world do they do that? Cirque offered to give me a rare backstage glimpse at this, the biggest of all big tops. That’s how I wound up on the grid. Danut Coseru came to O by a different route. When the 27-year-old Romanian first saw a video of Cirque’s Saltimbanco show in 2004, he thought the acrobatic feats looked easy. “I said, ‘I can do that,’” says Coseru, who took up gymnastics as a young boy and competed for Romania’s national gymnastics team. Three years after submitting his demo video, Coseru knows just how difficult the journey is from competition to Cirque’s stage. He spent two summers in Montreal and the rest of the year back home in Romania hoping for a callback. The call finally came last spring, and now Coseru is about to go on stage at O. His first big act calls for him to twist and turn on a set of parallel bars mounted on a boat suspended about 40 feet over the stage. No pressure, right? Well, wrong. “It’s the most important thing I’ve done in my life,” Coseru says. It also appears to be the most nerve- wracking. While I’m up on the grid watching the show, Coseru sits backstage preparing to make his debut in front of a packed house. He didn’t come all this way to fail. Two decades after Canadian Guy Laliberté set out to reinvent the circus, Cirque du Soleil is now a billion-dollar enterprise. In 2007, 10 million people paid $50 to $200 a ticket to see one of Cirque’s productions: eight touring shows, five permanent shows in Las Vegas, one permanent show in Orlando, and one seasonal show in New York. Laliberté’s original vision was to combine “circus arts and theater,” says James Hadley, who oversees artistic direction for Cirque’s Vegas and Orlando shows. “The end result was a whole new experience that now describes itself.” That experience always includes choreographed acrobatics, elaborate costumes, and original musical scores. Yet every show tells a unique, albeit avant-garde, story. Where O is a surreal adventure, Zumanity is an erotic cabaret. Kà is an epic tale of twin brother and sister. Love is a lively musical tribute to the Beatles. With so many shows already up and running and more on the way, Cirque scouts and coaches work year-round recruiting and training new talent. The typical production requires some 60 performers. The cast includes singers, musicians, clowns, dancers, contortionists, and other specialists with talents that often translate from one stage to the next. Depending on the role, these artists can be stage-ready within weeks of landing a part. The transition isn’t always so easy for the acrobats, who represent the bulk of the cast. That’s because, outside of the circus, Cirque’s unique hybrid of athlete and artist doesn’t really exist, says Hadley. “Our goal is to nurture and develop the artistic side of the athletes who join our shows.” For everyone from veteran diver Castano to newbie gymnast Coseru, the journey from Cirque aspirant to Cirque performer typically follows this pattern: 1. Candidates submit a video showcasing their special skills. 2. Recruiters screen thousands of videos every year and create a database of potential performers. In some cases, candidates show potential for an existing production. In others, they have a talent so unusual that Cirque finds a way to incorporate the act into a show. 3. Cirque calls in promising candidates for an annual group audition in varied locations. Or if Cirque thinks it can use someone immediately, it calls the person in for a private tryout. 4. Athletes who put on a stellar show for scouts head to Cirque’s annual “general formation,” a four-month training camp in Montreal where they learn to perform. 5. Many who don’t make the cut at Cirque auditions or formations go on to perform with smaller, non-Cirque productions. They’ll work on stage for a few years and try out for Cirque yet again, often with better results the second or third time around. Others make the cut, then wait for the right part to become available. That kind of persistence finally earned Coseru a shot at O. Christianne Sainz sits on a mat at a gymnastic studio in North Las Vegas called Go For It, a long way from the glitzy Strip. The 23-year- old aerialist from Grand Rapids, Michigan, submitted her video last April and heard back the following September with an invitation to a general acrobatics audition in October. Most aspiring performers who send videos never get this far. But by the looks of her swollen ankle, Sainz will have to wait for the next round. “I rolled it during the warm-up,” she says, icing her ankle and trying her best to hold back tears. While Sainz nurses her injury, the other gymnasts—in Spandex shorts and tight sleeveless tops—take turns showing off their tumbling talents for Cirque talent scout Hubert Barthod and casting advisor Dana Brass. “For one position of a generalist acrobat, we might see 10 people,” says Barthod, a former competitive trampolinist. Though all gymnasts have different areas of expertise, Cirque wants to see the full spectrum of skills. Indeed, the level of tumbling talent is varied. A few of the candidates effortlessly perform a series of flips and twists. Others botch their landings or flop on their butts. The group moves on to the trampoline. One candidate, diver Drew Watson, catches everyone’s eye with his 15-foot jumps, graceful twists, and steady landings. Barthod takes the difficulty up a notch. He slides a mat onto the trampoline and pulls it as Watson lands. No matter. Watson springs up and down, not a bit fazed by Barthod’s attempts to throw him off balance. He’ll make the cut. Most of the candidates who came today aren’t so lucky. A couple hours into the audition, Barthod reads the names of four people he wants to see after lunch. For a dozen others, including Sainz, the audition is over. But even if athletes ace their auditions, they need to clear several more hurdles before they can even think about landing a contract with Cirque. Next stop: general formation in Montreal. Danut Coseru can tell you all about general formation. The Romanian gymnast came to his first one in 2005. Then he went home to coach children’s gymnastics and to wait for Cirque’s next call. The company did call again but only to invite him to a second formation in 2006. Afterwards, he went home yet again. Finally, last July the casting team called to say Coseru had a part in O if he still wanted it. Coseru didn’t even have to think about his answer. “This was my dream,” says Coseru. “I wanted to do everything I could to be here.” The general formation takes place at Cirque’s international headquarters, a sprawling glass-and-concrete structure 20 minutes northeast of downtown Montreal. There, roughly 1,700 of Cirque’s 3,800 employees work on every aspect of the production, from creating the shows and building the equipment to training performers and designing costumes. While the end result is a whimsical theatrical experience, the company overlooks no detail to create that effect. Cirque makes everything, from the performers’ hand-sewn headdresses to their custom-cobbled shoes. The company even dyes its own fabric—more than 10 miles of it annually—to ensure that it can replicate costumes for years to come. The same do-it-yourself philosophy applies to creating talent. Every year, about 50 aspiring artists come to the annual training camp. They stay four to six months, living in apartments across the street, eating most of their meals in the company cafeteria and spending their days learning how to be performers. Though athletes get paid, finishing general formation is no guarantee of a job. “The first day, we tell them they will be evaluated over 16 weeks with three possible outcomes,” says Cirque sports psychologist Madeleine Hallé. “The first scenario is, you are really good, and you will get a contract. The second is, you’re good, but we don’t have a position for you now. The third is, you’re not ready to be a professional artist.” Most of the performers who go through general formation draw the second card: They’re good but will have to wait for a spot, either as a performer in a new production or as a replacement in an existing show. The company’s low turnover can make for a long wait. While other Cirque employees occasionally get to see a snippet of a new show, most of the time the set is off-limits to everyone but the cast and crew. “Every production is breaking new ground both with the concepts of the acts and the rigging equipment,” says Chantal Côté, Cirque’s senior publicist. “We like to keep the surprise for premier night.” Steve Bland’s premier night was a decade ago. The Aussie diver and trampolinist has done the same handful of routines thousands of times at O in Las Vegas. He stands 60 feet over the stage, shoulder to shoulder with three other divers, and plunges into a narrow pool below. He flies off an unusual prop called the Russian Swing, spins himself dizzy on the aerial hoops, and builds human pyramids during the barge routine. He does all this and more twice a night, five times a week. While Coseru grapples with stage fright, Bland’s challenge is to make every performance as thrilling as his first. “If you eat lobster every day, even lobster can become boring,” Bland says. To ward off tedium, he focuses on the minute details of his acts and puts different emotions into his movements, depending on how he feels that day. Whatever he puts in, the crowd gives back in applause. And that never gets old. “When you hear the audience gasp or clap,” says Bland, “it’s such a rush.” Most Cirque vets seem to feel the same way. During one afternoon practice at the O theater, the performers are caught up in the act, in this case the Russian Swing. Two or three divers line up, pump the large metal swings up and down, and then fly up and drop into the pool one at a time. The exercise doesn’t look like work at all—by design. “This rehearsal is pretty much playtime,” says O head coach Tom Otjes. Playtime ends for the crew on the Russian Swing. The artists leave the stage to rest before the first show, now less than four hours away. The theater’s riggers move the swing off the stage and set up the bateau, an acrobatic prop that resembles a ship. Its crew of a dozen acrobats performs trapeze acts and parallel-bar routines on the ship while it “sails” 40 feet over the water. The steel-frame boat moves from the back of the stage to the front, propelled by an enormous overhead carousel. Coseru practices on the flying boat with the help of coach Otjes and the performer he will replace, Dan Headecker. The water will cushion a fall straight down, but when the boat starts swinging back and forth, a slip could send an acrobat flying into the nets strung on either side of the stage. Coseru lowers himself to the boat’s hull, which doubles as parallel bars. He’s in his element here—if he can just forget about the drop to the water and all the people who’ll be watching him in a few weeks. After three years of auditions, formations, and on-site training, Coseru’s first performance on the bateau will come soon enough. On the night of his debut, Coseru waits backstage, passing the time until his cue. Organized chaos surrounds him. Performers in fresh costumes and makeup zip out to the stage, return dripping wet, then change into dry clothes for another act. By contrast, the mood in the training room is calm. While the Mongolian contortionists do handstands and touch their faces with the tips of the toes, the acrobatic artists known as the “barge girls” squeeze in some last- minute tosses. In the green room, performers between acts kick back and watch the baseball game, play cards, and check e-mail. They seem so relaxed, you’d hardly guess there’s a show going on. Tonight, Coseru can’t begin to relate. When he goes onto the stage shortly, nobody will judge him as they did during his days of competitive gymnastics. But this feeling of nervousness goes well beyond anything he experienced before competition. He follows the rest of his team—all dressed in white wigs and warrior costumes—to take their positions on the flying boat. He climbs up onto the mast and stands there as the boat glides toward the front of the stage. The audience looks tiny under his feet, and every eye seems focused on him. The boat stops, rotates sideways, and Coseru jumps down onto the deck to prepare for his first big solo. It’s showtime. But just as begins to start his parallel- bar routine, he sees a red cue light. A technical problem just interrupted his debut. This time, the nets bracketing the stage never came up. The music continues, and Coseru stays in a warrior position: knees bent, chest out, chin up. He remembers one of the most important lessons from his training: Stay in character no matter what happens. Finally, after one very long minute, the cue light turns green. Coseru drops down onto the bars. He swings his feet over his head and pushes himself up into a handstand, then dips down and swings through again. On his next series of handstands he pirouettes, effortlessly spinning around 180 degrees. Then he rolls over the bar on one shoulder, executes a series of straddle cuts, and rolls on the bar again before pushing himself up and back onto the deck to finish. The audience breaks into applause, never knowing that Coseru’s flawless performance—all 30 seconds of it—was three years in the making. In a couple of hours, he’ll do the whole thing all over again. MORE "O" STORIES ---------------- To learn more about the roads athletes take to break into Cirque du Soleil, check out these vignettes from different stops on the journey: Auditions: Las Vegas At the Mystère Theater at the Treasure Island hotel in Las Vegas, Vanya Mokrousov hangs by his hands from a trapeze bar. The 20-year-old effortlessly lifts his legs up to his forehead, then back down. Cirque talent scout Hubert Barthod urges him to keep going. “I want to see as much as you can,” he says. “Come on, come.” Like everyone at this audition, Mokrousov is no stranger to the stage. With the help of his father, a performer in Mystère, he started performing in aerial silks at age 7, hanging and swiveling on special fabric suspended from the ceiling. He has worked in several circus productions but thinks Cirque beats them all: “It’s the top,” he says. The day before, Mokrousov and 20 aspiring performers came to the theater to demonstrate their skills of contortion, silks, juggling, and the German wheel—an apparatus that resembles a gerbil wheel. Fewer than half made the initial cut. Now the remaining hopefuls are back for a second day of auditions, this time to test their strength and artistic talent. Why all the leg lifts? “To do 476 shows a year, you have to be very fit,” says casting advisor Dana Brass, who coached elite-level gymnasts in Canada before joining Cirque eight years ago. Clearly, Mokrousov is fit. He bangs out 40 leg lifts, and gets a round of applause from the others in the group. After many sets of leg lifts, pull-ups, and chin-ups, the group heads upstairs to another training room where the candidates show off their tumbling. Elena Savko, 27, expertly pulls off a series of handsprings, walkovers, and somersaults. Barthod asks her what her specialty was in gymnastics. “I did bars,” she says. “That was seven years ago.” Savko, an alternate for Belarus at the Atlanta Olympic games, retired from competitive gymnastics to coach. More recently, she worked as a stuntwoman in Hollywood. Now she wants to put all her years of training to use at Cirque, and she will likely get in. “Elena has such a good background,” Barthod says during a break. “I’m trying everything to see where she’ll fit.” Other performers get Barthod’s attention. Yasuaki Yoshikawa, a 29- year-old from Japan, excels at the German wheel. He does his tumbling routine and ends with a break-dance move called “the worm.” That kind of improvisation would never fly in competitive sports. But this isn’t competition. This is entertainment, and creativity scores points with the scouts. Juggler Greg Kennedy, likewise, will never hang from a trapeze or do a cartwheel, but the 36-year-old seems to have no problem attempting the same drills as the zero-body-fat crowd. “I’ll do a roundoff,” he announces before attempting a variation of a cartwheel. “I’ve never done one.” The artists who make the cut at the Mystère theater auditions probably won’t need much coaching before they are ready to perform in front of a crowd. One of them, Dmitry Bersemev, auditioned that day and had a contract to perform as a contortionist on Zumanity by the next week. General Formation: Montreal “You have to be really open-minded here,” says Patryk Alex Sawichi. The Polish trampolinist came to his first training camp in Montreal seven years ago but didn’t land a job and returned to competition. Now he’s back, vying for a role in Dralion. But this time, he knows what to expect. He recognizes that he’ll be surrounded by some of the best people in the field. “You come here a big fish in your sport,” he says, “but then you realize that everyone is a champion in something.” He also recognizes that physical prowess isn’t enough to move beyond Montreal. All of the candidates excel in athletics, says sports psychologist Madeleine Hallé. “But they are beginners in art.” To speed up the transition from athlete to artist, Cirque uses the general formation as a kind of performance emersion program. “It’s like learning a new language,” says artistic director Caitlan Magg. “The fastest way to learn is to go to a country and only speak that language.” Similarly, the first three weeks of Cirque’s training camp revolve around dancing, singing, and improvising without much in the way of instruction. Even so, not everyone at headquarters is trying out. Graduates typically return to Montreal for specific training before joining a show. During that time, they work with acrobatic and artistic coaches to master their roles. If they’re headed to a new show, they’ll spend months working with the rest of the crew in a location off-campus or here in Studio A/B, a space with the same dimensions as a big top. Practice: Las Vegas At 37, Las Vegas–based diver Steve Bland needs to work a little harder to stay in shape and keep injuries at bay. Performing over a pool rather than a hard stage in the Cirque show O makes traumatic injuries less common, but many performers have to deal with overuse issues and general aches and pains, particularly if they fill in for their colleagues. “Do four acts 10 times a week, and you can barely lift your arm to brush your teeth,” Bland says. But he would take any of the pitfalls of nightly performances over a “regular job.” Besides, he sees his work as more than just a job: “All of us want to put everything we have into the show.” Most Cirque vets seem to feel the same way. During one afternoon practice at the O theater, the performers are caught up in the act, in this case the Russian Swing. Two or three divers line up, pump the large metal swings up and down, and then fly up and drop into the pool one at a time. The exercise doesn’t look like work at all—by design. “This rehearsal is pretty much playtime,” says O head coach Tom Otjes. The play sessions are not all that common. Most performers attend at least two serious rehearsals a week to perfect their acts and to help rookies learn the routine. Not that rookies are all that common. Turnover at O runs less than 10 percent a year; 26 of the original 80 performers remain from the cast who debuted the show in 1998. Why should they quit? Cirque won’t divulge salary information, but given how much the company invests in its performers, they probably make a decent living. They also get all the perks of working for a large firm, including medical benefits, retirement benefits, and vacation. Most shows have about a month of “dark period” during the year, giving performers a much-deserved break. More recently, Cirque has also started to emphasize career development. So when Bland wants relief from some of the physical demands of diving 60 feet into a pool, he might switch to a more character-oriented role. Or he could coach, direct, or move over to the technical side of the shows. “We try to extend our artists’ careers as much as possible by encouraging them to try new disciplines,” says James Hadley, who oversees artistic direction for Cirque’s Vegas and Orlando shows. “We have a teeter-board catcher from Mystère who now performs the percussion solo in the show.” ======================================================================= FROM THE FASCINATION! ARCHIVES ======================================================================= ------------------------------------------------------- "From One Dream to Another - Quidam" By: T. Clay Buck {Originally Published: Issue #7 - March 2002} ------------------------------------------------------- By the Summer of 1998 I had seen Mystère twice and one earlier Cirque du Soleil show on a very poor quality VHS tape (it was so bad, I'm not even sure what show it was). So, when posters and newspaper ads began going up all over the city of Chicago announcing the arrival of Quidam, I was on the phone immediately to purchase tickets. Quidam opened July 22, 1998 in the parking lot of the United Center on Chicago's west side - under the shadow and watchful gaze of a statue to Michael Jordan. I was fortunate to see it three times that Summer, and am still in absolute awe of the production. Having seen Mystère, I thought I knew Cirque du Soleil, but nothing compares to that first encounter underneath Le Chapiteau. Quidam marks Cirque du Soleil's ninth production and premiered in Montreal on April 23, 1996. In the words of Franco Dragone, the show's director, it "casts light on our frailty and angst at the dawn of a new century." One assumes that somewhere during the creation of Quidam the concept and preliminary planning for "O" was somewhere in the back of Dragone's mind - or even in the very forefront. But, at least for the time being, Quidam marks the last collaboration of the quintessential Cirque team on a touring production. With Franco Dragone at the helm as Director and Author, it once again brought together the talents of Choreographer Debra Brown, Costume Designer Dominique Lemieux, Lighting Designer Luc LaFortune, Composer Benoit Jutras, and Set Designer Michel Crete all led by their Guide, Guy Laliberte and Director of Creation Gille Ste-Croix. Quidam, too, in my mind, marks a major turning point in the realization of Cirque productions. From Le Cirque Réinventé through Alegría - and for the sake of this discussion, I refer only to touring productions - this creative team had been building up to the perfection of its concept of combining its incredible circus arts into a complete sensory experience - the co-mingling of lights, sounds, and visuals to tell a complete story thematically unified. Of all of Cirque's productions, Quidam probably accomplishes this feat most effectively. At least in my humble opinion. According to the shows program, the word "Quidam" comes from the Latin and signifies "a nameless passerby, a solitary figure lingering on a street corner, a person rushing past, a person who lives lost amidst the crowd in an all-too-anonymous society." And while the Quidam of the story could be interpreted as its main character, the young girl, the audience leaves believing that, even though they themselves may be the "Quidam" in this Everyman story, there is hope, joy, and a world in which the impossible does exist. Quidam tells the story of a young girl - initially portrayed by Audrey Brison-Jutras, daughter of composer Benoit Jutras - who lives in a drab world, completely bored, and ignored by her parents. A mystical creature enters her life and introduces her to two guides who carry her through a fantastical world of sight and sound until she is reunited with her family, realizing that the world is a beautiful, terrifying place after all. In typical Cirque du Soleil fashion, the show begins while the audience is still gathering. Our guide for the evening, "John," greets the audience as they come through the door, playing with their hair, stealing their tickets, eating their popcorn, and generally causing a nuisance. He is followed by a troupe of characters dressed head-to-toe in white, hooded suits. Of course this group picks an unwilling volunteer from the audience, takes him backstage and brings him out dressed as one of them. John harasses him a little and sends him back to his seat. As the house lights go dim, John takes the stage and plays snippets of songs on an old transistor radio - snippets of songs from previous Cirque productions, at which he sneers and turns up his nose. He reads us our instructions for the evening - no smoking, no pictures, and the like - and then leads us through this incredible story for the next two hours. The show opens on the young girl at home with her parents seated in typical family pose. The father reads the paper, the mother stares vacantly into space, Audrey tries to entertain herself and engage her parents. A knock at the door brings a character straight from a Magritte painting - a headless man, a Quidam, carrying an umbrella, who drops his hat in the center of this family scene. Thunder rolls, lightning flashes, and the family is carried away in one of the most amazing feats to occur under the Big Top. The entire ceiling of the tent is covered in a track that lifts characters and set pieces to the stage and carries them off. In blissful ignorance, the parents are carried off still in their chairs, seemingly unaware of what is taking place around them. At the same time, our young heroine's guides to this fantastical world are introduced - John, who we have already met, and hilariously portrayed originally by American comedian John Gilkey, and Fritz, an always-smiling, impish character brought to life by Austrian Karl Baumann. These two cohorts carry the young girl through adventure after adventure, beginning with the phenomenal German Wheel act by Chris Lashua. The Wheel rolls into place in what was the living room, and Lashua carries it through a series of rolls, twists, and turns that defy explanation. It flips from side to side, and returns to a straight vertical. It rolls across the stage at dizzying speeds. Lashua guides this huge apparatus through varying tricks in a display of athleticism unlike anything seen before - some even with his hands held calmly behind his back. What is also incredibly unique and well-done in Quidam is the transitions between the acts. Each act follows one after the other, yet the interludes between each one continue the through-line of the story. Each performer in the troupe plays many different roles throughout the show, helping to tell the story and further it along. I saw the show three times during its Chicago run, and each time the acts were placed in different sequence - on some occasions a certain act would be left out completely and replaced by another, a typical occurrence during the touring shows. Each time, though, the transitions were flawless and continued the through-line in a perfect way. (For this article, I am using the order of the acts as they are presented in the video, filmed in Amsterdam, which is my memory of the first time I saw it. Some of the performers had changed, but the acts were still the same). As the acts progress, the Quidam's world becomes more fantastical, more chaotic, and more beautiful. After the German Wheel rolls off, the troupe returns to the stage running, leaping, dancing across it with the young girl, Audrey, taking in all she can. Her parents appear, still in oblivion, her father with his head pushed through the newspaper lost in the confusion. Performers traverse the stage in a chorus of Audrey look-alikes, teasing her and John alike, while the remainder of the troupe come on with varying sizes of drums - from small, tinny snare drums to the large, thundering taïko drums, now an essential part of any Cirque production. Through this group come the four young girls carrying their Diabolos who perform a quartet of juggling by tossing them across the revolving stage, forming pyramids and seeming-impossible uses of the ropes and spinning tops. In one of the most beautiful uses of the stage, at the end of the act, the four girls spin their tops up ropes hanging from the ceiling of the tent, from which drop in synchronization streamers of white and blue. As they run off, again our troupe of performers comes through as we watch the Father traverse the tent suspended from the giant track, seemingly walking on air. I recently watched the video again, and while this particular segment appears there, it can't compare to what it looks like live. As our eyes gaze toward the top of the tent, a cocoon of red silk comes from behind the orchestra at the front, and the amazingly beautiful Isabelle Chassé performs the Aerial Contortion in Silk. To the best of my knowledge, this act had never been performed in a Cirque du Soleil show previously. For everyone in Chicago who had seen the show, this became the penultimate act of the evening. Not only is it an athletically astonishing act, but in context it was so hauntingly beautiful, performed to "Let Me Fall" from the soundtrack, but sung in Cirquish language. This act has been used again by Cirque in various forms, particularly in Dralion (jaded Chicagoans responded with, "Oh, we saw that three years ago"), but was particularly stunning in the red silk of Quidam. As a trio of Mother look-alikes, all dressed in red, come to carry Isablle off after her performance, they are followed by the remainder of the troupe who begin the languid Skipping Ropes section - at first a simple display of athletic prowess, led by soloist Renee Bibaud - then morphing into an eclectic, energetic display of skill and timing as the entire troupe performs together. The video shows a nice shot from the ceiling of the tent in an almost Busby Burklee display of symmetry. The Skipping Ropes were followed by the Aerial Hoops. I remember this being the most terrifying, dizzying act of the performance. The hoops, suspended from the overhead track, whirl in a blur as the trio of performers manipulate and climb over them. With intense synchronization and precision the performers twirl the hoops and stop them on cue, using the air and the stage to propel them around. I remember hearing after Quidam had left Chicago and moved on to Atlanta that one of the performers had fallen during the show. She was back on within two or three days. Following the Aerial Hoops came the Handbalancing act, performed by Olga Pikhienko. Elevated on a small platform and carried by the ever- revolving stage, she tackles pose after pose on the delicate poles in an ever-increasing display of difficulty. This was one of the most typical "circus" acts in Quidam, but was also one of the most virtuoso performances. After her leaving the stage, our guide John returns in his hilarious display of marksmanship with a set of darts. He wears a target on his head and tosses darts in the air to land on the target. Of course he misses, to our great amusement, and leaves the stage in a howl of agony as the overhead track brings a series of ropes onto the stage, each with a performer attached, high over our heads. And thus begins the incredible Spanish Web act, with acrobats climbing up and down the ropes, tying them around their bodies and flying through the air. In the live performance, the climax of this act was the character of Fritz, constantly wanting to be involved and meeting everything with a smile, climbing the ropes as the porter on the ground begins to spin the rope. Fritz flies off, attached to the main rope only by his ankle, flying and laughing hilariously over heads. Additionally, the character of the Father was a principal soloist in the Spanish Webs act, portrayed by Daniel Touchette. He was the one who originally tied the rope in many loops around his body, ultimately letting it roll him precariously down to the ground. As a part of the story, this act began the transformation of the Father character into a more open, carefree person. After the Spanish Webs have left the stage, our friend John returns and performs the bit that got him noticed by Cirque du Soleil in the first place. According to him, he had been begging Cirque du Soleil to hire him for years, but to no avail (More information about him is available at www.JohnGilkey.com). John performs a fun juggling act with a ball and a hat stand to the incomparable singer Yma Sumac's "Gopher." It is a light-hearted moment of frivolity and fun in this crazy mixed-up world of Quidam. A recurring element of Quidam is the nameless, faceless, ubiquitous characters dressed from head to toe in white medical-looking suits. These characters come in and out of the show, as they had participated with John at the very beginning, in various ways. After John leaves the stage they come rolling out in a group, form a clump in the middle and out of their midst come the next two performers, Yves Decoste and Marie-Laure Mesnage, to do the Statue or Vis Versa act. Reminiscent of similar acts in other Cirque shows, this duo balancing act is a Cirque trademark, particularly beautiful in Quidam as a counterpoint to some of the more frantic performances. It is slow and languid and displays the great strength and concentration it takes to perform it. It was designed by Yves Decoste especially for Cirque du Soleil. It also is one of the first times we see equal strength between male and female. In many cases, this act is performed by two men supporting each other, but the Quidam act shows equal strength between the different genders. Another unique act to Quidam follows with the Cloud Swing performed by Petra Sprecher of Switzerland. It is essentially a trapeze of rope, there is no solid bar in the middle, and Petra uses it in much the same way. It is a much more 'violent' performance than that of the Vis-Versa, and plays an important counterpoint to the slower elements of the show. At one extended point of the swing, Petra seemingly falls off the trapeze, attached only by a small guide-wire to her leg. But from the audience's perspective it looks like she's falling off completely. She regains her balance and continues flawlessly. The final act of Quidam is the Banquine, an incredible balancing and acrobatic act involving the whole troupe. They toss each other madly about the stage forming towers of four people high, and in daring jumps from one group to the other, landing on only the joined hands of the porter. This performance was also used in Cirque's IMAX Journey of Man film. It is, perhaps, the signature act of Quidam and features performances completely unlike anything else. It of course leads to the resolution of the show, with Audrey uniting with her joyful parents. The Quidam appears again and takes back his hat, proving that the magical world is really the world we live in and that all these fantastic experiences are part of it as well. Quidam has undergone many changes in its six-year history - performers have come and gone, acts have been replaced time and again, clowns have left and come back and left again. John Gilkey left the European tour for a time and even did a stint in Dralion - oddly enough while the show was playing Chicago. Karl left and rumor has it may return for the new North American Tour. Many others have contributed to this phenomenal production, and it is certainly a great pleasure that North American audiences will once again get to experience Quidam. Perhaps the show is best summed up in the words of the title song from the Soundtrack - "There's nothing left, there's nothing right, there's nothing wrong. I'm one, I'm two, I'm all yet none of you. The truth, the lies, the tear, the laughter, the hand and the empty touch. Here I am, alone, waiting for the curtain call." (fin} ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Compendium Volume 8, Number 1 (Issue #57) - Jan/Feb 2008 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2008 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. { Mar.14.2008 } =======================================================================