======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 10, NUMBER 11 November 2010 ISSUE #82e ======================================================================= Bonjour et bienvenue! Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. With the announcement of CirqueWeek in Las Vegas to the unveiling of Michael Jackson THE IMMORTAL World Tour just as we're going to press - wow, what a busy month! In addition, we’ve been busy behind the scenes getting dotting all Our I’s and crossing all our T’s on this: an exclusive interview with Mr. Jerry Nadal, Senior Vice-President of Cirque du Soleil Resident Shows division! Mr. Nadal sat down with our own Keith Johnson last month to speak frankly with us about Cirque’s present and future in regards to its resident shows. You’ll find the first of this two-part interview within! Also inside this month we've got the latest news items posted to Fascination! Web and, of course, all the pertinent posts on Cirque du Soleil's various social widgets in our OUTREACH section. So, let's get started! Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * Arena Shows -- In Stadium-like venues * BigTop Shows -- Under the Grand Chapiteau * Resident Shows -- Performed en Le Théâtre * Venue Shows -- Venue & Seasonal Productions o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub * Networking -- Cirque on Facebook, YouTube & Flickr o) Compartments -- A Peek Behind the Curtain * Historia -- Cirque du Soleil's History o) Fascination! Features * INTERVIEW /// "Jerry Nadal: Keeping the Value" (Part 1 of 2) By: Keith Johnson - Seattle, Washington (USA) * "Cirque Week is coming!" By: Cirque du Soleil * "Michael Jackson THE IMMORTAL World Tour!" By: Cirque du Soleil * Luxe-Life: "A Conversation with Daniel Lamarre" [EXPANDED] Michael Jackson Cirque Shows Set & Mystere's 8,000th By: Robin Leach - Las Vegas Weekly o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Banana Shpeel - Canceled! {Oct.05.2010} ----------------------------------------------- According to the Examiner.com, Banana Shpeel, Cirque du Soleil's new style vaudeville show, just cancelled its San Francisco engagement. The show, currently running in Toronto through October 10th, was to play the Golden Gate Theatre October 16 through November 14, 2010. Patrons who have purchased tickets for Banana Shpeel performances through SHN Theaters will receive a full refund. They will be contacted by SHN Audience Services or they may call 888-SHN-1799 directly. Banana Shpeel was also set to play to audiences in Orange County, California following the San Francisco engagement. Information pertaining to that engagement or the show's immediate future has not beenmade available. Cirque Radio City to Begin Previews June 10, 2011 {Oct.05.2010} ----------------------------------------------- Cirque du Soleil’s upcoming (and as yet unnamed) production at the Radio City Music Hall in New York City is set to begin preview performances from Friday, June 10th through Tuesday, June 28th, 2011. Regular performances will then commence from Thursday, June 30th through Sunday, October 9th. Ticket prices and schedule are to be announced. Stay tuned! Making the music of KÀ [EXPANDED] {Oct.07.2010} ------------------------------------------------ While the presence of muscled, scantily clad performers is a standard in Cirque du Soleil shows, there was an obvious difference when its show Kà opened at the MGM Grand in Las Vegas in 2005. Unlike earlier Cirque productions like Mystère and O that were known not only for the breathtaking visuals but also for abstract stories, Kà was the first Cirque production to have a more straightforward story with a beginning, middle and end. In the production, which is still going strong in its 5th year on the Vegas Strip, imperial twins who are separated during their youth venture on a journey of self discovery and their various encounters along the way (both fun and dangerous) are what fuel the show. With an unconventional stage that consists of two giant moving platforms and five smaller platforms all above a seemingly bottomless space, Kà easily lives up to the Cirque tradition of being a production you remember long after you've left Sin City. EDGE's Jim Halterman was recently in Las Vegas and, after being wow'd by the production of Kà, he had the chance to talk with conductor Richard Oberacker, assistant conductor Janine DeLorenzo and singer/cellist Julie McInnes about how they stay focused with all those amazing (near-naked) bodies around them all the time and how they don't get bored doing the same show night after night to sell-out crowds. # # # WHERE ARE THE TATTOOS? Q. Richard, you’re the first American to hold a conductor’s position in a Cirque show. What took them so long to hire an American in that role? Richard: It happened in 1999 and the company was just beginning it’s first major expansion and in a 12-month period they opened 3 shows, they opened O in its original debut, they opened La Nouba and they opened the big top show Dralion. Up until that point they had been putting out a show roughly every three years and so it just became a necessity to go outside their Montreal talent pool and they were really using the first creative teams. It was also one of the Franco [Dragone]-free projects with a new composer that they hadn’t worked with before and new designers all the way around. I lucked out in coming in with a show that was unique in that it was a complete departure for the company and they had invested in a lot of new people. After three years of Dralion, I took two years off to launch the first national The Lion King and then I came back for Kà because they wanted to staff such a big show with people who had been in the fire before. Q. How do you stay focused with all these terrific bodies running around? Janine: You can either let it be a distraction or just enjoy it! In a way, we’re separate so we’re not among the artists on the stage all the time and there are certain times when we will go on stage to play drums or play guitar or whatever the case may be but we’re kind of separate. I don’t find it as a distraction. I find it to be lovely eye candy. Julie: There certainly are a lot of extraordinary bodies. It’s not distracting to me [but] probably should be. I used to paint and draw the human body, still do a bit, [and] what a haven to live in appreciation of the human body in so many forms of greatness because I see what it takes to shape up and stay that way. Yes, muscles and curves expressed in so many directions, twirling in the air, leaping up and down and all about, explosive and sustained... I ’m no perve but what’s not to like? Janine: I thought that six-pack was a tattoo, actually! Richard: No, No! I have other tattoos but not there! TWEAKING IT DAILY Q. Are there still tweaks that are made in the show on a regular basis or is it just a well-oiled machine that runs on course? Richard: There are two levels to that. The first level is that what we do as musicians is real-time film scoring. We’re literally watching this film go by, because we’re watching on the video monitor and we’re actually scoring to it in real time. That movie changes every night. Sometimes the changes are very small but sometimes that movie will change very drastically if there is a technical glitch or if we’re trying out a new act. That’s one low-grade tweak that happens any given day of the week. The second is a larger sort of upgrade of tweaks that happen on a fairly regular basis. If a new artist comes in with a brand new discipline then that will require a fairly substantial arrangement. If they add a new technical element, which they have done, it will affect the music. In other cases, the band is just so gifted and so creative and they’re full of ideas so, yeah, tweaking happens on a regular basis. One of the founding principals of the company is that there would never be a Cirque show that doesn’t continue to evolve. Q. Janine, you were inspired to join Cirque from seeing O. How did that dream become a reality? Janine: Julie plays a big role in that. Julie and I have known each other for close to twenty years and when Jules left Australia to be a part of the new show, I came to visit for a week and I was lucky enough to be taken into the rehearsal with the band for one afternoon so my inspiration came from Julie being a part of that. I took that inspiration away with me for a few years and went back to Australia and then they asked me to audition. The audition process was your typical audition process and then you’re accepted into what is called the pool of potential artists and that process can be anything from a month to a couple of years. I think it was maybe a year or year and a half later before the offer to come join Kà. For me, there was no question about dropping everything in my life in Australia and coming to join the Cirque family here. It’s been a great journey. Q. Julie, you’re singing in a different language in the show. Can you talk about the process for doing this in Kà and whether the words have meaning to you or is it better that they don’t have a specific translation? Julie: The vocal language used in the show is ’invented language’ - syllables taken from many linguistic sources. We hear blends of Russian, African, Latin and more. I do understand from my experience as a composer for physical performance that layering a performance with a specific meaning in words is too much information and too confining. There is this tradition in Cirque to speak to all stylistically in any country. I find meaning in the sounds and sensibility of the words. I can interpret the words in many ways over a long time in a long- running show and this feels more open and freeing. Richard: When I first joined in 1999, I had certainly worked out and was reasonably health conscious but to be completely immersed in this world as well as when you’re on tour with a Cirque show you’re around the artists and you can’t get away from them. It inspired and taught me a lot about physical fitness and because of working for Cirque I now have an admirable six-pack and you maintain it sort of religiously. Q. How do you keep the show fresh for yourselves and the audience? Richard: I think one of the key components is that we are able to talk to one another during the show. Because we all have talkback mics so we all have the ability to talk back to one another and we’re in a unique position with Kà in that predominantly we’re not seen by the audience unless we’re playing a character onstage. We happen to just really, really like hanging together and so what we do is we crack each other up. Janine: For me, it’s the collection of people down there that makes the job easier. It’s the combination of characters that we have. If I’m having a hard night there are a few little tricks that I use. I think to myself ’I can’t play this one more time’ and I pretend it’s the first time I’ve ever played it or it’s the last time that I ever played it. It doesn’t happen to often but when it happens, that’s the trick I use. Mostly it’s pure enjoyment! Julie: There is a live show, a new audience and I am sensitive to and invigorated by that. My instruments are both very organic and keep me humbled most of the time. When I’m relaxed there is an incomparable release. I also give my attention when not playing to have some fun and discussion with my playing pals, to read and look at pictures, manuals interior design magazines, French, all of Gary Larson’s "The Far Side" just to keep my humor, otherness and sane mind alongside me. {SOURCE: EDGE Media Network} Exclusive Backstage Experiences @ LOVE, "O"! {Oct.14.2010} ----------------------------------------------- ENTERTAINMENT BENEFITS GROUP AND BESTOFVEGAS.COM ANNOUNCE EXCLUSIVE BACKSTAGE EXPERIENCE WITH CIRQUE DU SOLEIL New partnership announces the Exclusive “Insider Access” Experience at Cirque du Soleil shows in Las Vegas Entertainment Benefits Group (EBG) is proud to announce an exciting new experience brought to you by Cirque du Soleil that will include exclusive backstage experiences at The Beatles LOVE at The Mirage and «O» at Bellagio. The packages will include a premium ticket and a special backstage tour for one of these Las Vegas production shows, creating an intimate experience for a select number of guests. The “Cirque Insider Access” package will be available for select performances starting October 29th and will be exclusively sold through BestOfVegas.com and select retail partners of Entertainment Benefits Group. “We are thrilled to be partnering with Cirque du Soleil to allow fans to experience something so special and that has never been available before now,” said Brett D. Reizen, President and CEO for Entertainment Benefits Group. “Cirque du Soleil is known throughout the world for creating some of the most beautiful and amazing experiences for their audiences. Now, with BestOfVegas.com, we can take the audience even further into the creative world of Cirque du Soleil by giving customers an upfront and exclusive behind-the-scenes look at two of the most spectacular shows in the world.” The “Cirque du Soleil Insider Access” package will include an exclusive and intimate backstage tour of either show. A limited number of guests each night will hear the history of the show’s production, get a peek behind the scenes, receive a special Insider Access VIP lanyard, plus a special limited edition bag with Cirque du Soleil merchandise items. Most important, guests will enjoy the show from special reserved seating from the best seats in the theaters and enjoy front of line concession passes. After the performances, guests who enjoyed The Beatles LOVE will receive special access with a Front of Line VIP Pass for Jet Nightclub at Mirage, the while guests that enjoyed «O» will be given a Front of Line VIP Pass for Bank Nightclub at Bellagio. Special offers will also be included for Revolution Lounge at Mirage and Caramel at Bellagio. The Cirque Insider Access package will be available for purchase exclusively through BestOfVegas.com and go on sale October 13th at 10am EST for select performances starting on October 29th. The price per person for this experience is $260, plus service fees, all inclusive for the package. There will be a limited number of Cirque Insider Access packages available for certain performances. For more information please visit www.BestOfVegas.com or call 1-800-947-1081. {SOURCE: Cirque du Soleil} TOTEM CD Released! {Oct.15.2010} ----------------------------------------------- Just like the show, the music on this album evokes a marriage of different styles and cultures. We have taken bits and pieces from a wide variety of genres to create a musical hybrid that is both visual and atmospheric. We drew inspiration from tribal music-that is, the sounds and instruments of different peoples around the world, from North America’s First Nations to the Incas and as far as the Indian subcontinent-and incorporated it with our more contemporary sound. Enjoy the journey! Tracks: 01: Omé Kayo (4:41) 02: Cum Sancto Spiritu (4:00) 03: Indie-Hip (6:38) 04: Koumaya (5:35) 05: Crystal Pyramid (4:45) 06: Thunder (4:46) 07: Toreador (4:39) 08: Qué Viyéra (4:43) 09: Mr. Beaker (3:41) 10: Onta (6:28) 11: Kunda Tayé (4:18) 12: Fast Boat (2:29) 13: Terre-Mère (4:28) 14: Omé Yo Kanoubé (4:41) Music written by BOB & BILL (Guy Dubuc & Marc Lessard) Product’s details: o) Playing Time: 65:50 minutes o) Release: October 6, 2010 o) Country of Origin: Canada o) UPC #: 8-43277-03173-1 o) Price: $15.00 USD {SOURCE: Cirque Boutique} "ZED in Tokyo" DVD Now Available! {Oct.15.2010} ----------------------------------------------- Discover the lyrical, sensitive spirit of the ZED show, a new creation by Cirque du Soleil captained by stage and screen director François Girard. By way of a series of vignettes, ZED in Tokyo follows the team through the creative process, both on stage and in the wings, as they make their way from Montreal to the busy streets of Tokyo. This documentary portrays a strange and edifying encounter between the land of Cirque du Soleil and the Land of the Rising Sun as expressed by the work of creators, artists and technicians from several different cultures who join forces to stage a truly extraordinary show. BONUS FEATURES: Tarot, The Composer, ZED trailer, Then & Now, Let your talent shine, on-stage career opportunities, and A message from ONE DROP o) Subtitles: English, French, Spanish o) Audio: Dolby Digital 5.1 o) Run Time: 67 Minutes o) SRP: $25.00 USD {SOURCE: Cirque Boutique} La Nouba "leaps, twirls, jumps and soars" [EXPANDED] {Oct.17.2010} ---------------------------------------------------- Matt Palm, of the Orlando Sentinel’s Theater Blog, recently reviewed La Nouba for his column. Check out what he had to say about the show and its recent changes: # # # Anyone who has seen a long-running stage show knows how staleness can creep in, a tiredness can fall over the production. But nearing its 12th year of performances at Downtown Disney, Cirque du Soleil’s “La Nouba” leaps, twirls, jumps and soars with reinvigorated imagination and verve. Two new acts — juggling and jump roping — have joined the lineup in recent months, freshening the show, but the older acts remain as lively as ever. In fact, the corps of young girls spinning and throwing diabolos — large spools tossed and caught on strings — still get the biggest ovation of the night. Viewers can make as little or as much as they want of a story line for “La Nouba,” written and directed by Franco Dragone. A cleaning woman who goes about dusting and tidying seems to represent the ordinary, while a fantastic array of tumblers, high-wire walkers, cyclists and clowns bring color to an extraordinary world around her. A muscular man stalks the stage, his costume bearing technological references such as the at- symbol or dot.com. What does he want? Four white-faced men hustle about the stage, sometimes screaming, one inexplicably in a skirt. Why? The answers lie only in the depths — or heights — of your imagination. “La Nouba” comes from a French phrase faire la nouba, which means to “live it up” and this production does just that with a dizzying, dazzling combination of colorful costumes, exhilarating live music and incredible feats of athleticism, balance, strength and skill. The jump-roping duo is the first act of the show, after an introductory parade featuring many of the production’s oddball characters. Jumping rope may sound a bit pedestrian, especially for an opening number, but Yusuke Funaki and Shoichi Kasuo (and their ropes) bring the sort of energy needed to get a spectacle such as this off the ground. The futuristic costumes by Dominique Lemieux add to the visual interest, and a stunt involving other performers in rapid succession jumping ropes they weren’t holding made me gasp. The other new act, juggler Anthony Gatto comes late in the show and gives a jolt of energy after some clowning and the more tranquil spectacle of an aerial silks act. While keeping his balls in the air, Gatto has some humorous interaction with the Green Bird character, who attempts to assist him. But their clowning doesn’t interfere with his tricks with clubs, rings and a teapot perched on a pole. Other acts include the aforementioned diabolo girls, a frenzy of undulating ropes and spools flying through the air, and trick cyclists. The bikers’ act has been tweaked over the years, and now feels more dangerous as they jump over an audience member or race toward the edge of the stage, stopping at the last possible moment. Curiously, after all the spectacle that has gone before them, the trapeze artists feel a little quaint. Sure, their aerial feats impress, but there’s not the sense of the unexpected or bizarre that the other acts bring. They, along with the high- wire act, seem a reminder of the traditional circus acts that inspired the Cirque du Soleil fantasies. The clowning interludes haven’t changed much over the years, and though their slapstick visual humor still earns laughs, the skits in which they mostly fight with each other don’t hold up as well to repeated viewings. Singers Sisaundra Lewis-Reid, mostly belting, and Ralph Daniel Rawe, with a clear falsetto, bring an otherworldly overlay to the music that propels the show to the very end. The final act is a spectacle of acrobats leaping up to the roof of a multistoried building. It’s a shell of a building, perhaps a colorless office with gaping windows. But in bright blue and green, acrobats hurtle themselves through the air, leaping into windows, diving out of windows, running up the walls before tumbling back to earth. At this latest viewing, I for the first time saw the rising and falling tumblers as an epic battle between creativity and the rigidity of routine. As the plodding Titan — the man with dot.com printed on his back — repeatedly sent a man clad in a ruffled red outfit over the side of that monotone building, I thought, “Ah, beating down the spark of ingenuity.” Is that what it’s really about? I wouldn’t presume to tell you. Let your own imagination take flight. {SOURCE: Orlando Sentinel} Cirque Loses Money on 'Summerfest' [EXPANDED] {Oct.18.2010} ----------------------------------------------- It appears very likely Cirque du Soleil is not coming back to Charlottetown next summer, despite the fact that Tourism Charlottetown signed a three-year deal with the company this year. Doug Newson, president of TCI, confirmed this morning that TCI is attempting to negotiate its way out of the contract and that Cirque is co-operating thus far. Newson said Summerfest (formerly known as Festival of Lights) has struggled the past two years. He said Cirque du Soleil lost a “significant’’ amount of money this past summer. Tourism Charlottetown should know in the next few weeks whether it is successful in breaking its deal. Cirque du Soleil lost a “significant" amount of money this past summer. Tourism Charlottetown should know in the next few weeks whether it is successful in breaking its deal. In terms of what Summerfest will look like in 2011, Newson said it is too early to say. Tourism Charlottetown is also struggling financially. The provincial government has gone so far as to hire a Halifax consultant to take a look at the overall operation, including the convention portion of the business. Newson said they’re looking for approximately an extra $1 million, about five per cent of their annual operating budget. TCI also plans on approaching the City of Charlottetown and the hotel association about boosting the financial contribution it receives off the hotel room tax. Right now, TCI gets two per cent and would like to increase it to three per cent. That would bring in an additional $200,000 per year. {SOURCE: The Guardian} Mystère Celebrates 8,000th {Oct.05.2010} ----------------------------------------------- Introduced in 1993, Mystere, the flower in the desert, is the first Cirque du Soleil production to reach this important milestone. LAS VEGAS, Oct. 18 /PRNewswire/ — Las Vegas’ original permanent Cirque du Soleil production, Mystere, will celebrate bringing its signature mix of energy, athleticism and imagination to the stage for the record-breaking 8,000th time on Monday, October 18. Deemed the “flower in the desert” by Guy Laliberte, Founder of Cirque du Soleil, the exhilarating production has been credited with changing the face of Las Vegas entertainment since its premiere on December 25, 1993. This 90-minute production has captivated over 12 million people. The 1,629-seat Mystere Theatre was the first permanent Cirque du Soleil theatre to be custom-built to exact show specifications. Very few live shows in the world have reached such an important number of performances, audience and longevity. This impressive achievement places Mystere in a very exclusive list of long- running live productions. “This important milestone for Mystere defines what Cirque du Soleil is all about: creativity, audacity and keeping the dream alive. The flower in the desert has bloomed beautifully and will bloom forever,” commented Daniel Lamarre, President and CEO of Cirque du Soleil. New music for signature act Mystere, now in its 17th year at Treasure Island Hotel and Casino, will also use Monday’s performances to debut new music by composer Benoit Jutras for the show’s high-energy, high- elevation Highbar act, written especially to commemorate this achievement. A special show introduction has been prepared for the occasion and guests at both performances can expect to be showered with colorful confetti and souvenir balloons during the finale. Mystere fun facts: o) 12.2 million = number of people who have seen Mystere o) 1,456,000 = number of trampoline jumps over 8,000 performances o) 48,000 = number of buckets of popcorn dumped on unsuspecting audience members o) 12,000 = number of hours guitar player Bruce Rickerd has played (perfect attendance record!) o) 300 = number of times the stage has been painted by ONE MEMBER of the Props department o) 22 = miles of bungee cord used in the show o) 1 = number of 25-foot tall snails in the world Mystere is pure Cirque du Soleil, featuring an exhilarating blend of thrilling acrobatic acts such as Chinese Poles, Hand to Hand balancing, Aerial High Bar and Bungee with powerful music and colorful costumes and sets. Mingling in the mystique is a cast of 75 international artists, whose spectrum of characters include a mischievous Clown, an electrifying Red Bird and one jumbo-sized Baby. Mystere can be experienced Saturday through Wednesday at 7:00 pm and 9:30 pm. Tickets for Mystere are $60, $69, $79, $99 and $109 (plus taxes and fees) and can be purchased on-line at www.cirquedusoleil.com or www.treasureisland.com, by calling 800-392-1999 or 702-8947722, or by visiting the Mystere box office at Treasure Island. Read the original press release here: < http://www.prnewswire.com/news-releases/mystere-by-cirque-du- soleil-celebrates-record-breaking-8000-performances- 105167874.html {SOURCE: PRNewswire} Wintuk: $1 Million 'Snow Day' Offered! {Oct.19.2010} ----------------------------------------------- WINTUK BY CIRQUE DU SOLEIL ANNOUNCES THE $1 MILLION SNOW DAY TO CELEBRATE THE MAGIC OF NYC’S FIRST SNOW FALL Madison Square Garden Entertainment (MSGE) and Cirque du Soleil announce the launch of the $1 Million Snow Day in celebration of the Cirque du Soleil family show, Wintuk. Now entering its final season at The Theater at Madison Square Garden, Wintuk is taking the country by storm and 100 lucky fans will share $1 million if it snows in New York City on November 17. From October 16 through November 9, 2010, ‘snow’ fans (18 years & older) are encouraged to enter the $1 Million Snow Day by visiting cirquedusoleil.com/wintuksnowday where 100 Wintuk winners will be awarded $10,000 dollars each if snow falls in New York City on November 17, 2010 to coincide with the show’s opening day. Snow must fall in New York City’s Central Park to be officially evaluated for participants to win. On the website, participants can also download an interactive “snow note” to be shared with friends and family to encourage them to join the winter fun. The ‘snow note’ makes snow “fall” on your desktop through social media applications. On November 10, 100 winners will be randomly selected and announced to, give them an entire week to keep an eye on the weather forecast and their fingers crossed in hopes of a snowfall on November 17. As an added bonus, all 100 winners will receive two complimentary tickets to a private dress rehearsal of Wintuk. The $1 Million Snow Day campaign is open to all US residents (excluding Florida) and begins Saturday, October 16 and ends on Wednesday, November 9 at 11:59pm PST. The winners will be randomly selected and announced on November 10. For more information, visit < http://www.cirquedusoleil.com/wintuksnowday > {SOURCE: Cirque du Soleil} Varekai Meets GrandMa [EXPANDED] {Oct.21.2010} ----------------------------------------------- Cirque Du Soleil’s Varekai show – currently touring Europe – has transferred its lighting control to a grandMA2 system, with a grandMA2 light as the main show console and another grandMA2 light running in full tracking backup. The decision to change was made by head of lighting, Karl Jenkins. He says: “I think MA offers the best current solution for this type of show which is run live and changes every night”. They also needed to change the consoles they were using, which had been onboard since the show first started touring seven years ago, so it was high time for an update and an upgrade. “The grandMA2 is an international control standard,” confirms Jenkins, “And the idea is to introduce this platform across other Cirque shows”. Much of the show had to be re-programmed and re-built from scratch on the grandMA2 light. It was transferred during their run in Cologne, Germany, with just three intense days in which to achieve their objective and be up and running seamlessly on the new console, for which they received technical support from Callum Howie out of MA Lighting’s UK office. Jenkins has been using grandMA consoles for the last six years, and so knows the architecture and philosophy well, which also underlined his confidence in recommending the change. He likes many features of the grandMA2 including the way it deals with presets. Each time the Varekai show's big top venue changes location, the preset focuses - which have to be extremely accurate to ensure the artists have the correct light in which to work - need updating. Jenkins thinks the tracking functions and the fact that channels can be tracked right through the show are "extremely good", as well as the auto-update facility, whereby any cue change is updated immediately across the network. The show is operated in rotation by Jenkins, Istvan Fazekas and Jon Vivash, all of whom received training on the new console in- situ in Cologne from Callum Howie. Jenkins describes MA's service and support as "phenomenal". {SOURCE: LSI Online} Luxe-Life: Michael Jackson Cirque Shows Set {Oct.21.2010} ----------------------------------------------- Robin Leach, from his Luxe-Life blog on Las Vegas Weekly, talked at length with Cirque head honcho Daniel Lamarre on Monday night after the 8,000th performance of Mystere at Phil Ruffin’s Treasure Island. Check out the full conversation within our features section this month. For now, some highlights... o) The first Michael Jackson show, a rock concert arena-type show, opens Dec. 15, 2011, with tickets going on sale Nov. 3rd. o) The official announcement will be made from Los Angeles on Nov. 3. Tickets go on sale simultaneously in 25 cities for what will be the largest-ever music show going on tour in North America and around the world. o) The second MJ show, which will be a permanent residency show in Las Vegas, arrives in 2013. o) Cirque has budgeted an amazing $100 million just for creating and developing the two shows and expects that another $150 million will be added to the final costs for staging and theater construction. {SOURCE: Luxe-Life, Las Vegas Weekly} Cirque's Social Media [EXPANDED] {Oct.25.2010} ----------------------------------------------- Jeremy Daniel, editor for online analysis site Memeburn, took a few moments recently to speak with Jessica Berlin, the social media manager for Cirque du Soleil based in Las Vegas. As social media manager she is responsible for planning social media marketing campaigns, developing and distributing content as well as coordinating blogger outreach – Jessica took the time to share some tips and insights on how Cirque Du Soleil use social media. # # # Q. What is the most successful social media campaign that CDS has been involved in? I think we’ve had several successful initiatives but blogger outreach remains the primary focus of our social media activities. Just because a particular blog may not have the same number of views or readers as a magazine or newspaper, that doesn’t make them any less valuable. In fact, the smaller audience may actually be a more targeted/relevant audience for Cirque and potential ticket sales. While seeing our shows is entertaining, it can also be an emotional experience and no one tells that story better than a blogger. So many bloggers like to express their feelings and not just report on the “facts”, which is great for describing a Cirque du Soleil performance. Q. Should companies roll out all social media at once, or bit by bit? How did CDS do it? We definitely started things out bit by bit and I would always recommend that strategy. It takes a while to become familiar with each social media channel and what and how those followers like receiving information about your brand. Also, the proper amount of time and resources need to be invested in developing great content and building relationships with your followers. It’s much better to choose one channel to focus on than starting with five. Q. What do you see as the strengths and weaknesses of Twitter? For us, Twitter is a great way to spread information quickly, it’s probably the best channel we have to distribute last-minute information and ticket discounts. Of course, this also refers to the weakness of Twitter. Information is moving so quickly that even though you have a large number of followers, in reality you are only reaching a small percentage of them with each tweet. That’s why it’s critical to produce relevant content and participate in your followers conversations, so that they in turn trust you enough to re-tweet your posts. Q. Facebook? We love how easy Facebook makes it to share all types of content. For us, the targeting and tracking available is key. Since our shows tour and we put on special events in particular cities, we regularly target our updates based on where people live. The best part – it’s free! One of the current weaknesses with Facebook is the constant changes to pages. It’s hard for businesses to continually adopt and adjust their creative, particularly for anything they have had specially designed for a Facebook page. Q. Blogging? There are so many great benefits of blogging, particularly SEO, brand building and the low cost. Most importantly, blogging is a wonderful way for us to tell a story in a longer-form. The best part of blogging for a brand is that you can empower other employees as “guest bloggers” to help tell the company’s story from a different perspective. When you remain authentic, I don’t think there is any weakness to blogging. Q. What other social media tools do you use for campaigns? For online contests we use Wildfire, which is a great application to integrate a branded campaign with the viral features of Facebook. We just launched our new “Seven Worlds” campaign which utilises Facebook Connect to integrate a user’s information with a Cirque du Soleil experience. Q. How do you respond when the chatter around a show of yours starts to get negative? Can you give us an example? I am so lucky to work for a brand that people not only like but have an emotional connection to. When we do get negative comments about a show, fans or followers will actually respond to it before we even do and defend the show or recommend another show to that person. Other comments aren’t specific to a show and are more customer service based. No matter what the comment is, we always respond. Q. Is it important to monitor the statistics of what is being spoken about and how much? How do you do it? Yes! For measurement we use Radian6 which is a great platform to listen, measure conversations and engage with our customers across the social web. Everyday I’m looking at how much online conversation each show has and the overall sentiment. If there is a special event or appearance happening, it’s important to track the online impact of that as well. Q. Is social media important to use in conjunction with other media forms, or can it work on its own? While social media can be effective on its own, it can be even more powerful when used in conjunction with other marketing and PR efforts. Traditional media is still an important part of our overall marketing strategy but we now incorporate our social into print ads, etc. to try to drive people to our Facebook pages or Twitter so they can learn more about the shows. That’s the beauty of social media for us, you get a sense of each show’s personality by visiting the Facebook page, and sometimes this is a better perspective than the company website because you’re reading about other people’s experiences. Q. What is it about social media that makes it such an effective tool of communication for CDS? Twenty-five years ago, Cirque du Soleil was built on grassroots efforts. In a way, social media is bringing us back to our roots. We want to be a part of the conversation that is already happening about our shows online, but also contribute by sending out news and show access that people don’t usually see, directly from us. By participating in social media, we want customers to recognise that we’re an approachable brand, we also want to reach a new audience that may not be that familiar with our shows. And obviously, we hope by engaging online we can eventually translate that to ticket sales. {SOURCE: Memeburn} Cirque MJ is... {Oct.27.2010} ----------------------------------------------- Although there’s been no official word yet from Cirque du Soleil, it appears that Ticketmaster has let the cat out of the bag. According to Ticketmaster (who immediately took down the link) the name of the arena tour will be… MICHAEL JACKSON THE IMMORTAL WORLD TOUR BY CIRQUE DU SOLEIL Tickets go on sale November 4th for this location (in San Jose) and around the country. Stay tuned! {SOURCE: Ticketmaster} Interview with OVO creator, Deborah Colker [EXPANDED] {Oct.27.2010} ----------------------------------------------------- Amazing but true: Before Deborah Colker was recruited to create “Ovo,” she had never seen a performance of Cirque du Soleil, the Montreal-based juggernaut that has transformed not only the circus world but also performing arts around the world since launching in 1984. Admittedly, the Rio de Janeiro choreographer has been a little busy. Since 1994, she’s run her own contemporary dance company, Companhia de Dança Deborah Colker, which has toured South America, Europe and Asia and concluded a run at Washington’s Kennedy Center on Saturday. In fact, it was the sometimes gravity-defying physicality and overt passion of her troupe’s work that led Gilles Ste-Croix, Cirque’s vice president of creation, to approach Colker after seeing it perform at London’s Barbican in 2006. The choreographer was astonished but game, signing on to become the first woman to create a Cirque show in the company’s 25-year history. “Ovo” (Portuguese for egg) is set in the kingdom of vibrantly colored insects and transpires during a single day under a magnifying glass. Since premiering in May 2009, it’s won kudos for its hot Brazilian shadings and for boasting a more coherent story line than most of Cirque’s recent tour shows. Before “Ovo” opens under the blue-and-yellow Grand Chapiteau (big top) at Atlantic Station on Thursday, we reached Colker, who speaks in a Portuguese accent as strong as caipirinha. She was completing a mad last day of rehearsals in Rio before jumping on a jet to Washington. On her reaction to being recruited by Cirque: “I was so surprised. And I didn’t understand. I said, ‘You want me to choreograph a show? What is it exactly?’ And [Gilles] said, ‘No, no, no, we want you to create a show for us!’ “[In 2007], they told me the subject: Guy [Laliberté, Cirque CEO] wanted a show about nature, about biodiversity, and that’s it. Oh, and it needs to be in the tent. “He told me, ‘You must do a great show,’ and that he was very excited. He said, ‘Usually this show will stay around the world for 15 years, and it’s for grandmothers, grandfathers, adults, children, everybody and every different culture.’ “I said, ‘OK, I have to think about it.’ ” On how she decided to focus on insects: “I came back to Brazil, and I began to work with the insect world because of the relationship between the acrobats and insects. All the insects have six legs, only the spiders have eight. I thought, oh, the insects have many legs, and the acrobats, they’re not normal human beings. It’s like they have more legs, more arms than everybody. Acrobats really can fly, climb walls, they can jump, they can walk down the floor. And with this, I really began the idea of ‘Ovo.’ ” On what else she likes about bugs: “Insects really can subvert totally the space. They play with gravity, for example. And this is something as a choreographer that always interests me. The way they can fly, their different dynamics of movement. “Also, because I live in the city, I used to love to go to the country ... to be in touch with nature, with the earth. And in these places, we can find many different flowers and insects.” On determining the personalities of her insect stars: “I tried to give each family of insects personality, feelings and a way of moving. Because it’s a story, to bring emotion and feeling for this show, it was necessary to give them different personalities. “I created this together with my team, including the costume designer; how the fleas they will be more adolescent and more sexy. ... The ants will be the children of our community. And we have one chief, the ladybug, who is the lonely one. She doesn’t have a family and she’s waiting for someone, she’s waiting for one love.” On the Brazilian vibe that spices “Ovo”: “I didn’t think, ‘Oh, I will create something Brazilian’ or ‘I want to make this show a Brazilian show.’ I didn’t use any folklore, I didn’t use any labels, any Brazilian codes. I didn’t think about Brazil, but I am Brazilian. My experiences are here, my background is Brazilian, my breathing is Brazilian, my inspiration is Brazilian.” On the enigmatic symbolism of the recurring large egg on stage: “The egg for me is something very important: The egg is the enigma, the metaphor of life. We don’t know exactly about life, what comes before. We have the joke: ‘What comes before, the egg or the chicken?’ Also the egg is so aesthetic.” On the importance of telling a full story: “Sometimes what happens is [Cirque shows] have a name and a theme, but during the show I lose the story and it’s more dealing with the [acrobatic] numbers, not a whole show. “I didn’t want to do that. If my show will have a subject, will have a name, I want to have a story that everybody will understand. It’s very simple: It’s a love story, it’s an egg story, and it’s really easy to connect with the story. “The audience can choose how many metaphors they will connect with, they will find.” On making the various acts cohere rather than stand out individually: “I tried to convince all my artists on the stage with me that we will be a journey. And it’s not about each number: ‘My number is this and then another number is that.’ “No, I say to everybody, ‘Let’s bring the audience together with us inside a journey. When we finish one number, it’s the beginning of another one. Let’s try fusion. Let’s try to be inside the community of insects.’” On choosing acrobats to dance instead of vice versa: “Cirque asked me if I wanted to have many dancers on the stage. I answered no. I said I wanted to have high-level, Cirque-level acrobats on my stage, and I will make them dance.” On how that worked out: “[Audience members and critics] have said that the performers were amazing on the stage. And I was very happy with this, because it’s not easy to make Russian traditional acrobats and Chinese acrobats dance. I think some of them [dance] more, some of them less. “But the dance is printed on the show, because I think through movement. I think we can see and recognize that it’s a Cirque show directed by Deborah Colker, who is a choreographer, understand?” {SOURCE: Access Atlanta} Circus Dreams [EXPANDED] {Oct.28.2010} ----------------------------------------- It's such a clichéd fantasy—escaping the misery of one's life by running away and joining the circus. But if you're a highly expressive dancer with a creative bent and an interest in long- term employment, you may want to seriously consider turning that circus fantasy into reality with Cirque du Soleil. Because while the groundbreaking shows it produces all over the world feature performers with traditional circus skills, the esteemed organization also employs numerous dancers. So even if you have no acrobatic, clowning, or aerial abilities, you should not rule out auditioning for Cirque. For the right kind of dancer, it can offer extremely gratifying work. "That acrobatic stereotype has been my biggest challenge over the last five years," says Rick Tjia, senior talent scout in the organization's dance casting sector. It seems that the dance community doesn't realize how many opportunities Cirque du Soleil now offers dancers who are not circus performers. About six years ago, he says, "when I first came to work in casting here, there were only about 20-some dance roles in the entire company, but within two years that number had jumped to over 100. The exact number varies as we create new shows, but I'd say that now we fluctuate between 130 and 180 dance roles at any given time." A Cirque du Soleil dancer needs to have a strong interest in the creative process and a willingness to play an integral role in the development of a show's dance material. "The way this company works is that the roles are created around the dancers who are cast, rather than the choreographer first setting a role in stone and then finding a dancer to fill it," Tjia explains. "We look for dancers who will inspire the creation of the material. Being a technically strong dancer or just being able to do tricks is not enough. Imagination, an open mind, and the willingness to jump into something unknown and find a way to make that interesting together with the creators are what's essential." Even a dancer hired to fill a role in an already-running production is expected to participate in the creative process, as it doesn't end when the show opens. "The big difference between dancing in a Broadway show, for example, and what we do," Tjia says, "is that we like dancers to evolve in their roles, to bring something new and fresh and different to every performance. It's a lot like what actors normally do but that dancers usually don't." According to Tjia, when audiences come to see a Cirque du Soleil production, they expect to be wowed and touched: "But 'wowed' doesn't necessarily mean you're going to do 10 pirouettes. That won't sustain an audience's attention for two hours. You have to wow them through the heart. That's what makes this company's shows so special—the artistic, expressive side. We want the kind of dancers who can really touch people through the execution of their movements." Once hired to work on a new production, dancers will often receive classes in physical acting, in addition to a daily morning technique class. Among the various Cirque productions currently playing, there are roles for dancers who specialize in a multitude of styles. "The type of dancer for which we have the most roles is contemporary," says Tjia, "but right now we also have 12 or 13 tap-dance roles, around six hip-hop or B-boy roles, three Georgian folk dancers, a Romanian folk dancer, and a role that mixes contemporary or jazz and classical Indian dancing, which is one of the most difficult roles to fill, because of that mix." Dancer Laura Cota is performing in "Love," Cirque du Soleil's Beatles-inspired show, at the Mirage in Las Vegas. After many years of dancing in music videos, with concert dance companies, and on cruise ships, Cota decided to audition for Cirque du Soleil because she wanted a job "that had a little more longevity to it," she says. Though she has been dancing in "Love" for a year and a half, she is the show's newest cast member. "Every other dancer has been here for at least two and a half years," she says. "It's a very positive work environment, and we've become like a family." She also notes that dancing with Cirque never gets boring, because of all the creative work involved and the educational opportunities: "I have never done another job that offers as much training as this one does." In addition to performing two shows a night, the dancers in "Love" take a mandatory biweekly dance class and get daily workshops focusing on different forms of dance or physical performance, such as clowning or aerial work. Though Cota describes a Cirque du Soleil show as a "demanding" job—her audition alone took 18 hours over the course of two days—she also claims it's by far her favorite. {SOURCE: Backstage} Living La Vie de Cirque in Las Vegas [EXPANDED] {Oct.28.2010} ------------------------------------------------- It’s definitely cool having friends in the theatre. Catching up with them usually means meeting them after the show in New York, but this time, the location was Las Vegas–home of gambling, strip clubs, and the one and only Cirque du Soleil. My old Wagner College buddies Mary Cloutier Barnett and Becky Slater Stephenson are former East Coast residents who love their life and work in Vegas. They were good friends in college and are now even better friends through Cirque; Mary is one of the stage managers at LOVE and Becky is one at nearby Ka, the show that is often referred to as “the opera of Cirque du Soleil.” “I didn’t know what a stage manager was when I first was at school,” Mary admitted . In fact, unlike myself, she had entered the theatre program for performance “until I saw the error of my ways,” she jokes. She began to look at stage management as a viable option for a career, worked on show after show at Wagner in a backstage or management capacity, and the rest is history. While it’s clear that she ultimately learned what a stage manager was while we were at Wagner, I can tell you that there was nothing at our college that could prepare anyone for the craziness that is Cirque. Frankly, no college can—no Broadway theatre, let alone a college theatre, could literally contain a Cirque show. In fact, Mary told me that Cirque shows usually require theatres to be built or renovated specifically to accommodate them. So how does one become a stage manager at Cirque? “Stage management is 80 to 85 percent communication,” says Becky, referring to the fact that she is the link between the cast, crew, and everything and everyone in between. Mary agrees. Despite Cirque being unlike any other show on stage, it is like other shows off stage. “You learn by experience,” she says. And while a theatre degree certainly helps, Becky says that she would advise any aspiring stage manager to also take classes in management and communication to prepare them for backstage life. I caught up with Becky and Mary when they were both on maternity leave. Becky said the Cirque cast and crew has prepared her well for motherhood. “I’m a glorified mother [at Cirque],” Becky said with a laugh. It’s true—part of being a stage manager means rounding up the “kids,” making sure they are ready for the show, and generally keeping the rest of the “family” happy. The technical part of the job, of course, comes with “calling” the show, the term used for the cues the stage manager gives during the show as to when lights go on or off, when sets change, and, in true Cirque du Soleil fashion, when a cast member literally comes flying onto the stage. “I have a healthy fear of calling shows,” Becky says when I questioned her about what it’s like at work. But she’s no shrinking violet; this “fear” is simply something that keeps her on her toes for every second of the performance. And rightly so: there are 80 cast members in Ka (Mary has 65 in LOVE), and there’s a whole lot that can go wrong. Is every show a marvel of technical perfection? No, but that’s the beauty of live theatre. It used to frustrate Mary to no end when she’d go and talk to her advisor about her future career in the theatre. “What do you think?” she’d ask, and he’d reply, “Figure it out.” But that was one of the best lessons she could learn during school. “Professors advise—you figure it out,” she says. In college, theatre majors often set their sights on Broadway, but Las Vegas is about 2,000 miles away from midtown Manhattan. You won’t hear any complaints from Becky or Mary, though; be it Vegas or New York or any random city they experienced from their touring days, they’re doing the work that they love. {SOURCE: College Bound Network} BELIEVE - Radically Transformed? [EXPANDED] {Oct.29.2010} ----------------------------------------------- Once again Mike Weatherford of the Las Vegas Review-Journal has scored a number of juicy bits regarding the ongoing transformation of the Criss Angel/Cirque du Soleil partnership – BELIEVE: # # # Life is death without change, right?" For most of us, that's metaphoric wisdom. For Criss Angel, it's a little more literal. The magician says it in the same positive-thinking context that absorbs much of a late-night chat, after the second of two Saturday shows. It's one that's otherwise upbeat with animated talk of how he is "obsessed and passionate with the art of magic," and how he wants to "share my passion and my love for this art and make it the best it can be. Not because I have to, but because I want to." But two years ago this weekend? Well, it can't be stated in any high-planed way. "I got my ass handed to me." "Criss Angel: Believe" was supposed to be a can't-miss proposition. It teamed a magician who commanded a formidable TV fan base with the unstoppable Cirque du Soleil, which had conquered the Strip with five hit shows. On the day they went public in March 2007, there was no reason to doubt Angel and Cirque's promise to "reinvent magic like (Cirque) reinvented the circus." But from the earliest previews, word spread that "Believe" was coming off more like a shotgun marriage. The attempt to blend Cirque's artsy visuals with Angel's goth-rock appeal played like an art-damaged ballet. The Los Angeles Times called it a "gloomy, gothic muddle of a show that officially lurched into being on Halloween night like some patched-together Frankenstein's monster." Cut to the two-year anniversary. The props and costumes are familiar, but "Believe" has radically transformed; more than any Las Vegas production in recent memory. Gone down the rabbit hole is most of Cirque's original contribution: dancers, musicians and a surreal storyline framing the illusions as a near-death experience when one of Angel's stunts goes awry. What's replaced it? The show many fans might have expected in the first place: Angel playing the David Copperfield of his generation, chatting with fans and serving up one illusion after another; nearly 40, by his count, with two more still on the way. "People wanted to see 'Mindfreak,' " the 42-year-old says of the A&E series that took magic to real locations and young audiences in a six-season run. "They wanted to get to know Criss Angel, and they wanted to see parts of my personality that they typically wouldn't see on TV." Instead, Angel seemed more like the miscast star of a spectacle designed for another personality. "What we tried to do was just not right for the time and for Criss Angel. Maybe it would have been great if it was somebody else." The new "Believe" could be read as a giant step backward, to the more predictable showcase people might have expected before Cirque was attached. "I could have done it without Cirque and I could have made a lot more money, to be perfectly frank with you," he says. But he is philosophic about aiming high. "We tried to go down a road that hasn't been traveled," he says. "We were embarking on a journey together that was going to try to push the envelope. You try things, you think they're going to work. They're great in theory, but then they don't play out." In the early weeks after fans and critics jeered, Cirque officials stuck to the usual plan of "fixation" -- adjustments based on audience reaction -- that it employs for all its titles, whether they needed just a bit of tweaking ("Love") or a lot of work ("Zumanity"). But after six months, Cirque no longer promised a delivery date for an overhauled "Believe." Angel now says he and then-Luxor president Felix Rappaport lobbied to "give me the free rein to do what I wanted to do with the show." The near-death premise vanished a year ago; the dancers were released in June. When Cirque was readying "Viva Elvis" last winter, Gilles Ste- Croix, the company's top creative executive, noted, "We have changed our point of view on how to do magic. It rests really on the magician." "I wanted to direct the show from the beginning," Angel says of the job Cirque gave to Serge Denoncourt. "But I understand why, (with that) huge amount of money, you want to have somebody being the gatekeeper." The changes have saved Cirque money, and Angel claims "Believe" is "the No. 1 best-selling magic show in the world. The proof is somewhat in the pudding." (Copperfield might dispute that claim. In Las Vegas, he performs fewer shows each year in a smaller venue. But he still tours and plays sports arenas in some overseas markets.) Without officially closing the show for more than its scheduled breaks, Angel came in early each day to rehearse new illusions. "The pacing is now like a rock concert," he says. "No filler, no taking one moment and extending it longer than it has to be." The same seems to be true of Angel's offstage life. Two years ago, the magician was living in a Luxor suite and -- possibly playing the press to his own promotional ends --seemed to welcome any and all photos of him with his celebrity date of the week. But his image imploded with several bad-boy episodes, including a threatening outburst directed at Review-Journal columnist Norm Clarke at the Miss USA pageant in 2008. Angel has now turned into a suburban homeowner and significantly dialed down his club-hopping image. "Criss has learned," Ste-Croix noted last winter. "He was a big mouth to the press, and I think he has learned from that. The press has to be your ally and not against you." Angel now talks of being "a citizen of the world doing good things." Instead of "crawling under a rock," he says he "just chose to say, 'You know what? I'm not going to be the fuel for anybody to put stuff out there.' So I made a conscious decision to focus on the show, focus on my career, to try to better myself as opposed to letting myself get caught up in the negativity." So the haters will be frustrated. "Believe" goes on, and so does its star. "Four months from now, you'll see something new in there," he promises. "I'm a maniac as far as trying to make things the best they can be. We try to finesse and refine all of the moments. It's a never-ending process. And I think that's a very healthy process." {SOURCE: Las Vegas Review-Journal} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Corteo, Koozå, OVO, Totem & Varekai} o) ARENA - In Stadium-like venues {Saltimbanco, Alegría, Quidam, Dralion & Michael Jackson THE IMMORTAL World Tour} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, ZAIA, ZED, Believe & VIVA Elvis} o) VENUE - Venue & Seasonal productions {Wintuk, Iris, & "Radio City"} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. .) Dates so marked (*) are not official until released by Cirque du Soleil. For current, up-to-the-moment information on Cirque's whereabouts, please visit our website: < http://www.CirqueFascination.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Online at: < http://www.cirquefascination.com/?page_id=39 > Corteo: Moscow, Russia -- Oct 9, 2010 to Dec 12, 2010 Brussels, BE -- Jan 4, 2011 to Jan 16, 2011 Vienna, AT -- Feb 11, 2011 to Mar, 6, 2011 Madrid, ES -- Apr 2, 2011 to TBA Valencia, ES -- Jun 16, 2011 to TBA Alicante, ES -- Jul 28, 2011 to TBA Sevilla, ES -- Sep 8, 2011 to TBA Paris, FR -- TBA Koozå: Miami, FL -- Nov 12, 2010 to Dec 5, 2010 Tokyo, JPN -- Feb 2, 2011 to Apr 12, 2011 Ovo: Atlanta, GA -- Nov 4, 2010 to Dec 31, 2010 Dallas, TX -- Jan 28, 2011 to Feb 13, 2011 Houston, TX -- Mar 10, 2011 to Mar 27, 2011 Cincinnati, OH -- Apr 22, 2011 to May 8, 2011 Minneapolis, MN –- May 26, 2011 to Jun 12, 2011 Chicago, IL -- Jun 30, 2011 to TBA Seattle, WA -- Nov 17, 2011 to TBA Quidam: Bogota, CO -- Oct 19, 2010 to Nov 21, 2010 NOTE: Begins Arena Tour after Bogota! Totem: Amsterdam, NL -- Oct 7, 2010 to Dec 5, 2010 London, UK -- Jan 5, 2011 to Jan 30, 2011 Charlotte, NC -- Mar 3, 2011 to Mar 20, 2011 Baltimore, MD -- Apr 7, 2011 to Apr 24, 2011 Pittsburgh, PA -- May 12, 2011 to May 29, 2011 Montreal, QC -- Jun 16, 2011 to Jul 17, 2011 Toronto, ON -- Aug 4, 2011 to Sep 4, 2011 San Francisco, CA -- Oct 21, 2011 to TBA Varekai: Barcelona, ES -- Nov 5, 2010 to Dec 5, 2010 Taipei, TW -- Jan 20, 2011 to TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Online at: < http://www.cirquefascination.com/?page_id=1831 > Saltimbanco: Granada, ES -- Sep 29, 2010 to Oct 3, 2010 Madrid, ES -- Oct 5, 2010 to Oct 10, 2010 Lisbon, PT -- Oct 13, 2010 to Oct 24, 2010 Prague, CZ -- Nov 12, 2010 to Nov 14, 2010 Zagreb, HR -- Nov 17, 2010 to Nov 21, 2010 Belgrade, SB -- Nov 24, 2010 to Nov 28, 2010 Basel, CH -- Dec 1, 2010 to Dec 5, 2010 Budapest, HU -- Dec 8, 2010 to Dec 12, 2010 Nurnberg, DE -- Dec 15, 2010 to Dec 19, 2010 Antwerp, BE -- Dec 22, 2010 to Jan 2, 2011 Lille, FR -- Jan 5, 2011 to Jan 9, 2011 Paris, FR -- Jan 13, 2011 to Jan 15, 2011 Friedrichshafen, DE –- Feb 11, 2011 to Feb 13, 2011 Johannesburg, ZA -- Mar 9, 2011 to Mar 20, 2011 Cape Town, ZA -- Mar 23, 2011 to Apr 3, 2011 Perth, AU -- Apr 21, 2011 to Apr 29, 2011 Adelaide, AU -- May 12, 2011 to May 20, 2011 Melbourne, AU -- May 25, 2011 to Jun 3, 2011 Hobart, AU -- Jun 15, 2011 to Jun 19, 2011 Brisbane, AU -- Jul 8, 2011 to Jul 15, 2011 Newcastle, AU -- Jul 20, 2011 to Jul 24, 2011 Sydney, AU -- Jul 27, 2011 to Aug 5, 2011 Wollongong, AU -- Aug 17, 2011 to Aug 21, 2011 Auckland, NZ -- Aug 25, 2011 to TBA Alegría: Honolulu, HI -- Oct 15, 2010 to Oct 31, 2010 Boise, ID -- Nov 4, 2010 to Nov 7, 2010 Houston, TX -- Nov 10, 2010 to Nov 14, 2010 Phoenix, AZ -- Nov 17, 2010 to Nov 21, 2010 Tucson, AZ -- Nov 24, 2010 to Nov 28, 2010 El Paso, TX -- Dec 1, 2010 to Dec 5, 2010 Oklahoma City, OK -- Dec 22, 2010 to Dec 26, 2010 Wichita, KS -- Dec 29, 2010 to Jan 2, 2011 Baton Rouge, LA -- Jan 5, 2011 to Jan 9, 2011 Colorado Springs, CO -- Jan 12, 2011 to Jan 16, 2011 Broomfield, CO -- Jan 19, 2011 to Jan 23, 2011 Loveland, CO -- Jan 26, 2011 to Jan 30, 2011 Laredo, TX -- Feb 2, 2011 to Feb 6, 2011 Hidalgo, TX -- Feb 9, 2011 to Feb 13, 2011 Corpus Christi, TX -- Feb 16, 2011 to Feb 20, 2011 Tulsa, OK -- Feb 23, 2011 to Feb 27, 2011 North Charleston, SC -- Mar 17, 2011 to TBA Knoxville, TN -- Mar 23, 2011 to TBA Charlotesville, VA -- Mar 30, 2011 to TBA Atlantic City, NJ -- Apr 6, 2011 to TBA Greensboro, NC -- Apr 13, 2011 to Apr 17, 2011 Biloxi, MS -- Apr 20, 2011 to TBA Southaver, MS -- Apr 27, 2011 to TBA Roanoke, VA -- May 4, 2011 to TBA Columbia, SC -- May 11, 2011 to TBA Toledo, OH – May 18, 2011 to TBA Louisville, KY -- Jun 9, 2011 to TBA Nashville, TN -- Jun 15, 2011 to TBA Tampa, FL -- Jun 22, 2011 to TBA Jacksonville, FL -- Jun 29, 2011 to TBA Raleigh, NC -- Jul 6, 2011 to TBA Duluth, GA -- Jul 13, 2011 to TBA Sunrise, FL -- Jul 20, 2011 to TBA Charlotte, NC -- Aug 3, 2011 to TBA Estero, FL -- Aug 10, 2011 to TBA Quidam: Kingson, ON -- Dec 11, 2010 to Dec 14, 2010 Montréal, QC -- Dec 18, 2010 to Dec 30, 2010 Quebec, QC -- Jan 4, 2011 to Jan 9, 2011 Chicoutimi, QC -- Jan 12, 2011 to Jan 16, 2011 Vancouver, BC -- Mar 9, 2011 to Mar 13, 2011 Everett, WA -- Mar 16, 2011 to Mar 20, 2011 San Jose, CA -- Mar 24, 2011 to Mar 27, 2011 San Diego, CA -- Mar 30, 2011 to Apr 3, 2011 San Francisco, CA -- Apr 6, 2011 to TBA Long Beach, CA -- Apr 20, 2011 to Apr 24, 2011 Ontario, CA -- Apr 27, 2011 to May 1, 2011 Reno, NV -- May 4, 2011 to TBA Sacramento, CA –- May 11, 2011 to TBA London, ON -- TBA Hamilton, ON -- TBA Wilkes-Barre, PA -– Jun 15, 2011 to TBA Ottawa, ON -- TBA St. John's, NL -- TBA Saint John, NB -- TBA Providence, RI –- Jul 27, 2011 to TBA Hershey, PA -– Aug 18, 2011 to TBA Baltimore, MD –- Aug 31, 2011 to TBA Amherst, MA –- Sep 7, 2011 to TBA State College, PA -– Sep 14, 2011 to TBA Fort Wayne, IN –- Sep 21, 2011 to TBA Hartford, CT –- Sep 28, 2011 to TBA Reading, PA –- Oct 5, 2011 to TBA Pittsburgh, PA –- Oct 12, 2011 to TBA Milwaukee, WI –- Oct 19, 2011 to TBA Washington, DC –- Nov 16, 2011 to TBA Fayetteville, NC -– Nov 23, 2011 to TBA Greenville, SC –- Nov 30, 2011 to TBA Hampton, VA –- Dec 7, 2011 to TBA Worcester, MA -- TBA Toronto, ON -- TBA Dralion: Trenton, NJ -- Oct 20, 2010 to Oct 24, 2010 Buffalo, NY -- Oct 27, 2010 to Oct 31, 2010 Reading, PA -- Nov 3, 2010 to Nov 7, 2010 Youngstown, OH -- Nov 10, 2010 to Nov 14, 2010 Windsow, ON -- Nov 17, 2010 to Nov 21, 2010 Oshawa, ON -- Nov 24, 2010 to Nov 28, 2010 Worcester, MA -- Dec 16, 2010 to Dec 19, 2010 Philadelphia, PA -- Dec 21, 2010 to Jan 2, 2011 Boston, MA -- Jan 5, 2011 to Jan 9, 2011 Grand Rapids, MI -- Jan 12, 2011 to Jan 16, 2011 St. Louis, MO -- Jan 19, 2011 to Jan 23, 2011 Hoffman Estates, IL -- Jan 26, 2011 to Jan 30, 2011 Mobile, AL – Feb 2, 2011 to TBA Columbus, OH – Feb 9, 2011 to Feb 13, 2011 Detroit, MI -- Feb 16, 2011 to Feb 20, 2011 Austin, TX -- Mar 10, 2011 to Mar 20, 2011 San Antonio, TX -- Mar 23, 2011 to Mar 27, 2011 Des Moines, IA –- Mar 30, 2011 to TBA Springfield, IL -– Apr 6, 2011 to TBA Moline, IL –- Apr 19, 2011 to TBA Peoria, IL –- Apr 22, 2011 to Apr 24, 2011 Madison, WI –- Apr 26, 2011 to TBA Green Bay, WI –- Apr 29, 2011 to TBA Rockford, IL –- May 3, 2011 to TBA Kansas City, MO -– May 11, 2011 to TBA Abbotsford, BC -– Jun 2, 2011 to TBA Eugene, OR –- Jun 8, 2011 to TBA Victoria, BC –- Jun 22, 2011 to TBA Edmonton, AB –- Jul 6, 2011 to TBA Saskatoon, SK -– Jul 13, 2011 to TBA Winnipeg, MB -– Jul 20, 2011 to TBA Frisco, TX –- Jul 27, 2011 to TBA Indianapolis, IN -– Aug 3, 2011 to TBA Atlanta, GA –- Aug 25, 2011 to TBA Albany, NY –- Sep 7, 2011 to TBA Syracuse, NY –- Sep 14, 2011 to TBA Binghampton, NY –- Sep 20, 2011 to TBA Glens Falls, NY –- Sep 24, 2011 to TBA Portland, ME –- Sep 28, 2011 to TBA Cypress, TX -- Nov 17, 2011 to TBA Beaumont, TX -- Nov 23, 2011 to TBA Springfield, IL -– Nov 30, 2011 to TBA Richmond, VA –- Dec 7, 2011 to TBA Montreal, QC –- Dec 19, 2011 to TBA Michael Jackson THE IMMORTAL World Tour: Montreal, QC -- Oct 2, 2011 & Oct 3, 2011 Ottawa, ON -- Oct 7, 2011 Hamilton, ON -- Oct 12, 2011 Detroit, MI -- Oct 15, 2011 London, ON -- Oct 18, 2011 Toronto, ON -- Oct 21, 2011 Winnipeg, MB -- Oct 26, 2011 Saskatoon, SK -- Oct 29, 2011 Edmonton, AB -- Nov 1, 2011 Vancouver, BC -- Nov 4, 2011 Seattle, WA -- Nov 9, 2011 Portland, OR -- Nov 18, 2011 Salt Lake City, UT -- Nov 29, 2011 Las Vegas, NV -- Dec 3, 2011 to Dec 11, 2011 Denver, CO -- Jan 6, 2012 Sacramento, CA -- Jan 10, 2012 San Jose, CA -- Jan 13, 2012 Oakland, CA -- Jan 18, 2012 San Diego, CA -- Jan 21, 2012 Anaheim, CA -- Jan 24, 2012 Los Angeles, CA -- Jan 27, 2012 Houston, TX -- Feb 10, 2012 Miami, FL -- Mar 2, 2012 Quebec City, QC -- Mar 24, 2012 New York City, NY -- Apr 3, 2012 Philadelphia, PA -- Apr 10, 2012 Atlanta, GA -- Jun 29, 2012 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- NOTE: (*) Prices are in United States Dollars (USD) unless otherwise noted. (*) Ticket prices exclude the 10% Live Entertainment Tax, the $7.50 per-ticket processing fee, and sales tax where applicable. Online at: < http://www.cirquefascination.com/?page_id=40 > Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2010 Ticket Prices (adult) / (child 5-12): o Category 1: $109.00 / $54.50 o Category 2: $99.00 / $49.50 o Category 3: $79.00 / $39.50 o Category 4: $69.00 / $34.50 o Category 5: $60.00 / $30.00 (Limited View) 2010 Dark Dates: o November 3 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:30pm 2010 Ticket Prices: o Orchestra: $150.00 o Loggia: $130.00 o Balcony: $99.00 o Limited View: $93.50 2010 Dark Dates: o December 8 - 21 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2010 Ticket Prices (adults) / (child 3-9): o Category 0: $120.00 / $97.00 o Category 1: $105.00 / $85.00 o Category 2: $85.00 / $69.00 o Category 3: $69.00 / $56.00 o Category 4: $55.00 / $45.00 2010 Dark Dates: o November 16 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday Dark: Wednesday & Thursday Two Shows Nightly - 7:30pm and 10:00pm 2010 Ticket Prices (18+ Only!): o Duo Sofas: $135.00 o Orchestra Seats: $99.00 o Upper Orchestra Seats: $79.00 o Balcony Seats: $69.00 o Cabaret Stools: $69.00 2010 Dark Dates: o November 30 o December 1 - 14 2010 Added Performances: o November 29th o December 30th KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2010 Ticket Prices (adult) / (child 5-12): o Category 1: $150.00 / $75.00 o Category 2: $125.00 / $62.50 o Category 3: $99.00 / $49.50 o Category 4: $69.00 / $34.50 2010 Dark Dates o November 16 - 17 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2010 Ticket Prices: o Lower Orchestra: $150.00 o Upper Orchestra: $130.00 o Lower Balcony: $99.00 o Middle Balcony: $93.50 2010 Dark Dates: o December 3 - 13 ZAIA: Location: Venetian, Macao (China) Performs: Every Day, Dark: Wednesday One to Two Shows Daily - Times Vary 2010 Ticket Prices (adult) / (child 2-11): o VIP Seating: MOP$ 1288 / MOP$ 1288 o Reserve A: MOP$ 788 / MOP$ 394 o Reserve B: MOP$ 588 / MOP$ 294 o Reserve C: MOP$ 388 / MOP$ 194 ZED: Location: Tokyo Disneyland, Tokyo (Japan) Performs: Varies One to Two Shows Daily - Showtimes vary 2010 Ticket Prices (Non-Peek / Peek Time): o Category 1 ("Premium"): ¥15,000 / ¥16,000 o Category 2 ("Stage-Side"): ¥12,500 / ¥13,500 o Category 2 ("Center"): ¥12,500 / ¥13,500 o Category 3 ("Wide View"): ¥9,500 / ¥10,500 o Category 4 ("Value"): ¥7,500 / ¥7,800 BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 10:00pm NOTE: Children under the age of 12 must be accompanied by an adult. Children under the age of five are not permitted into the theater. 2010 Ticket Prices (all): o Category 1: $160.00 o Category 2: $125.00 o Category 3: $99.00 o Category 4: $79.00 o Category 5: $59.00 2010 Dark Dates: o None Remaining VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2010 Ticket Prices (Previews / Regular) o Category 1: $149.38 / $175.00 o Category 2: $128.75 / $150.00 o Category 3: $108.13 / $125.00 o Category 4: $86.68 / $99.00 2010 Dark Dates: o November 17 - 25 -------------------------------------- VENUE - Venue & Seasonal Productions -------------------------------------- Online at: < http://www.cirquefascination.com/?page_id=251 > Wintuk: Location /// Madison Square Garden New York City, NY (USA) Regular Performances /// November 17, 2010 through January 2, 2010 Wenesdays through Sundays No Performances /// There are no performances on Monday and Tuesday (with the exception of December 21, 27 and 28, 2010). Ticket Prices /// Ticket prices range from from $30 to $220 based on category and performance date. Please see the Cirque du Soleil website for ticket details: < http://www.cirquedusoleil.com/en/shows/wintuk/ tickets/schedule.aspx > IRIS: Location /// Kodak Theatre Hollywood, CA (USA) Performances /// Opens July 22, 2011 Ticket Prices /// Previews: Category 0 = $203.00 Category 1 = $100.50 Category 2 = $78.00 Category 3 = $59.25 Category 4 = $33.00 Weekday Matinee: Category 0: $253.00 Category 1: $133.00 Category 2: $93.00 Category 3: $68.00 Category 4: $43.00 Saturday Matinee: Category 0: $253.00 Category 1: $133.00 Category 2: $103.00 Category 3: $78.00 Category 4: $43.00 ZARKANA: http://www.facebook.com/ZarkanaCirque Location /// Radio City Music Hall New York City, NY (USA) Performances /// June 9, 2011 through September 4, 2011. Ticket Prices /// Previews: Category 1 = $250.00 Category 2 = $120.00 Category 3 = $70.00 Category 4 = $47.00 Fri Eve, Sat Mat, Sat Eve, Sun Mat: Category 1: $300.00 Category 2: $130.00 Category 3: $75.00 Category 4: $52.00 Tues Eve, Wed Mat, Wed Eve, Thurs Eve, Fri Mat, Sun Eve: Category 1: $250.00 Category 2: $130.00 Category 3: $75.00 Category 4: $52.00 ======================================================================= OUTREACH - UPDATES FROM CIRQUE'S SOCIAL WIDGETS ======================================================================= --- [ ALEGRIA ] --- {Oct.22} "If you’re going for a spectacle, go see 'Alegría'; If you want to laugh, go see 'Alegría.' If you want to be awestruck by the creativity of the human mind and the diverse capabilities of the human body, go see 'Alegría'." LINK /// < http://www.honolulupulse.com/events/ review-cirque-du-soleils-alegria > {Oct.16} In Hawai'i, it is the custom to welcome malihini, visitors, with aloha. Yesterday, children of Kawaiaha'o School welcomed the cast with a lei greeting...a colorful and vibrant moment! FOTO [6] /// < http://www.facebook.com/album.php? aid=294910&id=38543815745&ref=mf > {Oct.15} Training with High Bar in Hawai'i... after the weather! VIDEO /// < http://www.hawaiinewsnow.com/Global/ category.asp?C=6743&clipId=5198111&autostart=true > {Oct.01} Take a look at some photos from our Honolulu media event! After the event, some members of the media had the chance to snap some photos with some members of our cast. FOTO [15] /// < http://www.facebook.com/album.php? aid=284230&id=38543815745&ref=mf > --- [ CORTEO ] --- {Oct.08} Film about a Cirque du soleil show, Corteo. Part 1. VIDEO [6:54] /// < http://www.youtube.com/watch?v=4sb9Er2Ohbo > --- [ CRISS ANGEL BELIEVE ] --- {Oct.26} In case you missed it, check us out on last night's episode of Lopez Tonight on TBS! LINK /// < http://www.stumbleupon.com/su/7znLFO/www. lopeztonight.com/episode_recaps_and_ highlights/criss_angel_eats_razor_blades.php > --- [ DRALION ] --- {Oct.28} Great review from Dralion in Buffalo! LINK /// < http://www.buffalonews.com/ entertainment/article233677.ece > {Oct.17} Here's amazing pictures from our rehearsal in Charlottesville FOTO [14] /// < http://www.facebook.com/album.php? aid=538325&id=39340140194&ref=mf > {Oct.15} Cirque Du Soleil's 'Dralion' unites East and West - NJ.com LINK /// < http://www.nj.com/entertainment/times/index.ssf ?%2Fbase%2Fentertainment-2%2F128712153466700.xml&coll=5 > {Oct.11} Entering the USA FOTO [8] /// < http://www.facebook.com/album.php? aid=524880&id=39340140194&ref=mf > {Oct.08} Wardrobe doing some last touch on a costume. Last week of rehearsals in Montreal!!! FOTO [2] /// < http://www.facebook.com/album.php? aid=518547&id=39340140194&ref=mf > --- [ KA ] --- {Oct.29} Happy almost Halloween, KÀ fans! If anyone is dressing up as a KÀ character this year, please send us some pics! A few weeks ago we hosted a blogger to watch a special rehearsal of the Battle scene, one that no one has seen yet. We can't give everything away, but here's a hint. Enjoy and be safe this weekend! LINK /// < http://escaping-mediocrity.com/uncommon- business/grow-evolve-strive/ > {Oct.27} Arts & KÀ-rafts: Who says gingerbread houses are only for Christmas? The artists and staff at KÀ decided to give some hot glue and empty calorie love to Halloween this year. We'll be using them to raise some money for charity but all you need to do is tell us which one is your favorite! FOTO [5] /// < http://www.facebook.com/album.php? aid=297548&id=31527171928&ref=mf > {Oct.17} Here are a few behind-the-scenes shots from our photo shoot from a few weeks ago. This is just a small sample, because we don't want to give everything away, but let us know which are your favorites so far! FOTO [17] /// < http://www.facebook.com/album.php? aid=294458&id=31527171928&ref=mf > --- [ KOOZA ] --- {Oct.08} 5 minutes with: Adam Miller, Artistic Director of KOOZA LINK /// < http://www.metronews.ca/calgary/local/article/ 637467--5-minutes-with-adam-miller > {Oct.04} How to become a good Pickpocket? Learn a few lessons from the KOOZA pickpocket Michael Halvarson! LINK /// < http://www.calgarysun.com/news/alberta/ 2010/09/30/15540141.html > --- [ LA NOUBA ] --- {Oct.01} La Nouba by Cirque du Soleil The cast and crew at La Nouba do their part on World Smile Day, which is the first Friday in October each year. The theme this year is “Do an act of kindness to make one person smile!” The iconic Smiley is one of the most recognizable symbols on the planet. It was created in 1963 by Harvey Ball, a commercial artist from Worcester, MA. FOTO [62] /// < http://www.facebook.com/album.php? aid=217931&id=16315569901&ref=mf > --- [ MYSTERE ] --- {Oct.30} Hello Mystère fans! A few weeks ago Marco and Paulo Lorador, the brothers who perform our spectacular Hand-to-Hand act, were inducted as 2010 Acrobatic Legends in the World Acrobatic Society. Please join us in congratulating them on this well- deserved honor! FOTO [1] /// < http://www.facebook.com/photo.php?fbid= 485467374918&set=a.121054974918.123251. 18155469918 > {Oct.29} Mystère by Cirque du Soleil Happy almost Halloween, Mystère fans! If you don't have a costume yet, here's a suggestion - a mix of the Mystère Frog and Lizard with a little bit of Elvis. Here's a photo for inspiration. (Thanks to our friends at Viva ELVIS for letting us invade their theatre last night!) If anyone is dressing up as a Mystère character for Halloween please send us your pics! LINK /// < http://www.facebook.com/photo.php?fbid= 484985064918&set=a.121054974918.123251. 18155469918 > {Oct.26} Last Monday Mystère invaded Treasure Island's popular country bar Gilley's with a bunch of Spermatos, Spermatites, a Lizard and a flowy and ethereal singer in honor of our 8,000th performance. We even enjoyed a performance of our own from Gilley's fantastic trick bullrider, until the Mystère characters took over! 8,000th Performance Cocktails & Spermatos! FOTO [28] /// < http://www.facebook.com/album.php? aid=287820&id=18155469918&ref=mf > {Oct.16} This past Wednesday, Mystère and Treasure Island welcomed guests out to the pool to enjoy some music, food and drinks in honor of our upcoming 8,000th performance. A huge thank you to everyone for spending time with us on a beautiful October evening, and special thanks to our friends at 107.9FM and Kahunaville! FOTO [14] /// < http://www.facebook.com/album.php? aid=284854&id=18155469918&ref=mf > --- [ SALTIMBANCO ] --- {Oct.20} Saltimbanco by Cirque du Soleil Going to Prague real soon !! LINK /// < http://www.expats.cz/prague/article/prague- entertainment/cirque-du-soleil-in-prague/ > {Oct.06} Check out this great review of Saltimbanco! LINK /// < http://www.rtve.es/noticias/20101006/circo-del-sol- trae-esencia-su-filosofia-circense- saltimbanco/359365.shtml > {Oct.05} Saltimbanco by Cirque du Soleil En Madrid! LINK /// < http://www.adn.es/impresa/cultura/ 20101004/NWS-0143-Llega.html > {Oct.04} The latest group shot taken in Granada! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=473705077958&set=a.121288542958. 129859.41245692958 > --- [ TOTEM ] --- {Oct.15} Totem in the Press: LINK /// < http://www.facebook.com/photo.php? fbid=160736130613752&set=a.111837202170312 .12495.111798252174207 > --- [ WINTUK ] --- {Oct.27} Throw a Wintuk virtual snowball at your friends. It's cool! You've Been Hit by a Snow Note! There's a snowy surprise from Wintuk (and me!) waiting for you on the other side of this link... LINK /// < www.wintuksnownote.com > {Oct.25} Russian Bars Training FOTO [6] /// < http://www.facebook.com/album.php? aid=550936&id=98244255320&ref=mf > {Oct.25} The Wintuk artists continue rehearsals in Montreal at the Cirque du Soleil Headquarters. See how fast a Power Track artist moves... FOTO [1] /// < http://www.facebook.com/photo.php?fbid= 10150293116590321&set=a.222882910320. 276944.98244255320 > {Oct.21} Here's a look at what the Wintuk promo team was up to lately! FOTO [10] /// < http://www.facebook.com/album.php? aid=475966&id=98244255320&ref=mf > {Oct.18} Wintuk at Time Out NY Fall Kids Festival FOTO [6] /// < http://www.facebook.com/album.php? aid=547714&id=98244255320&ref=mf > {Oct.15} Bringing sunshine – and winter – to young patients... LINK /// < http://www.facebook.com/photo.php?fbid= 10150284239320321&set=a.222882910320. 276944.98244255320 > --- [ ZED ] --- {Oct.29} ZED was part of the Otobutai Festival at the Todaiji Temple in Nara with our beautiful Hand to Hand act. Watch on MBS TBS on November 3rd from 9:55 to 10:50 LINK /// < http://www.mbs.jp/oto/ > {Oct.26} For our friends in Brasil- Serginho Groisman visited ZED and interviewed our 4 Brazilian artists: Douglas, Pedro, Lenny and Paulo LINK /// < http://video.globo.com/Videos/Player/Entretenimento/ 0,,GIM1362119-7822-SERGINHO+GROISMAN+APRESENTA+OS+ BASTIDORES+DO+CIRQUE+DU+SOLEIL,00.html > --- [ ZUMANITY ] --- {Oct.27} Did you miss us on KTNV Channel 13 tonight? Have no fear.... see below for a clip from the segment that features amazing how-to makeup tips for this Halloween! VIDEO [3:06] /// < http://www.youtube.com/watch?v=pjxguTIm46Q > {Oct.26} Zumanity Celebrates Seven Sensual Years! FOTO [17] /// < http://www.facebook.com/album.php? aid=252641&id=13931088846&ref=mf > {Oct.19} Check out the Wedding Issue of SoCal Scene magazine, out now! Photo shoot at our gorgeous theatre and showcasing our fabulous Botero Sisters & Edie! LINK /// < http://flipflashpages.uniflip.com/1/23982/42335/pub/ > {Oct.04} Zumanity at 13th Annual Gay Days Anaheim - 10/02/10 FOTO [11] /// < http://www.facebook.com/album.php? aid=246754&id=13931088846&ref=mf > ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * Nov.01.1996 –- Alegría opened Hong Kong * Nov.01.2004 -- "20 Years Under the Sun" Book Published * Nov.02.2004 –- Region 01 DVD Release: Fire Within and La Nouba * Nov.02.2006 –- Saltimbanco opened Rio de Janiero, Brazil * Nov.03.1999 –- Quidam opened Madrid, Spain * Nov.03.2005 –- Quidam opened Hong Kong * Nov.03.2010 –- Cirque Announces CIRQUE MJ * Nov.04.2001 –- Dralion wins 3 Emmys: Outstanding Variety, Music or Comedy Special Outstanding Directing for a Variety or Musical Outstanding Costumes for a Variety or Music Program * Nov.04.2004 –- Quidam opened Brisbane * Nov.04.2004 –- Varekai opened Dallas * Nov.04.2009 –- Corteo opened Tokyo * Nov.04.2010 –- OVO opened Atlanta, GA * Nov.04.2010 –- Alegría Arena opened Boise, ID * Nov.04.2010 –- Tickets go on sale for Cirque MJ Extravaganza * Nov.05.2002 -- Varekai CD released in Canada (BMG/CDS Musique) * Nov.05.2002 –- NBC purchased BRAVO, the Official Network of Cirque in US * Nov.05.2004 -- Dralion celebrated its 2000th performance [Madrid, Spain] * Nov.05.2010 -– Varekai opened Barcelona, ES * Nov.06.2002 –- Quidam opened Tampa Bay * Nov.06.2003 –- Alegría opened San Francisco * Nov.06.2009 –- Cirque officially announces VIVA ELVIS name * Nov.07.1996 -- Saltimbanco opened Frankfurt * Nov.07.1997 –- Alegría opened Dusseldorf * Nov.07.2002 –- Varekai opened San Francisco * Nov.07.2002 –- Varekai canceled in San Francisco due to Wind Gusts * Nov.07.2009 –- Mystère/KÀ performs at Latin Grammy’s * Nov.08.1987 -- Cirque Réinventé (Vol 1) CD Released (Nâga) * Nov.08.1994 -- Cirque Réinventé CD Released in US (RCA/Victor) * Nov.08.1994 -- Mystère CD released in US (RCA/Victor) * Nov.08.2007 –- Corteo opened Orange County, California * Nov.09.1999 -- Dralion CD released in US (RCA/Victor) * Nov.09.2006 –- Varekai opened Brisbane * Nov.09.2010 –- VIVA ELVIS CD Released * Nov.10.1992 -- Nouvelle Expérience opened in Las Vegas * Nov.10.1995 -- Saltimbanco opened Vienne * Nov.10.2010 -- Alegría Arena opened Houston, TX * Nov.10.2010 –- Dralion Arena opened Youngstown, OH * Nov.11.2005 –- Corteo opened San Francisco * Nov.12.1996 -- Mystère Live CD released in US (RCA/Victor) * Nov.12.1998 –- Alegría opened Frankfurt * Nov.12.2010 –- Koozå opened Miami, FL * Nov.12.2010 –- Saltimbanco Arena opened Prague, CZ * Nov.13.2002 –- Dralion opened Phoenix * Nov.13.2003 –- Cirque presented at the Air Canada Centre in Toronto to Honor Prime Minister Jean Chrétien * Nov.13.2008 –- Corteo opened Miami * Nov.14.2009 –- ZAIA celebrated 500th Performance * Nov.15.1993 -- "Cirque du Soleil" 10th Anniversary Book Published * Nov.16.1995 -- Alegría opened Atlanta * Nov.16.2001 -- Dralion opened Dallas * Nov.16.2007 –- Quidam opened Mexico City, Mexico * Nov.16.2007 –- Koozå opened San Francisco, California * Nov.17.2005 –- Saltimbanco opened Guadalajara * Nov.17.2010 –- Saltimbanco Arena opened Zagreb, HR * Nov.17.2010 -- Alegría Arena opened Phoenix, AZ * Nov.17.2010 -- Dralion Arena opened Windsow, ON * Nov.18.1993 -- Saltimbanco opened Atlanta * Nov.18.2005 –- Dralion opened Bilbao * Nov.19.1991 -- Nouvelle Expérience opened Atlanta * Nov.19.1998 -- «O» CD Released in Canada (RCA/Victor) * Nov.19.2001 –- Region 01 DVD Release: Inside La Nouba * Nov.19.2002 -- Alegría premiered on Bravo at 8:00pm EST * Nov.20.1989 -- Cirque Réinventé opened San Diego * Nov.20.1997 –- Quidam opened Houston * Nov.20.2006 –- Diesel Marketing (Cirque Website) becomes Sid Lee * Nov.20.2008 –- Varekai opened Madrid * Nov.21.1993 -- Nouvele Expérience closed in Las Vegas * Nov.21.2006 –- LOVE CD Released in US (Capitol Records) * Nov.21.2008 –- ZED Celebrated 100th Performance * Nov.21.2010 –- Curtain falls on Quidam Bigtop Tour (Bogota, Columbia) * Nov.22.2001 -- Quidam opened London * Nov.22.2005 –- Saltimbanco opened Mexico City * Nov.22.2007 –- Alegría opened Belo Horizonte, Brazil * Nov.23.2009 –- Dralion Juggling act on Mexican Awards Show, Los Premios * Nov.24.1998 -- «O» CD Released in US (RCA/Victor) * Nov.24.2010 –- Saltimbanco Arena opened Belgrade, SB * Nov.24.2010 -- Alegría Arena opened Tucson, AZ * Nov.24.2010 -- Dralion Arena opened Oshawa, ON * Nov.25.1999 -- Saltimbanco opened Singapore * Nov.25.2004 –- Saltimbanco opened Lille * Nov.26.2004 -- KÀ Premiered (Preview Performances Begin) * Nov.26.2009 –- Dralion opened Mexico City * Nov.27.2008 -- Asociación de Cronistas del Espectáculo awards Alegría * Nov.27.2008 –- Dralion opened Brisbane * Nov.27.2009 –- OVO opened San Francisco * Nov.28.1989 –- Cirque Réinventé opened Phoenix * Nov.28.2002 –- “Run Before You Fly” documentary premiered on BRAVO * Nov.28.2003 –- Saltimbanco opened Valencia * Nov.29.1991 –- Nouvelle Expérience opened Atlanta * Nov.30.2000 –- Dralion opened Atlanta * Nov.30.2002 –- “Fire Within” premiered on ArTV in Canada * Nov.30.2003 –- “SOLSTROM” premiered on CBC * Nov.xx.1999 –- Region 01 DVD release: Alegría: Le Film * Nov.xx.2001 –- Quidam celebrated 2000th performance [Zurich] ======================================================================= FASCINATION! FEATURES ======================================================================= ------------------------------------------------------- "Jerry Nadal: Keeping the Value (Part 1 of 2)" By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------- We love Las Vegas, my wife and I. Not the gambling mind you, but the atmosphere, the ambiance, the life of the place. And the shows, especially the Cirque shows. Seeing Mystère together, and realizing the joy we shared in that beautiful show, was one of the experiences that helped cement our relationship. Over the years the Las Vegas market has become a critical part of Cirque’s business as they have expanded from one to now seven (soon to be eight) shows on the strip. The overall management of those shows, as well as others taking up residencies in cities around the world, now rests in the hands of Jerry Nadal, Senior Vice-President of the Resident Shows Division. We got to know Mr. Nadal during the planning and execution of CirqueCon 2006: Las Vegas! (www.cirquecon.com), when he was General Manager of Resident Shows. With his approval the Resident Shows division staff (as well as staff at the five Vegas shows) pulled out the stops to make the weekend truly memorable for our members. As we were preparing for our latest trip to Las Vegas (to see Viva Elvis! and catch BeLIEve “2.0”) we asked if we could sit down with Mr. Nadal for a chat, to talk about the shows and his outlook on things of interest to Cirque fans. We were delighted when the theater veteran with much press experience (“I was even asked why we hire kids, because it’s ‘child abuse.’”) found time in his busy schedule. Our hopes were dashed, however, when an equipment delay on our connecting flight to Las Vegas meant we would miss our appointment. But fortunately for us, Mr. Nadal (who was also experiencing travel mishaps himself) had time on our last day in Vegas. It was mid-morning on Monday, September 17, 2010 when we arrived at the newly-renovated Cirque Resident Shows HQ just south of McCarran Airport. The heat of mid-morning abated quickly as we waited inside the building just next to the new front desk area. It was also the day representatives from several area universities were in the building talking with artists about educational opportunities and career transition topics. Mr. Nadal greeted us soon after we arrived and escorted us back to his office on the south side of the building, a private office with windows facing the Airport. The occasional soft roar of jets and heavy trucks rumbling down East Sunset Road provided a backdrop to our conversation. 51 year-old Jerry Nadal (Nay-DELL – “It’s Spanish; my grandfather came from Spain.”) hails originally from New York. He spoke openly and frankly about Cirque and its business. Some of what we spoke about at the time would later change – it wouldn’t be too long after we spoke that Banana Shpeel was cancelled and closed, the Radio City Music Hall show was named (Zarkana) , and the “Michael Jackson The Immortal World Tour” was announced and tickets put on sale. Placing Priorities ------------------ But we first wanted to hear about his history. While he might have ended up where he wanted to be, it didn’t start out that way. “I have a bachelor’s degree in Transportation Management and I’d always wanted to go to law school. You think of all the touring I did, it actually works! (laughs). I really did a whole business track.” “In my junior year of college I worked for Irving Trust Bank on Wall Street and from there went to United States Lines. Then I started going back to school, looking at some marketing courses, and left U.S. Lines because they were going through bankruptcy. I ended up at Chase Manhattan Bank doing marketing at the branch level. But I had always done theater work on the side, tons of community theater.” “When I was 28 I realized I was calling in sick for a week at a time because I was working [overnights during technical rehearsals] at the theater as a Technical Director. I forget what production I was doing, I think it was, “Anything Goes.” I came home [one morning] and it was like 5:30am. I was [living] at my parents’ house and they were having breakfast, getting ready to go to work. They knew it was tech week so my Dad said, “Are you going to work today?” I said, “No, I’m not going in all week.” And he said, “Don’t you think your priorities are a little misplaced?” I said, “I’d love to have this conversation with you, but I’m going upstairs and going to sleep now.” (laughs) But the question stayed with him and got him thinking, though perhaps not in the way his father might have intended. “Right after the show opened I went in to Chase and quit. I just said nope, not interested in doing this anymore. And they thought it was a joke until they realized everything was gone from my desk.” “My first [“real” theater] job was a couple of months after that in the Equity Library Theater in Manhattan which has since closed (Ed: in 1990). They were like a workshop place, a “letter of agreement” theater. That was my first gig, five dollars a day. My parents thought I had completely lost my mind, but they were supportive. They said, “As long as you can pay your bills, do you thing.” And that’s where I started doing theater work.” As his career developed, Mr. Nadal worked his way up through the theater ranks to working in Las Vegas. “I was Business Manager on “Starlight Express” when it was running at the Las Vegas Hilton. We opened on September [14] of 1993, a few months before Mystère opened. I [had] never lived here; I was working for Troika Entertainment (www.troika.com) doing a lot of Broadway stuff - one-night-ers, touring. When “Starlight” closed in 1997 (Ed: Nov 30) Karen Gay (who is now our Director of Global Citizenship) was Company Manager. [Cirque] had just posted an opening for a Company Manager job on Mystère [which Karen got]. Karen called me one day a couple of months later and said, “Hey, they’re looking for a Company Manager in Biloxi [Mississippi]. Steve Wynn’s (Ed: then-CEO of Mirage Resorts) building a place down there and they’re going to put in one of the touring shows. Would that be something you’d be interested in?” “I’d had enough of the one-nighter Broadway circuit so I put my resume in [and] flew out to Vegas [to meet] with Bill Riske (the General Manager at the time) and June Wood (the H.R. director). [Cirque] had four shows running at the time, and we talked about Biloxi and they asked if I would ever be interested in a position in Vegas. And I said no, I don’t like Las Vegas - and I learned never say never!” It seemed he was in the right place at the right time as he accepted the Company Manager position for “Alegría” at the Beau Rivage. “I think timing in life is everything.” “When I started [Cirque] was a very small company [and] in 1998 we had just de-centralized. Which, if you look back now, was probably too much too soon given that we didn’t have all that much product [at the time]. But [that] was the year we almost doubled the size of the company; “O” and La Nouba opened and we had Dralion in production which opened in April of ‘99.” “We moved Alegría into the theater at the Beau Rivage in Biloxi (Ed: opening on May 20, 1999). So I started in the Resident Shows division, which was brand new at the time. They created the division because [prior to that] it had only been Mystère, and “O” was coming online [soon]. I got to work with the European division because Alegría was in Europe, and I went over there to negotiate contracts with the artists [for the Biloxi run]. So I got to meet all the people in the Amsterdam office and worked with that group. I [also] stayed with [Alegría] for the last few cities because the Tour Manager at the time was getting ready to bring Quidam over from the U.S.” Then in Montréal I met a lot of people because we had a production team [there]. [And also] working with the Vegas [Resident Shows] division proper. We ran about 18 months down [in Biloxi] and then put the show on tour (Ed: to Australia and Singapore). They asked me to stay as the Tour Manager, so I took the show over to Asia and got to work with everybody in the Singapore office. [It was during] our Asia tour in 2001 when [Cirque President] Daniel Gauthier gave his notice and said he was leaving the company. So we re-centralized the company, closing the Singapore office and downsized the Amsterdam operation. I then began working under Jacques Marois and the people in Montréal for a year. I then left the [Alegría] tour to come here and start as Company Manager on KÀ, which then started to have its multiple delays because of the size and scale of the thing.” “So I really made my way around the company and got to meet all of the major players at the time. And about three months before we were going to open KÀ Michael Bolingbroke, who was [General Manager of Resident Shows] at the time was given a promotion. [Cirque CEO] Daniel [Lamarre] wanted him back in Montréal and he became Senior Vice-President [of Resident Shows]. They posted the General Manager job and I got [it]. And when Michael left the company (Ed: In 2007 to become Chief Operating officer of England’s Manchester United football club (www.manutd.com)), Daniel then took his job and split it up. It wasn’t even an option - he said, “I’m making you Senior Vice- President!” (laughter) So that’s how we get to today.” As befits the title of Senior Vice-President his responsibilities are wide-ranging, which means lots of meetings and travel. It also gives him the opportunity to be on the Board of Directors for the local NPR affiliate, KNPR 88.9FM. Though it makes him wish for more time for himself and his kids, twin boys Harrison and Wilson that he and his partner Gene Lubas (Artistic Director at Viva Elvis!) adopted in 2007. “For the Resident Shows I’ve got [responsibility for] 12 shows. Seven here [in Las Vegas], one [each] in Orlando, Macao and Tokyo. And Theater Shows [which includes] Wintuk, Banana Shpeel, the Radio City Music Hall production, and Kodak. And the Asia operations.” “So I oversee two General Managers and everything that’s under them. (Ed: They would be Kathy Meranchnik-VP & GM Theatre Shows Division and Jack Kenn-VP & GM Resident Shows Division.) The General Managers are really focused on operations for the shows. And I have the division level stuff; finance, H.R., I.T., Marketing & Sales. [I’m] generally [responsible for] the operations of shows and anything that’s new, [such as] when the contract is signed [and] it comes to us and we start gearing up for the operational and sales and marketing aspect.” Looking for Opportunity ----------------------- We began our discussion of Cirque business by asking how the demographics of the various show types (touring, arena, resident, theater) vary. “The one thing I found, even doing the touring shows in Australia and Asia and over in Europe with Alegría, is that the demographics on tour tend to be more families. Although with La Nouba at Downtown Disney we find that the audience is never more than 10% children at any given time. We see fewer families, obviously, here in Las Vegas.” “In Tokyo [for ZED] it’s much broader. Many more kids, mostly women and children. Men make up a much smaller proportion of that market just because of the way Japanese culture works. [In] most families the wife does not work and stays home with the kids. So that’s why we have primarily a matinee schedule in Tokyo. And also because of the distance from Tokyo out to Tokyo Disney Resort. The shows are at 1pm and 4pm now. We have about 20 night-time shows scheduled at 7pm (Ed: spaced out over several months) because of school trips and the group sales we do, and then we’re adding performances where necessary.” With seven shows currently running in Las Vegas, press and fans are wondering if the forthcoming Michael Jackson resident show will be the long-discussed “saturation point?” “Guys’ take was always, “If there’s a theater there [and] somebody’s going to have a show in it, it may as well be one of mine.” And I think we’ve made a conscious effort that, [although] there are similarities between “O” and Mystère - what you might call “classic old-style Cirque shows” - I think everything else we’ve done since then has been a broad departure.” “There are people that look at Viva Elvis! and say it’s not enough Cirque. But if we asked people, “If we took the Cirque name off of it what would you think?” they’d say it’s phenomenal. So it’s an educational process with the audience, on the marketing side it’s about how we market and how we go after market segmentation.” “I think Michael Jackson will be something different, and [will] bring a whole different audience. Because Michael Jackson was popular across generations. So I think you’ll have people that are my age that grew up with Michael Jackson and you’ll have those fans that continue to follow him. And it’s going to bring us a large African- American audience which we don’t currently attract right now. So I see nothing but opportunity there for us.” Mr. Nadal has been qoted as saying that 85-89% of Cirque’s Las Vegas tickets are sold within 1 week of performance, and that half of Mystère’s tickets are sold day of show. Changing economic conditions mean that statistic is in need of revision. “That was an old article. Now I would go even further and say the majority of our tickets are being sold within 3 days of performance, the majority being sold day of. Especially in this market.” Even “O” with its legendary sell-outs? ““O” doesn’t have the advance [sales] it used to. [In Las Vegas] we sell on a four-month rolling advance, so we’re always opening up weeks of shows [four months in the future] as we move forward. And [for “O” they] would always essentially sell out [way in advance]. But that’s not the case anymore; we’re probably selling out a maximum of a month [in advance].” “But it totally reflects the traffic coming into the market. There’s a lot of last-minute people coming in, a lot of package deals. We’ve sold a lot more tickets within the context of packaging with tour operators than we’ve had in the past, because people that are coming here [now] are really on a budget. Very quickly, within three months in 2009 the market went from high-end convention into maybe what Vegas was 20 years ago.” But that change doesn’t mean they would consider revamping the Las Vegas shows, as has been done with La Nouba, ZED and ZAIA. “Let’s take Mystère for example, which is the oldest [Las Vegas] show (Ed: debuting at the end of 1994). It’s still doing very good business; we’re still [at] 80% [ticket sales]. [For] the amount of money it would take to do any kind of major refresh of the show, you couldn’t lift the occupancy enough to cover the cost. [From a marketing standpoint] you wouldn’t be able to say it’s all new or half-new.” “[The changes to La Nouba were] a Disney request; we accommodated them on it. [With] La Nouba we hadn’t touched anything. It was essentially the same, a lot of the same people stayed. So we replaced the German Wheels at the beginning with a Japanese skipping act. That concept [came] from Quidam and [we] took it to the next level. Then we replaced the chair balancing, which is in Viva Elvis! now, with the juggler from Kooza.” Cirque has seen much growth come through creating new shows and converting older ones to a format that can tour arenas, opening up new, smaller markets. With a number of successful resident shows, we wondered what factors determine where a resident show might be a good fit. Is it the city, the demographics, the deal with the theater partner? “All of the above.” “Obviously we look at the demographics, not just the city. It’s really got to be more of a tourist destination, that’s why [Cirque] has worked so well [in Las Vegas]. [It’s] why Orlando is working, why it made complete sense for us to go to Tokyo, and Macao, frankly. [Decisions] come from Montréal, that’s Daniel Lamarre. We all discuss it - see opportunities that come up - and discussions happen with Daniel and the Executive Committee.” It has been our understanding that casino resident show contracts forbid issuing videos of shows, but we wanted to know for sure. Dovetailing on the answer given by Cirque CEO Daniel Lamarre in our exclusive interview with him back in Fascination #77, June 2010, not issuing Las Vegas show videos is by mutual agreement. “[The contracts] don’t forbid it, but they have exclusivity. And we’ve never felt there was value [in doing a video]. And the casinos didn’t feel that there was a value in broadcasting the show or making it available. They wanted that exclusivity, that if you want to see it you have to come here to see it.” That runs counter to the success Cirque found with the La Nouba DVD, however, as the broadcast and DVD sales of that show did boost ticket sales. “[As opposed to Las Vegas] you’re going down [to Orlando] with a different mindset; you’re going down there for the theme parks and everything. Because of our deal with Bravo at the time [after the broadcast of La Nouba in April of 2005] we actually saw an increase [in sales]. People would say they saw it on TV and it was something that interested them. It did [increase sales] and we’ve said that to people.” “But the hotels say they want to maintain that exclusivity and we don’t have a problem with that.” That means the broadcast of “KÀ” on ARTE-TV (Association Relative à la Télévision Européenne, a French-German TV network, www.arte.tv) back in late December of 2008 wasn’t a hint of a future DVD release. “It was an opportunity that came to us from the TV station; they asked to do it. It was [broadcast] over two nights over a holiday period. One night was [the show] and one night was behind-the-scenes. We thought it was a good opportunity. At the time because of the growing international market we thought there was great value in showing what was there, the size and scale of it, because what we’ve had through Europe have been touring shows.” “So we thought there would be good value there. And we knew that through social media and YouTube there would be chunks that would end up making the rounds. I don’t think it’s hurt the show at all.” For shows outside of Las Vegas however, we have reason to be hopeful. With regards to both ZED and ZAIA, “We are looking at taping those shows. We haven’t done it as of yet, but if we taped them obviously they’d be for sale in North America.” The upcoming 2-hour PBS special, “Flowers in the Desert,” coming in late November, is also something for fans to look forward to. “I know Daniel Lamarre is in the middle of negotiating that now. We’ve had conversations with the hotels because it will involve filming at each of the shows. I think it will be a great selling card for us.” More Belief ----------- One of our major reasons (or, really, excuses) for visiting Las Vegas this time was to re-visit Criss Angel BeLIEve to see the revamped production. If there is one show that has been extensively revamped, it is this one. It is much different now than when we first saw it. We agree with what several others have said and written – most of the “Cirque-ish” elements have been removed in favor of a more straight- forward magic show. But we wondered if we had seen the “final” version of the show, and what might happen next. “Was the straight jacket back in?” Mr. Nadal asked. No, Criss did not do his straight jacket escape in the show that we saw. “That’s going back in; we had some rigging stuff we needed to correct on that. I think the majority of it is in now. Cast changes are in, costume changes are in, music changes are in.” “He was talking about wanting to add additional stuff but at [some] point we had to say, “Here’s the budget, we don’t have any more money for that.” Because he, like us, is one of those guys that will dream something up and want to put it into production. And we would [have to] say - no, we have to present a show that’s finished and let it run.” He then talked about changes being made to the marketing of the show. “We’re redoing the marketing visual. The name’s going to stay the same but the visual, the key art, is going to change. There will be a whole new marketing campaign that will go out around the second anniversary, right around Halloween. And then I think it will be more of a PR push.” (Ed: Criss Angel has since announced that two more illusions will be worked into the show, with a re-launch in January, 2011. “What we’ve seen is that when he went out and did his whole P.R. circuit for the sixth season of “Mindfreak” our sales jumped significantly. And he’s been much more low profile with [BeLIEve] because he wanted to get all of his changes in. And with all of his responsibilities that’s not something you [can] change in two or three months.” Indeed, the process has taken more than a year. “It’s taken that long. We had contracts with the other artists and we didn’t want to [suddenly] say, “You’re out.” We let the contracts play out until July when they were finished. So I think it just took this long, without killing anybody, to get to where we are.” “[So there’s] going to be a big promotional component to it. I can’t envision doing another press night and having it all ride on another night individually. The press has been wanting to come back but they’ve been respectful [when we’ve told them] it’s not done yet. But if we go out and say – “We’re done!” – and people want to come back and see it, they’ll come back and see it.” “I think social media has much more influential power than the mainstream press does anymore in that regard anyway. So if people have seen it in blogs, that kind of thing, I think it will take on a life of its own.” Criss has since done a series of interviews discussing the changes to the show, check out the best one we found at: < http://www.lasvegasweekly.com/blogs/luxe-life/2010/oct/29/exclusive- criss-angels-magic-warehouse-and-all-new/ > The other show we came to Vegas to see was Viva Elvis! We liked the show, it was large and powerful and very personality-centric and literal; appropriate for an icon as large as Elvis Presley. We were surprised, though, to find an insert in the newly-published program crediting Napolean and Tabatha “NappyTabs” Dumo (who have become highly visible due to their work on Fox’s, “So You Think You Can Dance”) as well as Mark “Swany” Swanhart and Catherine Archambautt as choreographers. Were they brought in late, we asked, to assist Writer and Director Vincent Paterson, who is listed in the main program as co-choreographer along with Bonnie Story? Mr. Nadal was frank. That’s part of the evolution we’re going through with it now. “Viva Elvis! started with Vincent Patterson doing everything. And Guys’ feeling was it was too traditional an approach, including the choreography [which] at the time was very 50’s to match the costuming. Guy’s whole take was always - If Elvis were here today, if Elvis was performing on that stage, and [knowing] he was cutting edge and revolutionary in his time, what would be on stage right now? [It would] be more contemporary, more hip-hop kinda stuff. Napoleon and Tabatha represent all of that so we brought them in and it did change the choreography around quite a bit. No Breathing Space ------------------ Turning our attention to other shows under Mr. Nadal’s purvue, we had to ask about Banana Shpeel’s closing two months early in New York. (When we talked it was still intended for the show to continue touring, it would be some weeks later the tour was cancelled and Banana Shpeel erased from Cirque’s website memory.) “I think we had so much baggage attributed to the show because of the delays in New York that the shows fate was sealed,” he replied. “Regardless of the fact that the reviews for the show were much better than they were in Chicago. So it was a financial decision to close it.” Were more changes made to the show before its opening in Toronto? “We had the layoff during the summer and there were more changes and tightening that was done. We just opened in Toronto; last night was press night. And it got 3 out of 4 stars from the Toronto Star. I think the review was like, “Third Time’s the Charm!” (laughter) I’ll take it.” (Ed: See the original review from Sept 20 by Richard Ouzounian at < http://www.thestar.com/entertainment/theatre/ article/864038--banana-Shpeel-third-time-s-a-charm-for-cirque-act >. “But [it was] a very different departure for Cirque and the reviews said it, even in Chicago. We were constantly compared to a touring show or a Vegas show, and it’s not. And we asked people specifically, “If this did not have the Cirque name on it what would you think?” “Oh, it would be different then.” The idea that the name Cirque du Soleil conjures a certain image in the mind of the public, and that perhaps Banana Shpeel didn’t fit into that image, is not lost on him. “There’s a huge expectation factor with the Cirque name. We’ve managed to get a certain degree of success and set a certain degree of expectation. The name of the company is big and it brings big expectations.” Mr. Nadal commented that future engagements for Shpeel would have been, “…three weeks, two weeks, one week. It’s on a North American Broadway-style tour. After Toronto we’re next at the Golden Gate [Theater] in San Francisco (Ed: www.shnfs.com/theatres/goldengate). We have it booked until next July, and we’ll see how it does and take it from there. The idea is to keep it [touring].” And what was the biggest take-away from the difficulties of launching the show? “You do not do it in the eye of the New York press! (laughter) And Chicago is not an out-of-town market!” (laughter) The instant (and mostly negative) reaction Cirque got from the first previews of Shpeel in Chicago got us to talking about a larger issue. “There was a great article in the Wall Street Journal talking to Broadway producers. [And it talked about how] in live entertainment you need an audience to shake a show down. You can rehearse comedy in a studio as long as you want. [But you need] somebody sitting out there that it’s fresh for, and [see if] they’re laughing or not. That’s how you shake down your show and work on it. And that was always the idea behind preview periods. You got to work on your show, whether it was in New York or on the road, before you basically said you had a finished product on your hands.” “Now the minute you open your doors [and] let somebody in with an iPhone or any kind of device, they sit there and they’re tweeting away and …” There’s a review up on the web the next day, we added. There’s no breathing space anymore. “No breathing space,” he agreed. “And it’s unfortunate because it needs that. It’s a challenge for the industry for sure.” (Ed: See the original Jan 22 article from the Wall Street Journal here < http://online.wsj.com/article/ SB10001424052748704320104575015092801295862.html > Turning to another New York production, it seems Wintuk’s future is in doubt after this fourth season, a victim of Cirque’s prodigious replication. “We were talking about touring it, redesigning the sets to fit into theaters. But we’ve got so much product in North America we thought it probably wasn’t a good idea. So I’ve been looking around for different places to put it.” His mention of so much product in North America set my wife and me off on our latest Cirque rant. For some reason Cirque du Soleil has decided to inundate the Seattle market with no less than four shows over a two-year period. In 2010 we had Kooza in the Spring and Alegría Arena in the Fall. In 2011 we can expect Quidam Arena in the Spring and OVO in late fall. While some might think this an abundance of riches we think having so many shows in so short a time can burn out the “specialness” of a Cirque du Soleil visit. Mr. Nadal agreed adding, “We’re looking at that internally now. Because last year Daniel divvied us up into Resident & Theater Shows (Ed: which Mr. Nadal oversees) and Arena & Touring Shows (Ed: overseen by Jacques Marois). And we’ve been discussing a much more comprehensive review [of the touring plan] for the last couple of months.” (To be Continued...) Next month, in the conclusion of our exclusive interview, Mr. Nadal talks about the changes to ZED and ZAIA, the forthcoming new shows in New York and LA, and how he stays current (including a shout out to a Cirque fannish website!). ------------------------------------------------------- "Cirque Week is Coming!" By: Cirque du Soleil ------------------------------------------------------- 7 Incredible Shows. 5 Ticket Packages. 1 Amazing Week! Who: YOU! What: In collaboration between Cirque du Soleil and the Las Vegas Convention and Visitors Authority, join us for Cirque Week – an all inclusive “open house” at all seven of Cirque du Soleil’s extravaganzas in Las Vegas! When: November 29th through December 5th Where: Las Vegas, Nevada! Why: Why not?! # # # Q. What kind of events are offered at Cirque Week? A. Whether you’re just a casual fan, an enthusiast, a Cirque Devotee, a Super fan or an Aficionado, Cirque Week is for you – here’s what’s on tap: REGISTRATION, TICKET, CREDENTIAL & GIFT BAG PICK-UP Monday, November 29 – Welcome Reception CRISS ANGEL Believe Theater at Luxor 11:00 a.m. – 4:00 p.m. Join us for this fun come-and-go welcome reception as we kick-off Cirque Week in style with photo opportunities, character animations, snacks and more. This is also where you pick up your Cirque Week credentials, tickets and gift bags. Tuesday, November 30 – Saturday, December 4 Viva ELVIS™ at ARIA Resort and Casino 1:00 p.m. – 4:00 p.m. CIRQUE WEEK DAILY EVENTS HOSTED BY SHOWS /// Monday, November 29 The Beatles LOVE by Cirque du Soleil at The Mirage Custom Theater Technology Demonstration and Q&A The Beatles™ LOVE™ Theatre at The Mirage 3:00 p.m. – 4:00 p.m. This event will bring music to your ears with a Cirque Week exclusive! Visit the most technically advanced Cirque du Soleil theater in Las Vegas – The Beatles LOVE – featuring a state-of-the-art sound demonstration through over 6,300 custom-made speakers. In addition, the technical presentation will showcase 11 lifts that make up the stage, 24 digital projectors, 204 moving lights and much more! A Q&A opportunity will follow the technology demonstration, featuring experts in the areas of Sound, Automation, Lighting, and Projections. Learn all about the technical aspects of LOVE, from the theater construction and working with the Creators, to what it takes to run shows each night at LOVE. A magical mystery tour you will not want to miss! /// Tuesday, November 30 Zumanity, at New York-New York Hotel & Casino Go Behind the Scenes with the Sensual Side of Cirque du Soleil Zumanity Theatre at New York-New York 4:30 p.m.-5:30 p.m. Zumanity hosts rehearsal and Q&A session with artists and crew. /// Wednesday, December 1 Viva ELVIS at ARIA Resort and Casino Viva ELVIS Unplugged Musical Performance and Q&A with the Music Supervisor GOLD Lounge Aria Resort and Casino 5:30 p.m. – 6:00 p.m. On Wednesday, you’ll find out why TIME Magazine proclaimed, “The Strip Has Another King Now” as Viva ELVIS musicians serenade you with an acoustic performance from the show. Following the performance, the musicians and the show’s music supervisor will be available for a Q&A (about the re-imagined music from the show). Be sure to check out the historical photo collection of ELVIS and his jumpsuits. (Also on Wednesday) Meet & Greet with celebrity Criss Angel following CRISS ANGEL Believe* (Limited Availability) CRISS ANGEL Believe Theater at Luxor Following Wednesday evening performance, approximately 8:30 p.m. Meet & Greet with celebrity CRISS ANGEL following CRISS ANGEL Believe* *Please note this event is limited to the first 100 guests who purchase Cirque Week show packages and book the Wednesday night show of CRISS ANGEL Believe. /// Thursday, December 2 KÀ at MGM Grand KÀ Theatre Pre-set & Tech Q&A KÀ Theatre at MGM Grand 4:30 p.m. – 5:30 p.m. Technology enthusiasts won’t want to miss Thursday’s setup of the impressive KÀ stage and opportunity to talk with the people who keep the show climbing the ranks of visitor favorites. Presented in the unprecedented performance space, the KÀ Theatre at MGM Grand, KÀ unfolds on a colossal, 360 degree rotating stage which forms the backdrop for this cinematic journey of aerial adventure and perpendicular acrobatics. /// Friday, December 3 Q&A with “O” Coaches “O” Theatre at Bellagio 4:00 p.m. – 5:00 p.m. Dive into the aquatic world of “O” with this exclusive, behind-the- scenes Q&A with the coaches who keep this show flowing nightly. ///Saturday, December 4 Cirque du Soleil Creative & Technical Panel Viva ELVIS at ARIA Resort and Casino at CityCenter 3:00 p.m. – 4:30 p.m. Ever wondered what it takes to create and produce a show of Cirque du Soleil caliber? Saturday afternoon is your chance to find out from the people who work behind-the-scenes to keep the shows and the company running smoothly. Representatives from several different facets of Cirque du Soleil will be on-hand to share their experiences and answer audience questions. /// Sunday, December 5 Mystère at Treasure Island Mystère Taiko Drum Demonstration and Costume Q&A Mystère Theatre at Treasure Island 1:00 p.m. – 2:00 p.m. You’ve got rhythm this Sunday afternoon as you enjoy the beat of a Taiko drum demonstration presented by the talented Mystère percussionist and Taiko soloist. Enjoy a costume display and conversation with the head of wardrobe about the challenges of creating over 10,000 costumes for Mystère. # # # Q. So, how much will Cirque Week cost me? A. There are five different ticket packages to help make this extraordinary event affordable. They are: FAN o) 2 Show Package, $160.00 o) Pick one from: “O”, LOVE, KA or Viva Elvis. o) Pick one from: Zumanity, Criss Angel Believe, or Mystere o) Access to all Cirque Week Events o) Cirque du Soleil Gift bag o) Merchandise discount. ENTHUSIAST o) 3 Show Package, $220.00 o) Pick one from: “O”, LOVE, or Viva Elvis. o) Pick two from: KA, Criss Angel Believe, Mystere, or Zumanity. o) Access to all Cirque Week Events o) Cirque du Soleil Gift bag o) Merchandise discount. DEVOTEE o) 5 Show Package, $350.00 o) Included: “O”, LOVE, Viva Elvis, and KA o) Pick one from: Criss Angel Believe, Zumanity or Mystere o) Access to all Cirque Week Events o) Cirque du Soleil Gift bag o) Merchandise discount. SUPER FAN o) 6 Show Package, $400.00 o) Included: “O”, LOVE, Viva Elvis, and KA o) Pick two from: Criss Angel Believe, Zumanity or Mystere o) Access to all Cirque Week Events o) Cirque du Soleil Gift bag o) Merchandise discount. o) AND Autographed programs AFICIONADO o) 7 Show Package, $445.00 o) All shows included “O”, LOVE, Viva Elvis, Criss Angel Believe, Zumanity, Mystere and KA. o) Access to all Cirque Week Events o) Cirque du Soleil Gift bag o) Merchandise discount. o) AND Autographed programs NOTE: (*) Please note that The Beatles LOVE is only available for Monday, November 29th performances. (**) Prices do not include tax and service fees. Prices, performances and seating locations are subject to availability. Management reserves all rights. (***) Pass holders will have access to all Cirque Week events except CRISS ANGEL Believe meet & greet which is limited to the first 100 guests who purchase Cirque Week show packages and book the Wednesday night show of CRISS ANGEL Believe. # # # Q. How do I sign up?! A. For information on hotel reservations, purchasing one of the ticket packages, or just getting more on the week-long activities, visit these links: < http://www.cirquedusoleil.com/specials/cirque-week/index.html > < http://www.facebook.com/cirqueweek > ------------------------------------------------------- "Michael Jackson THE IMMORTAL World Tour!" By: Cirque du Soleil ------------------------------------------------------- Michael Jackson THE IMMORTAL WORLD TOUR by Cirque du Soleil - WRITTEN AND DIRECTED BY JAMIE KING - TOUR BEGINS IN OCTOBER 2011 The Estate of Michael Jackson and Cirque du Soleil announced today the official international launch of Michael Jackson THE IMMORTAL World Tour™ written and directed by Jamie King, the leading concert director in pop music today. This once-in-a-lifetime electrifying production will combine Michael Jackson music and choreography with Cirque du Soleil creativity to give fans worldwide a unique view into the spirit, passion and heart of the artistic genius who forever transformed global pop culture. A riveting fusion of visuals, dance, music and fantasy that immerses audiences in Michael’s creative world and literally turns his signature moves upside down, Michael Jackson THE IMMORTAL World Tour unfolds Michael Jackson’s artistry before the eyes of the audience. Aimed at lifelong fans as well as those experiencing Michael’s creative genius for the first time, the show captures the essence, soul and inspiration of the King of Pop, celebrating a legacy that continues to transcend generations. THE IMMORTAL World Tour takes place in a fantastical realm where we discover Michael’s inspirational Giving Tree—the wellspring of his creativity. The secrets of Michael’s inner world are unlocked—his love of music and dance, fairy tale and magic, and the fragile beauty of nature. The underpinnings of THE IMMORTAL World Tour are Michael Jackson’s powerful, inspirational music and lyrics—the driving force behind the show—brought to life with extraordinary power and breathless intensity. Through unforgettable performances Michael Jackson THE IMMORTAL World Tour underscores Michael’s global messages of love, peace and unity. In selecting Jamie King as Writer and Director for Michael Jackson THE IMMORTAL World Tour— which will feature 60 international performers—, The Estate of Michael Jackson and Cirque du Soleil chose a director Variety called one of the most influential “movers and shakers” in the music industry, and the “Jerry Bruckheimer of tent-pole concert tours". A multiple Emmy Award® and MTV Video Music Award® nominee, and greatly influenced by his early years working for both Prince and Michael Jackson, he has choreographed some of the most popular music videos and directed some of the highest grossing concert tours of all time. For the past 12 years, he has served as Madonna's creative director, having most recently directed her 2008 Sticky & Sweet world tour, as well as her 2006 record- breaking Confessions world tour and hit music video, Sorry. He most recently directed Rihanna's Last Girl On Earth world tour, Celine Dion’s Taking Chances world tour, The Return of the Spice Girls reunion tour, Britney Spears' Circus tour and Avril Lavigne’s Best Damn tour. He previously directed and choreographed world tours for Madonna (Re-Invention and Drowned World); Asian superstar Rain (Rain’s Coming); Ricky Martin (Black & White and La Vida Loca); Pink (Try This); Christina Aguilera (Back to Basics and Stripped); and his first collaboration with Britney Spears (Oops! I Did It Again). He has worked with an array of superstars including Mariah Carey, Shakira, George Michael, Elton John, Diana Ross, Jennifer Lopez and even Ellen DeGeneres. This is Jamie’s first show with Cirque du Soleil. Michael Jackson THE IMMORTAL World Tour will call on the diverse talents of the following creative minds: Guy Laliberté – Creative Guide Jamie King – Writer and Director Chantal Tremblay – Director of Creation Mark Fisher – Set Designer Zaldy Goco – Costume Designer Kevin Antunes – Musical Designer Martin Labrecque – Lighting Designer Olivier Goulet – Projection and Video Content Designer François Desjardins – Sound Designer Scott Osgood – Rigging and Acrobatic Equipment Designer Germain Guillemot – Acrobatic Performance Designer Michael Curry – Props Designer Michael Jackson THE IMMORTAL World Tour will begin in Montreal in October 2011 and travel to select North American cities including Las Vegas, Los Angeles, Miami, New York, Philadelphia, Atlanta, Houston, Seattle, Toronto and Vancouver. Additional cities and dates will be announced. For three days only, Cirque Club members and MichaelJackson.com subscribers will have exclusive access to purchase presale tickets online beginning Wednesday, November 3 at 10am Eastern Daylight Time. Cirque Club membership is free and benefits include access to advance tickets, special offers and exclusive behind the scenes information. To join, go to www.cirqueclub.com. Starting Saturday, November 6 at 12pm local time, tickets will go on sale to the public for the cities and dates listed below. For complete tour and ticket information, visit www.cirquedusoleil.com or www.MichaelJackson.com -- The tour schedule is subject to change. 2011 TOUR SCHEDULE October 2-3 Montreal, QC - Bell Centre October 7 Ottawa, ON - Scotiabank Place October 12 Hamilton, ON - Copps Coliseum October 15 Detroit, MI - Joe Louis Arena October 18 London, ON - John Labatt Centre October 21 Toronto, ON - Air Canada Centre October 26 Winnipeg, MB - MTS Centre October 29 Saskatoon, SK - Credit Union Centre November 1 Edmonton, AB - Rexall Place November 4 Vancouver, BC - Rogers Arena November 9 Seattle, WA - KeyArena November 18 Portland, OR - Rose Garden November 29 Salt Lake City, UT - EnergySolutions Arena December 3-11 Las Vegas, NV - Mandalay Bay Events Center 2012 TOUR SCHEDULE January 6 Denver, CO - Pepsi Center January 10 Sacramento, CA - ARCO Arena January 13 San Jose, CA - HP Pavillion at San Jose January 18 Oakland, CA - Oracle Arena January 21 San Diego, CA - Valley View Casino Center January 24 Anaheim, CA - Honda Center January 27 Los Angeles, CA - STAPLES Center February 10 Houston, TX - Toyota Center March 2 Miami, FL - AmericanAirlines Arena March 24 Quebec City, QC - Colisée Pepsi April 3 New York, NY - Madison Square Garden April 10 Philadelphia, PA - Wells Fargo Center June 29 Atlanta, GA - Philips Arena Creators Bio Jamie King – Writer and Director Jamie King is the leading concert director in the world of pop music today. In 2006, Variety named King one of the most influential “movers and shakers” in the music industry, branding him the “Jerry Bruckheimer of ten-pole concert tours". A multiple Emmy Award ® and MTV Video Music Award ® nominee, and greatly influenced by his early years working for both Prince and Michael Jackson, he has choreographed some of the most popular music videos and directed some of the highest grossing concert tours of all time. For the past twelve years, he has served as Madonna's creative director, having most recently directed her 2008 Sticky & Sweet world tour, as well as her 2006 record-breaking Confessions world tour and hit music video, Sorry. He most recently directed Rihanna's Last Girl On Earth world tour, Céline Dion’s Taking Chances world tour, The Return of the Spice Girls reunion tour, Britney Spears' Circus tour and Avril Lavigne’s Best Damn tour. He previously directed and choreographed world tours for Madonna (Re-Invention and Drowned World); Asian superstar Rain (Rain’s Coming); Ricky Martin (Black & White and La Vida Loca); Pink (Try This); Christina Aguilera (Back to Basics and Stripped); and his first collaboration with Britney Spears (Oops I Did It Again). He has worked with an array of superstars including Mariah Carey, Shakira, George Michael, Elton John, Diana Ross, Jennifer Lopez and even Ellen DeGeneres. This is Jamie’s first show with Cirque du Soleil. Chantal Tremblay – Director of Creation At the end of the 1980s, while living in New York pursuing a career in dance, Chantal Tremblay decides to join Cirque du Soleil after having seen one the company’s shows. Chantal started out as a dancer on a Cirque project and then became choreographer Debra Brown’s assistant on the creation of Mystère. Chantal has worked on many Cirque projects including the shows Alegría, La Nouba and Mystère for which she once was the Artistic Director. Later on her solid credentials helped her land the position of Director of Creation on both The Beatles LOVE and OVO. Mark Fisher – Set Designer British architect Mark Fisher’s interest in building temporary structures and inflatables caught the attention of Roger Waters and led to his first rock ’n’ roll commission for Pink Floyd’s Animals tour in 1977. Mark has since earned an international reputation for his spectacular concert designs. His best-known work includes The Wall and Division Bell for Pink Floyd, Steel Wheels, Bridges to Babylon and Bigger Bang for the Rolling Stones, as well as Popmart for U2. Most recently Mark was Chief Designer for the opening and closing ceremonies of the 2006 Winter Olympics in Turin, the 2008 Beijing Summer Olympics and U2’s 2009-2010 360° tour. This will be Mark Fisher’s third collaboration with Cirque du Soleil following KÀ and Viva ELVIS. Zaldy Goco – Costume Designer Zaldy is one of New York’s most celebrated and innovative designers. Since 2001 he has created custom looks for entertainment icons such as Michael Jackson, Gwen Stefani, Lady Gaga, Beyonce, Jennifer Lopez, Mary J Blige, Will I. Am, Rufus Wainwright, Scissor Sisters, Alicia Keys, Britney Spears, Halle Berry, Parker Posey, Gabourey Sidebe, and Mick Jagger among others. In 2009 Zaldy was named head designer for Michael Jackson’s This Is It concert series as well as Lady Gaga’s first North American Monster Ball Tour. He was the man behind Gwen Stefani’s label L.A.M.B. collaborating with Stefani for nearly four years while maintaining his namesake label. This is his first collaboration with Cirque du Soleil. Kevin Antunes – Musical Designer Kevin Antunes is a musical designer, musical director, keyboardist and digital audio programmer. His most recent tour was working directly for Madonna on her record breaking Sticky & Sweet world tour. Kevin produced the stereo and surround sound audio mix for the live stadium concert from Argentina released on DVD in 2010. Kevin has also worked with Justin Timberlake for the past 12 years starting with *NSYNC, which then transitioned into Justin's solo career. The stereo and surround sound audio of Justin’s HBO Live Concert Broadcast of his FutureSex/LoveSounds (which was released on DVD) was also mixed by Kevin. Throughout his career Kevin has performed with Janet Jackson, Timbaland, Britney Spears, Aerosmith, Mary J Blige, Alicia Keys, Taylor Swift, Snoop Dogg, Christina Aguilera, Lady Antebellum, P Diddy, Pharrell Williams, Enrique Iglesias, Backstreet Boys, Marky Mark & the Funky Bunch, and the New Kids on the Block, among others. Kevin has performed on many major television events and music award shows including The Grammy Awards, The Academy Awards, two different Super Bowl Halftime Performances, HBO & Showtime Original Live Concerts, Hope for Haiti Now benefit concert, Canadian SARS benefit concert, Amnesty International, Rock-n-Rio, MTV Awards, The Brit Awards, The Tonight Show, Late Night with David Letterman, and Saturday Night Live. Kevin is working with Cirque du Soleil for the first time. Martin Labrecque – Lighting Designer Martin Labrecque’s professional credits include more than a hundred theatrical productions, as well as circus shows. Martin contributed to the critical success of several Quebec shows. He has won many Quebec awards for his lighting design in addition to several nominations. Martin Labrecque created the lighting for two critically acclaimed circus shows produced by Cirque Éloize, Rain and Nomade, as well as Cirque du Soleil shows Corteo, KOOZA and Viva ELVIS. In 2009, Martin designed the lighting for an eleven-hour show by Canadian author, director and actor Wajdi Mouawad, which was presented in the courtyard of the Palais des Papes in Avignon, France. He also worked on the show Paradis Perdu, directed by Dominic Champagne and presented in Montreal. Olivier Goulet – Projection Designer Active in the field of video design since 2001, Quebec producer, stage and video content designer Olivier Goulet specializes in video stage design. Since 2007, he has designed and produced video content for many productions and artists including Maria Carey, Alicia Keys, Joe Cocker, Michael Bublé, Tina Turner, Pink, the shows of Cher and Bette Midler at Ceasar’s Palace in Las Vegas, as well as the production Paradis Perdu in Montreal. Olivier is the President of the Montreal- based video stage design company Geodezik, which collaborated with Cirque du Soleil on the shows DELIRIUM and ZAIA. Other Quebec (Gilles Maheu, O Vertigo Danse) and American (Linkin Park and The Killers, Justin Timberlake) artists turned to Geodezik to enhance their show through video imagery. François Desjardins – Sound Designer For nearly 25 years, François Desjardins has devoted himself entirely to enhancing sound environments in the music world. As a sound designer, he creates soundscapes that are tailored to each artist’s expectations. Since 1992, François has toured with Céline Dion on all her live shows, He has also worked with several Canadian and foreign artists including Garou, Roch Voisine, Tragically Hip, Tom Cochrane and Pavarotti. As a crew chief, he has installed, maintained and operated the most sophisticated sound systems available in the industry. François also participated in a large number of events as Head Sound Technician of Solotech (Montreal) and Chief Technical Advisor of Solotech (United States). He was sound designer during the World Youth Day in Toronto in 2002 (Papal visit) and for the re- staging of Cirque du Soleil’s Saltimbanco. Scott Osgood – Rigging and Acrobatic Equipment Designer Scott started his career as an acrobat as part of the Sailor Circus program in Sarasota, California. His disciplines included ladder, teeterboard, clowning and juggling. Scott picked up his knowledge of acrobatic equipment and rigging design from veterans in the business. He worked in the worlds of theatre and rock music, where his rigging expertise was in demand. At the same time, he continued to work around the world as a performer, appearing with many circus companies including the Ringling Brothers, and Barnum and Bailey. He also worked as an acrobat in theme parks including Tivoli Gardens in Copenhagen, Disneyland and Walt Disney World. Scott’s first assignment with Cirque du Soleil came when the Cirque show La Nouba was being created in 1997. He worked on the rigging design for that production. ZED was Scott Osgood’s first mandate with Cirque du Soleil as Rigging and Acrobatic Equipment Designer. Germain Guillemot – Acrobatic Performance Designer A graduate from Centre national des arts du cirque in Châlon, France, Germain Guillemot started his career with the French troupe Cirque Archaos and toured with the company for two years. With other circus fellows he created the French circus company Les Arts Sauts where he worked both as a creator and performer for 15 years. Germain joined Cirque du Soleil in 2007 as a coach for the flying trapeze act on ZED and then became Acrobatic Training Manager for Viva ELVIS. This is Germain Guillemot’s first collaboration with Cirque du Soleil as Acrobatic Performance Designer. Michael Curry – Props Designer Puppet Designer Michael Curry works widely in both conceptual and technical development with the foremost entertainment companies such as the Metropolitan Opera, London's Royal National Theatre, Disney Theatrical Productions, LA Opera, and Universal Pictures. Michael has been the recipient of many prestigious awards from his peers, including several awards for his puppet and costume work on Broadway, Olympic ceremonies as well as his continuing innovations in the fields of visual effects and puppetry design. He has collaborated with Julie Taymor on many stage and opera productions. Among his numerous awards, he received the 1998 Drama Desk Award for Outstanding Puppet Design in recognition of his work for Taymor on The Lion King. Michael’s other credits include an opera directed by Robert Lepage at the Paris Opera, an opera at La Scala, Milan, directed by William Friedkin, and the Broadway production of Spider Man with music by Bono and Edge, directed by Julie Taymor. After KÀ and Wintuk, Michael Curry collaborates with Cirque du Soleil for the third time. ------------------------------------------------------- Luxe-Life: "A Conversation with Daniel Lamarre" [EXPANDED] Michael Jackson Cirque Shows Set & Mystere's 8,000th By: Robin Leach - Las Vegas Weekly ------------------------------------------------------- Robin Leach, from his Luxe-Life blog on Las Vegas Weekly, talked at length with Cirque head honcho Daniel Lamarre on Monday night after the 8,000th performance of Mystere at Phil Ruffin’s Treasure Island. Check out their conversation about the two new King of Pop shows and Daniel’s analysis of the extraordinary long-lasting appeal of Mystere, Cirque’s first residency show in Las Vegas. # # # For the first time, Cirque du Soleil’s chief Daniel Lamarre has confirmed start dates for the two new Michael Jackson shows coming to Las Vegas. The first, a rock concert arena-type show, opens Dec. 15, 2011, with tickets going on sale Nov. 3. The official announcement will be made from Los Angeles on Nov. 3, but you have the advance news here at Vegas DeLuxe in this exclusive. Tickets go on sale simultaneously in 25 cities for what will be the largest-ever music show going on tour in North America and around the world for four nonstop years. The second, which will be a permanent residency show here, Cirque’s eighth, arrives in 2013. Both shows have the blessing of the Michael Jackson estate administrators. Cirque has budgeted an amazing $100 million just for creating and developing the two shows and expects that another $150 million will be added to the final costs for staging and theater construction. The Jackson concert show will be performed twice nightly for two months in a reconfigured Mandalay Bay Events Center with just 8,000 seats per show. Cirque and MGM have not yet decided upon a hotel home for the second Jackson residency show and will come to that decision after seeing how the arena show works with all of its mind-blowing logistics. Robin Leach talked at length with Cirque head honcho Daniel on Monday night after the 8,000th performance of Mystere at Phil Ruffin’s Treasure Island. Here’s our conversation about the two new King of Pop shows and Daniel’s analysis of the extraordinary long-lasting appeal of Mystere, Cirque’s first residency show in Las Vegas. Q. Now comes Michael Jackson -- two Michael Jackson shows. The first show is the one coming here to Mandalay Bay for a little while before going out on tour. The second show will be the residency show. Have you decided what hotel theater will become its home? We’re still struggling with that final decision. We are still talking with people at MGM. I think the arena show will be a good test for us, and it certainly will have an impact on the final decision for MGM. Q. When do you open the Mandalay Bay show? The first show opens Dec. 15, 2011. The second show will be at the beginning of 2013. The first arena show will globally tour in North America for two years and then as it leaves to go onto Europe and the rest of the world, we will open the permanent show here in a theater yet to be designated. Q. How different will that show be to the arena touring show? The arena touring show is as close as you can get to a rock concert. Our audiences will have the feeling that Michael Jackson is alive. The permanent show will be much more theatrical. We are looking right now at a lot of new technology that we want to bring into Vegas for the first time. Q. How far along in the development of both shows are you at this moment? For the arena show, we are done. The concept exists. It is approved by all parties. We will start rehearsing in Montreal this December, so we are really there already for the arena show. For the permanent show, we’re still exploring the new technologies that we would like to bring to Vegas. The preliminary concept exists for the theatrical show, but depending on how far we can go with new technologies, that will influence the final concept of the second show. Q. Now when we talked about that several months ago, I sensed it would be 3D on steroids, where the audience gets inside as the show wraps all around outside them? Yes, that’s right. We really want to use the newest, latest of breakthrough technologies that have never been seen before or used theatrically before. There are a lot of conversations going on with a lot of different companies to see who can deliver to us the advanced technology that we’re looking for. Q. Now that the concert show is 100 percent concept completed, is it with a Michael Jackson or without? Michael Jackson will be there on video, and then again we will bring in technologies that will make it seem that Michael is with us. Q. But no lookalikes or soundalikes? People want to see the real Michael, and the real Michael will be very, very present on the unique video. His estate administrators have completely accepted the concept of the show, which is a great relief for us. Not only are we happy they have accepted it, but we’re happy they’re enthusiastic about the concept of the show. It will be a 90- minute show with all of his big hits, over 20 of the bestselling songs. The show will have about 72 artists: dancers, musicians and acrobats. Q. Anything in this first show that Michael was developing for his London This Is It concerts? We have some video that was for the London show that will be integrated into the new show. Q. What will we be amazed by most? I think the challenge here is to give the feeling to people that Michael is on that stage. We will do everything we can in terms of video and technologies to bring his presence to life. Q. Did you learn anything from presenting Viva Elvis to tackle the Michael Jackson shows? If you take Love or Elvis, the challenge is always to be representative of that era. Obviously, Michael is from a different era than Elvis, and we have to make sure that if Michael were onstage, that’s what he would deliver. It will be him as he would be today. Q. When do tickets go on sale? Nov. 3, 2010, we start selling tickets for the arena show at the Mandalay Bay box office and everywhere around North America. We have two shows a night to sell out for two months at 8,000 seats each performance. That’s the challenge. We’re cutting the number of seats down because we want to keep the proximity for the audience to the stage. This is going to be just like a real rock and roll tour. Dozens of trucks -- well over 30 -- with staging and equipment will arrive in Las Vegas exactly as it will be when we go off around the world. Two years touring in North America and then another two years of global capitals. A monumental four-year world tour! It’s a huge challenge -- the largest we have ever undertaken, but we’re very excited about it. Q. I always have to ask the money questions. What will be the cost of both shows? We’re talking close to $100 million for the two shows -- that’s just for the production. Then the cost of the theaters for both shows will add another $100 million to $150 million. * * * Since we were sitting together in the Mystere Theater at Treasure Island after watching the 8,000th performance. Q. Why does Mystere seem the best it's ever been? It’s amazing, I could feel the emotion because I met the artists before the show. I know how emotional they were about this 8,000 representation, and I’ve seen the reaction of the public tonight. Standing ovations throughout. What’s amazing to me is that the magic still works. The artists are still excited every performance. Mystere has made history in the industry of entertainment because no one show of this magnitude has lasted so long. All the other shows that have more than 8,000 representations have duplicates, like The Phantom of the Opera or others with different casts in different places. This is only one show, one cast, one crew and 8,000 performances. Q. There have been several updates over the years to Mystere. Is that how you ensure that each night looks better than ever before? That’s the only way. We have an artistic team working here, and every day they train, they try to make their show evolve, and that’s why after 17 years, the show is still relevant. Q. Phil Ruffin told me a while ago that he’s given the show another five years’ extension here at T.I. Is that your understanding? That was the first thing that Phil told me when he bought the property from MGM. He said, “Daniel, don’t change anything. I love this show.” We renewed right away for an additional five years. It’s just amazing the occupancy level even in a struggling market. This show is still doing very well. Our house was full, and we still have standing ovations. Q. Do you think it’s because it was the very first Cirque show and everything that came after was really a child to the parent? I think that’s what it is. I have people coming to me saying, “Daniel, this is the original.” There is a real extraordinary emotional link between the public, Cirque du Soleil and Mystere. To them, Mystere is the classic that will be around forever.” Mystere remains in place as the timetable moves forward now for the premieres of the two Jackson shows. It is not a changing of the guard. This is where the proud parent welcomes the new arrivals and makes history all over again. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly publication, available through subscription via Yahoo! Groups or on the World Wide Web in text format at the newsletter's website: < http://www.CirqueFascination.com/ >. To subscribe, please send an email to: < CirqueFascination- subscribe@yahoogroups.com >. To unsubscribe, please send an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. To Subscribe via Realy Simple Syndication (RSS) Feed (News) use the following: < http://www.cirquefascination.com/?feed=rss2 >. To view back issues, or other online Newsletter content, please visit us at: < http://www.CirqueFascination.com/ >. Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > Have a comment, question or concern? Email the Fascination! Newsletter staff at: < CirqueFasincation-owner@yahoogroups.com >. We are anxious to hear any and all comments! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 10, Number 11 (Issue #82) - November 2010 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2010 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. { Nov.09.2010 } =======================================================================