======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 11, NUMBER 2 February 2011 ISSUE #85e ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. 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, and updates to Cirque's tour schedule within. In addition - Although Cirque du Soleil was not directly affected by the accident on the set of Julie Tamyor's Spider Man musical: Turn Off the Dark, it prompted many to review and re-evaluate their safety procedures and protocols in response to the accident. You can see Cirque du Soleil's response to inquiries on its own safety policies in our CLUB CIRQUE section this month. Wonder why certain songs were omitted from the Viva Elvis CD release? Or how certain tracks were selected for the show? Find answers to those questions and much more with our exclusive interview with Erich Van Tourneau, the Musical Director for Viva Elvis! And, are you curious about the newly released CRISS ANGEL BELIEVE album? If so, check out Keith's review of the original score, which has just been made available for download through Apple's iTunes platform. Next month we'll check into the two new "LOVE version" tracks as part of the newly announced THE BEATLES LOVE album exclusive release on iTunes - "The Fool on the Hill" and "Girl" - as well as continue with our interview series... I wonder: who will be next? I know! And you'll definitely want to stay tuned for this one! Okay, 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 /// Exclusive Interview with the Musical Director for Viva Elvis!: "Erich Van Tourneau - Takin' Care Of Business" By: Keith Johnson - Seattle, Washington (USA) * CD Review: Criss Angel BeLIEve Soundtrack CD By: Keith Johnson - Seattle, Washington (USA) * Tokyo Dance Magazine Covers ZED [EXPANDED] A Special Collection of Interviews o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Now in its 18th year, 'Mystere' builds durability with good humor [EXPANDED] {Jan.01.2011} ------------------------------------------------- There's the funny baby, the Red Bird and the giant snail we've all come to love over the years. Still, it was hard not to think about Spider-Man. "Mystere" counted down to its born-on-Christmas Day 17th anniversary at Treasure Island last week, the same one in which a stunt man was seriously injured in previews for the Broadway comic-book musical "Spider-Man: Turn Off the Dark." Cirque du Soleil launched its Las Vegas empire with "Mystere." Even if it doesn't need "Spider-Man" to further its scheme of world domination, it's a safe bet the risk of injury would be lower with Cirque in charge of the Broadway show's stunt work. Just look at what they do twice a night, where they have "spider men" in everything but the costume. There's an aerialist who whirls in and around a giant cube, then takes flight from the stage, suspended by only his forearms, before he lands again to spin and twirl the cube on deck. And look at the acrobats who climb poles upside down with only their hands, pumping their legs for momentum as they inch their way up. Don't forget the people who spiral into the air from teeter- boards, landing on the shoulders of others to make a two- and three-person stack. But chances are, if you've lived in Las Vegas for any period of time you know all this. Only three shows have been around longer now. Cirque's first permanent installation is a tradition in a city that doesn't have many, and still a wide-eyed experience for youngsters seeing it for the first time. There have been a few changes over the years, mostly in the connecting material between the big acts. The venerable Brian Dewhurst is now in his late 70s, and the longer he remains with the show, the more he becomes the audience favorite and focal point. His role has expanded from pre-show clowning; now he taunts the other characters with British humor not part of the early editions. The big "baby" in the diaper we've known for years (Francois Dupuis) is now played in some performances by a "toddler" (Anna Zlatkova): a cute girl in pigtails, jammies and piggy slippers. She does all the same favorite audience bits -- hijacking an audience member with a golf cart, crawling precariously close to a sheer ledge -- but she also turns out to be a bit of an acrobat herself (to say more would spoil it). "Mystere" owes much of its durability to this good humor. Those not fond of the French Canadians often fling the word "pretentious," but one could argue there's humor even in the teeter-board and trampoline acrobats conducting themselves like courtiers in some royal palace. Cirque has even taken action on one past complaint, that the new-agey music has dated poorly and can sound a bit '90s and Enya-like in places. They re-scored the climactic trapeze act with more of a percussive orchestra sound in time for the celebration of 8,000 performances last fall. Christmas may be over, and "Mystere" takes a couple of weeks off starting Wednesday, but a locals promotion (two tickets for $99) carries into the new year. The novelty has faded, and some of the wonders may have as well. But "Mystere" is still Cirque in the company's early purity, without Elvis, Michael Jackson or even Spider-Man getting in the way of the original vision. { SOURCE: Las Vegas Review-Journal } BELIEVE IT: The Show Improves? [EXPANDED] {Jan.03.2011} ------------------------------------------------- To borrow a phrase, the whole thing has kind of freaked my mind. How it was that I ushered in the New Year with Criss Angel, I mean. How it was that I turned KatMobile II over to a parking attendant at Angel’s grandiose estate, which he has dubbed Serenity at Sun City Anthem, to ring in 2011 in high style. There are closets in this manse that are larger than some apartments I’ve rented. At Serenity, you are met by a giant pool outfitted with a set of stools sitting underwater next to an open fireplace (or, “fire effect” in this context) overlooking a staggering view of the Las Vegas Valley. The glass-paneled wall separating the living area to the pool opens fully for indoor-outdoor recreating. Nailed to the walls of Serenity are life-size crucifixes (I joked that it shows the Passion of the Criss) and the martini- and olive-inspired artwork by the inherently whimsical artist Michael Godard. Oh, and you are met by Godard, too. The artist himself. At least you are on New Year’s Eve. Very engaging guy. It’s a cool experience to be invited to such an event, no question, and Angel played gracious host to the dozens of well- wishers on New Year’s Eve. Among them were many of his friends and colleagues from the Las Vegas entertainment field: the dependably dangerous Amazing Johnathan; a fit (and retired, he says) Lance Burton; fellow Luxor headliner Carrot Top; and “The Mentalist” Gerry McCambridge. The terrific cast and production staff of “Believe” were on hand, too, and Angel toasted them about 30 minutes before 2010 ebbed away, thanking them for their hard work and dedication in helping push “Believe” to its 1,000th performance last month. And while making my way around this scene, I could not help but think of David Byrne’s line from “Once in a Lifetime” -- “Well, how did I get here?” I would not have thought this sort of party/summit with Angel would have been likely even 6 months ago. As anyone who reads this column regularly (and God help you if you do), I have not been a fan of Angel’s show, or of Angel himself, since he unveiled “Believe” at Luxor in October 2008. I saw the show a month after it opened, and I didn’t like it, recognizing it as a clumsy, disjointed attempt to merge Cirque du Soleil and “Mindfreak” on a Las Vegas stage. Whenever I’d see an entertainer perform some sort of routine trick onstage -- like a juggler working with a ping-pong ball, an orange and a bowling pin -- I’d say, “This is more magic than you will see in all of ‘Believe.’ ” As a show host, I found Angel to be pretentious, to the max, and felt “Believe” had become Cirque’s Achilles’ heel. This attitude went on for quite a while, and it seemed there would be no other way to write about Angel than to knock him and his show. But during this time, Angel was doing what a true professional does -- working on his craft. The changes he has made in “Believe” are pronounced and effective. Absent now is the storyline centering on rabbits, and how they have been sacrificed unfairly in the name of entertainment. Banished is the creepy funeral scene. Also gone is the confusing wedding segment, which should have been titled “Wha-A?” In fact, there is no story thread at all, as Angel pushes out about 40 illusions in rapid succession (he disappears and reappears about a dozen times in the upgraded “Believe”). For better or worse, Cirque’s influence is largely absent. The great entertainment company is still on the marquee, but the show today is more centered on Angel than when it opened. He reaches back into the tricks of his youth, such illusions as pulling a string of razorblades from his mouth (a trick that went awry years ago during a birthday party performance for Brooke Shields and sent a bloodied Angel to the hospital). He is suspended upside down over the audience in a straitjacket and works his way out in 10 seconds. Angel, too, has become a better navigator of the show, eliciting the support of the comic usher character Maestro to add badly needed brevity to the banter onstage. That move alone has helped smooth out the show, as Maestro brings a classic, self-mocking, John Belushi-type attitude to “Believe.” Angel has essentially taken over and made “Believe” a show about magic, and as such it is far better than it was when it opened. A cynic would say, “That’s damning with faint praise,” but Angel has gone back to the work shed and rebuilt a show many observers thought would have been long dead by now. Good for him. And when it came time to mend fences in the field, Angel made the move, asking if I’d like to see the improved version of the show. I was surprised, to put it mildly. As I told him, I would not have invited me back to see his show or shared a burger or anything else after some of the stuff I’d written about him. But I did go back to “Believe” in November, and I liked it way better than the show I saw in November 2008. When I met with Angel after the show, he said only that he wanted a clean slate. It’s obvious he wants to change the trajectory of how he is treated in local media, and you can’t fault that. He’s clearly worked hard to make “Believe” a show that can sustain what are, reportedly, strong audience counts for the long term. I respect all of that, honestly. It’s been a raucous ride with Mr. Angel, but as the fireworks blasted over The Strip in far- away Las Vegas, I wished him and his great staff nothing but good fortune in the New Year. Life is too short to feel otherwise. {SOURCE: Las Vegas Sun} Flying Trapeze: Training And Trust [EXPANDED] {Jan.05.2011} ----------------------------------------------------- Cecil B. DeMille once called flying trapeze artists "the daredevil performers who slap death in the face." That description might be a little over the top, but it rings true when you watch trapeze artists soar and somersault nearly 46 feet in the air. This heart-stopping performance is part of OVO, the Cirque du Soleil show currently touring the U.S. "It's an incredibly difficult act to do," says Marjon van Grunsven, OVO's artistic director. "Even just jumping. It takes courage to do that." A flying act, she says, is built on trust — but first, each artist needs individual strength and training. Take flier Andrey Shapin. He was a gymnast in Russia before he joined Cirque du Soleil two years ago — and he'd never flown before. Van Grunsven describes Shapin as a highly disciplined, elite athlete who literally had to learn to fly. Now, he does most of the flights in the act, she says. "Andrey has developed an incredible amount. This guy to me is like a rock star." Shapin's main catcher is Sergei Philippenko. In both body type and temperament, the two men could not be more different. Philippenko is 6 feet, 1 inch, in his late 20s, and comes across as easygoing. Shapin is much smaller and younger and admits he gets nervous. "When I do my act, my heart ... knocks so fast," says Shapin, beating his heart with his fist. "I have a lot of adrenaline every day." Philippenko, on the other hand, is like Shapin's laid-back older brother. Ask the statuesque catcher if he gets nervous, and he shrugs, "Not really." To help the flier relax, especially before a jump, Philippenko says the catcher needs to stay calm and listen. "That's a very important part of the catcher," he says. Cirque du Soleil's show OVO has an insect theme. The fliers and catchers are scarabs — it's like the heavy metal part of the show. Even wearing thick costumes that look like armor Shapin does flips, layouts and twists with astonishing grace. Philippenko says he is there to protect him. "My job is to save him all the time," Philippenko says. Imagine saving someone while swinging by your legs, upside down on a bar, while your partner is diving toward you at high speed. Shapin says of his catcher Philippenko: "I just know he will catch me. This is for sure." "Their life literally is in each other's hands," says van Grunsven, "so if they don't trust each other, we have a big problem." Shapin and Philippenko and the other artists in the flying act perform eight, sometimes 10 times a week. And though they may differ in size and demeanor, what they do have in common is the hours and hours of training it takes to be in the exceptionally adventurous Cirque du Soleil. Philippenko and Shapin say the trust they've developed comes from talking to each other a lot whether they're on the ground or "up there." Shapin explains, "We always speak. We have fun, [tell] jokes. Sometimes if I have [a] good song, I give it to him and we're singing together, even when we're up there." Philippenko calls the time they spend at the highest point of the big top "privileged." When they're not performing, he says they're constantly surrounded by the other 66 artists in Cirque du Soleil — they all live together in fairly close quarters. But Shapin says Philippenko knows more about him than anyone else. "We have a lot of people around us all the time, but when we're up there, it's only us," Philippenko says. "I like this moment. Nobody can touch us." { SOURCE: NPR } Want to Cameo in Cirque? Join M-Life! {Jan.10.2011} ------------------------------------------------- LAS VEGAS, Jan. 10, 2011 /PRNewswire/ - Tomorrow, MGM Resorts International (NYSE: MGM) will launch M life (www.mlife.com), a loyalty program that leverages the combined power of its resorts in Las Vegas, Mississippi and Detroit. Benefiting from an unmatched collection of amenities, members will enjoy one-of-a- kind experiences exclusive to MGM Resorts, insider privileges, personalized rewards and an aspirational tiered approach with escalating earning potential. M life is launching as a casino rewards club; later this year, it will expand into a full loyalty program recognizing guest spend on hotel stays, shopping, dining and more. (Logo: http://photos.prnewswire.com/prnh/20100618/MGMINTLOGO) Among many benefits, M life members can earn unique M life moments, including selecting The Fountains of Bellagio songs for a day, enjoying a cameo role in Cirque du Soleil's Viva ELVIS at ARIA Resort & Casino, serving as a guest DJ at one of Vegas' hottest clubs at MGM Grand, becoming a dolphin trainer for a day at The Mirage, cooking lessons with Bravo's Top Chef Masters celebrity chef Rick Moonen at Mandalay Bay, receiving one-on-one dance lessons with world-famous Jabbawockeez at Monte Carlo, and much more. {SOURCE: PRNewswire} LA NOUBA: A Kinder, Simpler Cirque [EXPANDED] {Jan.12.2011} ------------------------------------------------- Commedia dell’arte is a form of theatre characterized by masked ‘types,’ which began in Italy in the mid-1500s. About one hundred years later, Italian troupes (known as Comédie- Italienne) had achieved success in France where Moliére, inspired by the use of stock characters, introduced a lovelorn peasant named Pierrot in the play Don Juan. While the Comédie- Italienne incorporated Pierrot as a sad clown in their future endeavors, other French playwrights imbued Pierrot with a distinct personality: that of the outsider isolated from the social world around him. He presents a comic flair even as his love is forsaken, which creates pathos that embraces the hearts of audience members who can easily relate to Pierrot’s estrangement. When Pierrot appears in La Nouba, Cirque du Soleil’s permanent show in Walt Disney World, Florida, he is one tiny element in this phantasmagoria of re-imagined circus acts, but one that stuck out for me because his presence brings humanity to a show that could easily have fallen into the trap of some subsequent Cirque shows in Las Vegas where the human is treated merely as an acrobatic machine. Here, Pierrot is the sad clown as dancer who interacts with a lost ballerina; without dialogue, their time on stage in between other acts evinces longing, desire and fear. There is also The Acrobatic Pierrot, who mimes a commentary on the main acts of the show; he is still an outsider, but he keeps us grounded as sixty-seven performers festoon the stage. Unknown to the audience (there is no program), he is called the Red Pierrot, after a species of butterfly. Like his namesake, he flits about the stage, somehow cross-pollinating his fellow acrobats. One of the most mesmerizing acts is the stunt-riding wizard doing tricks on a BMX bike; he coils, curls and spins on one wheel. The second half of the act features another artist who hops his bike up and down steps and into the audience. Even more amazing was the background company who morphed into a completely different stage picture every time a new trick was completed, silently mirroring our own amazement – the effect is uncanny. The acts in and of themselves are brilliant. One in particular had the audience screaming with delight: The Diabolo, or Chinese yo-yo, is a children’s game where four young Chinese performers hold two sticks linked by a string – they slide, juggle and toss a wooden spool while executing flips in the air. They were delightful and entrancing. There are aerial ballets, flying trapeze artists and a mind- boggling juggler. Other characters include the nightmarish Titan, the playful Green Bird and my favorite, the Four Nuts, whose job it is to mind everyone’s business but their own. La Nouba never pretends to be more than it is: a thrilling evening of performers at the height of their acrobatic skills, lovingly supported by an array of characters that seem to mimic the many dimensions of our psyche. Plus, there are the Everyman Clowns who show us the comical side of man’s occasional inability to complete the simplest of tasks (make sure you show up early for the pre-show). La Nouba is dreamy, entertaining, inspiring and fun. { SOURCE: Stage and Cinema } Do you have $1.9 Million? [EXPANDED] {Jan.18.2011} ------------------------------------------------- Guy Laliberté is selling a choice piece of Las Vegas real estate. According to the Las Vegas Review Journal the Cirque du Soleil owner has put up for sale a house that was formerly used for temporary corporate housing (and, we're guessing, the occasional party). The asking price is in the $1.9 million range. Given that he's a high roller, that's just a medium-sized pile of poker chips. And it doesn't look like he'll be making much of a profit either, given the current state of the Vegas market. The place was apparently purchased in 1994 for about $1.4 million. Imagine what you could get for a half million in Vegas these days. # # # SELLER: Guy Laliberté LOCATION: Las Vegas, NV SIZE: 7,906 square feet, 5 bedrooms, 5.5 bathrooms PRICE: $1,899,999 Watching a Cirque du Soleil show is a bit like partaking of an illegal substance then carelessly entering and wandering wide- eyed through a death-defying and fantastical world of freaky body benders, mystical creatures on stilts and fearless aerialists whom Your Mama thinks must have less common sense than a boll weevel to even consider pouring themselves into genitalia-revealing outfits and flinging their lithe and lust- producing bodies up into the air like they don’t have a damn bone to break. The Cirque du Soleil, an super-surreal animal free circus-like spectacle that raised street performance to a high art of extreme athleticism, was co-founded in the mid-1980s by seasoned French-Canadian street performers Daniel Gauthier and Guy Laliberté, the latter who bought out Monsieur Gauthier’s ownership in the year 2000. In 1991 casino king Steve Wynn opened the first of many permanent Cirque du Soleil shows in Las Vegas, NV. In addition to the half-dozen or so permanent Cirque shows in Las Vegas, there are several touring groups that take the various productions around the world and employ thousands of otherwise unemployable people with resumés that include fascinating but little sought-after skills like, “able to keep 24 hula-hoops going all at once,” “capable of folding body up like a piece of paper” and “can be tossed into the air, perform 72 somersaults with a twist and alight safely on the shoulders of a midget dressed like a giant.” For all of that, Cirque du Soleil has legions of awe-struck fans and rakes in almost a billion dollars in annual revenue. Monsieur Laliberté, who continues as the visionary face of Cirque du Soleil, went from busker to billionaire and like all good newly-minted billionaires Monsieur Laliberté has a swollen portfolio of high-end properties in various parts of the world. Thanks to the Bizzy Boys at Celebrity Address Aerial we’ve learned that Monsieur Laliberté–or, more accurately, a corporate entity known to be attached to the smooth-pated space tourist– has recently opted to either lighten his real estate load in Las Vegas or perhaps to trade up for a new crib in Sin City even more grandiloquent than the mansion recently hoisted on the market with an unnecessarily complicated asking price of $1,899,999, a number more sensibly known among those not in the real estate dog-and-pony show as one-point-nine million clams. Property records show that a Quebecois company with the very same mailing address as the Cirque du Soleil offices in Montreal–that’s Canada dillweeds–purchased an architecturally insufferable mansion in a small guard-gated Las Vegas-area community in March of 1996 for $1,400,000. According to listing information for the bulky two-story mock-Mediterranean mansion that pushes the edges of the .57-acre lot and makes a mockery of real Mediterranean architecture there are a total of 5 bedrooms and 5.5 poopers in 7,906 square feet. Given the rather outlandish nature of and visual complexity of Cirque du Soleil shows, it really should not have been such a slap-in-the-face surprise to Your Mama that the decorative decisions of Monsieur Laliberté have the same sort of–let’s be nice and call it–unrestrained joie de vivre as the whimsical extravaganzas he imagines and produces. A squat portico on the front facade of the unwieldy, unassuming and unredeeming exterior give way to a hangar-sized 1,200 square foot foyer/great room with both marble and wood floors. The colossal combined spaces shriek and vibrate with a cacophony of color that looks like a damn Crayola box was exploded by a decorative terrorist. Some of the walls are sunflower yellow, others the color of Cabernet Sauvignon, at least one pumpkin orange color and still more a muddy shade of taupe. Many of the moldings around the windows and doors are punished with the same eye-popping hot pink paint slathered on the floating curved staircase that dramatically ascends to a bridge that spans the great room and connects the second floor bedroom wings. A trio of Hyundai-sized chandeliers that look like they were ripped right out of one of Saddam Hussein’s palaces hang over a banquet-hall length farmhouse-style table in the great room surrounded by a menagerie of chairs upholstered in various jewel-tone shades of velveteen. Altogether, bless its poor little decorative heart, it feels to Your Mama like looking dead in the glassy eyes of a deliriously happy seizure, if there could be such a thing. The kitchen, which looks to Your Mama like a very ordinary tract house kitchen hopped on steroids, has a walk-in pantry, breakfast nook and walls punched up with a particularly deep and disturbing teal color. A voluminous family/game room has built in bar with ziggurat canopy in one corner, more multi-colored walls than we care to acknowldege, an orange sectional sofa (that we l.o.v.e.), and various video games for the children and the child-like. Even the home fitness room at Monsieur Laliberté’s Las Vegas pad was painted in a near kaleidoscope of color and includes body-torture devices with baby blue seat cushions and back rests. The mansion contains two master suites, according to listing information, including one with with fireplace, wood floors, dressing room and private balcony. Although a rather restrained palette prevails in this master bedroom, the dizzying array of disharmonious and warring patterns on rugs and bed linens take soul-crushing and dictatorial visual control of the room. Thankfully questionable paint choices and zebra pattern woven rugs disappear quickly with the owner and a can of paint. A set of double doors swing open into the attached terliting and bathing suite where a gigantic jetted tub with brass hardware was set into an over-sized marble plinth tucked into a big bay window lined with depressing glass block filled punctuations. The too-green-for-the-desert grounds include a backyard ringed by trees and thick foliage where a fountain tumbles into a large heated swimming pool and a covered outdoor dining terrace has a fully equipped outdoor kitchen area complete with range and wall mounted microwave oven. Your Mama can only hope and pray that outdoor dining area has been fitted with a misting system lest diners melt into puddles of human goo just like creme brulée set out in the rabid desert heat. Property records reveal that the same Quebecois holding company that prop records show as the taxpaying owner of the above- discussed house in Las Vegas also owns a hillside abode tucked up in the Post Office area of Beverly Hills, CA. Property records show the 4,261 square foot two-bedroom residence was purchased way back in June of 1995 for $2,250,000. The children will note that Monsieur Laliberté’s mansions in Beverly Hills, CA and Las Vegas, NV are real estate child’s play compared to some of the other dee-luxe digs in the artsy entrepreneur’s property portfolio. Naturally the native Montrealian maintains a home base near his home town. Since sometime in the 1990s Monsieur Laliberté has owned a large and lavish estate on the private Lac du Moulin in Montreal’s suburban outskirt Mont Saint-Bruno. It is here where Monsieur Laliberté threw a much gossiped about annual Bacchanalia reportedly attended by leading lights, luminaries, off-duty members of the po-po and various b-list pleasure seekers who were asked to sign confidentiality agreements before admittance. The annual soiree stretched for several days each June and allegedly included internationally known djs, drug-fueled orgies and theatrical entrances by the shirtless and fire breathing master of ceremonies, Monsieur Laliberté. After numerous complaints from neighbors Monsieur Laliberté was compelled to move his notoriously lubricious shindig in 2003 to an air base of some sort where, by all accounts, it now cuts a far less hedonistic rug than than when it was held within the confines of Monsieur Laliberté’s heavily secured private domain in Mont Saint-Bruno. In August of 2007, Monsieur Laliberté forked over a very- billionaire $29,000,000 to purchase a sprawling oceanfront compound with 10 bedrooms and 14 full and 4 half poopers located in the über-deluxe Mauna Kea Resort in Kamuela on the Big Island of Hawaii. A peep and poke through the somewhat confusing property records indicates that the same corporate entity, also with the same mailing address as Cirque du Soliel headquarters in Montreal, that purchased the Kamuela compound also owns at least two other far less lavish nearby properties. Of course, Your Mama know know a donut hole from a diamond ring so we can’t say with any authority what Monsieur Laliberté does with then these two smaller homes in Hawaii. Perhaps they house staff, serve as over-flow guest quarters for visiting members of the Cirque or, maybe, each gets used by Mister Laliberté’s two baby mommas when they bring his brood of five giblets to visit? Who knows? {SOURCE: The Montreal Gazette} Viva Elvis Tweaked [EXPANDED] {Jan.19.2011} ------------------------------------------------- According to Robin Leach on his Luxe Life column for the Las Vegas Weekly, Viva Elvis recently received a "subtle but instrumental makeover". # # # It’s almost a classic chicken and egg story. Which came first? Originally, it was the old Elvis Presley recordings that stayed out of the spotlight in Cirque du Soleil’s Viva Elvis at MGM CityCenter’s Aria. They were raw -- and to be honest -- ancient in terms of our digital age. As the show continued to change, tweak and polish itself to perfection, the masters of music went to work, and now it’s their new soundtrack that drives the spectacular. Musical arranger and album producer Erich van Tourneau told VegasDeLuxe.com last November what it took to remaster the show’s recordings, and now after more than a year of studio engineering, it’s the new soundtrack that propels the show along at a much faster pace and energy. Erich told me: “I gave a new lease on life to the original superstar. Every track has the same energy he had back in 1954, but in a 2010 technological way.” In the early stages of Viva Elvis, it told a familiar story in an almost flat monotone. It’s now been given new blood with excitement and a controlled but frantic fever pitch. The narrative has been cut down and the Col. Tom Parker character relocated. The dancing seems faster and more electrically charged. Now it’s all showmanship throughout and makes the blue suede shoe even larger than it is with the dancers sprawled all over it. I didn’t see major changes to the “Jailhouse Rock” number, which is my favorite in the show. I still sat mesmerized watching the performers walk upside down in the air. How can you improve on that feat anyway? The amazing trampoline gymnastics seem faster and more challenging. Even the showgirl “Viva Las Vegas” finale seems a bigger and better spectacle. No wonder everybody from Priscilla Presley herself, who still pops in regularly to keep an eye on the production, to rescued Chilean miner Edison Pena just last week raves about the new look to the show. Edison was in Graceland for The King of Rock and Roll’s birthday celebrations Jan. 8 and traveled here directly from Graceland. The miner, who sang Elvis songs to bolster his 33 co-workers trapped for more than 60 days, was “totally amazed” by the seventh Cirque show on The Strip. Priscilla, who will be here for the Woman of the Year tribute by the Nevada Ballet Theater on Jan. 29, says, “Elvis would have loved the show on The Strip and the new soundtrack album. His presence is on The Strip where he loved to perform. So I think he’d be very honored by it.” Priscilla said she loved the new feel to the show and the new sound because it’s bringing a whole new generation of fans to Elvis’ music. The night I was there, the theater was packed, and the audience was young and old alike. The only difference was that the younger people got out of their seats to dance, while the older ones clapped and sang along with the hits. Parents and grandparents brought their youngsters with them, and there was no age barrier to the love of Presley’s power. Cirque has a reputation of always fine tuning and tinkering its productions, and now a year after it opened, Viva Elvis has found its heart and soul -- and produced its own soundtrack music for Elvis to rock on for years to come. There’s no danger that he’s ever going to be forgotten. He isn’t leaving this house for a very long time. If he returned to see it, I’m certain that he’d be speechless, except for: “Thank you. Thank you very much.” {SOURCE: Las Vegas Weekly} Cirque in London? [EXPANDED] {Jan.24.2011} ------------------------------------------------- Cirque du Soleil, the surreal circus company currently playing at the Royal Albert Hall in London, is expecting record profits of $250m (£156m) on revenue of $1bn this year, according to its founder, Guy Laliberté. Mr Laliberté said: "We are working hard trying to find a place in London. We have been looking all over for 10 years. Eventually, we will be at the right place at the right moment with the right real-estate developer. We have looked at the O2. It has been part of the discussion." David Campbell, the chief executive of AEG Europe, which owns the O2, confirmed the talks: "We have looked at it and it's just a question of getting the right business model. It's not imminent but it's not been dismissed." The move would give a further boost to Cirque's fortunes, which have ballooned as it cornered a niche in avant-garde acrobatics. "In 2010, revenues were $850m, and this year we could ring the bell of a billion dollars," said Mr Laliberté in London last week. Cirque has now performed to more than 100 million spectators in more than 300 cities, and is still growing. "Last year we sold a little over 11 million tickets, [up] one and a half million on 2009," he said. "Over the past two years, except for three or four weeks, our Vegas shows were over 97 per cent occupancy." The shows bring in around 60 per cent of revenue. Mr Laliberté has 10 touring shows and 10 others based in permanent theatres in Las Vegas, Macau, Orlando and Tokyo. Istithmar World Capital, a Dubai-based private equity investor, and Nakheel, a real-estate developer, own 20 per cent of the business. Mr Laliberté owns the rest. Cirque is to launch a new tour mixing acrobatics with the music of Michael Jackson; Mr Laliberté hopes for $40m in advance sales, saying: "This has the potential to be one of the biggest deals we have done." In O, a Cirque extravaganza, synchronised swimmers rise from a 1.5 million-gallon pool of water which turns into a solid stage floor. "O has grossed over a billion dollars since it opened in 1998," said Mr Laliberté. Two other shows open this year: one in New York's Radio City music hall, the other in the Kodak Theatre, Los Angeles, which is home to the Oscars. The productions have been financed with a $50m fund raised by private investors from the US and Canada. "We could extend this type of fund to real estate," said Mr Laliberté. "If successful it will give us great credibility in the market without having to go public." {SOURCE: The Independent} KÀ in NYC! {Jan.26.2011} ------------------------------------------------- Seven performers from the resident production of Cirque du Soleil's KÀ, at MGM Grand in Las Vegas, will participate in the 2011 Chinatown Lunar New Year Parade in New York City on Sunday, February 6. The parade will kick off at 1pm, with the KÀ performance to be held at Sarah Roosevelt Park (near Grand & Forsyth streets) at approximately 2:30pm. The show's central characters - the Imperial Twins - will also march in the parade. The four-minute performance will feature a combination of martial arts including Wushu, Chinese Opera and Capoeira. {SOURCE: Theater Mania} University awards first Beatles degree {Jan.27} ------------------------------------------------- A Canadian woman has become the first person in the world to graduate with a Masters degree in Beatles studies. The launch of the unique MA in Beatles, Popular Music and Society was a world first when it took its first class. Zahalan- Kennedy was the first to accept her degree in person from the university. The course looks at the studio sound and composition of the Beatles and how Liverpool helped to shape their music. The MA examines the significance of their music and how it helped to define identities, culture and society. Mike Brocken, founder and leader of the Beatles MA at Liverpool Hope University, said the postgraduate degree makes Zahalan- Kennedy a member of a select group of popular music experts. "Mary-Lu now joins an internationally recognized group of scholars of Popular Music Studies who are able to offer fresh and thought-provoking insights into the discipline of musicology." {SOURCE: Reuters} Cirque Looking for New Partner? [EXPANDED] {Jan.31.2011} ------------------------------------------------- There's an interesting article out of London about Cirque du Soleil and its future prospects. Within the article, Guy Laliberte is quoted to be interested in selling another 10% of Cirque du Soleil to another strategic partner. With 20% already in the hands of Istithmar World Capital/Nakeel, why another 10%? # # # Cirque du Soleil, the modern circus troupe which has transformed the way the once old-fashioned theatrical event is viewed, would be willing to sell a further 10pc equity stake to a strategic partner, founder Guy Laliberté has admitted. In 2008, Dubai-based private equity investor Istithmar World Capital and real estate developer Nakheel bought a 20pc stake in Cirque from Laliberté for an estimated $500m (£315m). It left 80pc in his hands and he hoped that his new partners would fuel expansion, but the recession and the effect that had on Dubai's economic fortunes prevented that from happening. "There has been no contribution to growth from that partner," said Laliberté. "I sold to them to have a partner who was heavily expanding in real estate but from the moment I got the cheque to the month afterwards everything was totally different so I was just left with the money." Since then a planned Cirque show on Dubai's Palm island has been put on ice and it has been rumoured that Nakheel and Istithmar have been considering a sale of their stakes. "They can't sell the shares without our approval so they are locked in but I am totally open if they come with somebody that could be strategic," says Laliberté adding: "I would be willing probably to spin off another 10pc for strategic reasons." He says that Cirque is worth "somewhere between $2bn and $3bn. It was valued at that price when we sold to Dubai and although the multiple was very high we have had growth since then." In October, it was reported that Cirque had appointed investment bank Allen & Co to find a strategic partner to locate a source of capital and fund a permanent London show. Although the O2 arena in Greenwich has been mooted as a possible home, nothing has yet been finalised. Allen & Co is working with Laliberté on his search for a new investor for the whole business. Laliberté started the company in 1984 after touring through Europe as a street-performer. He reinvented the circus by removing animals from his shows and replacing them with dramatically coloured lighting and astonishing acrobatics. Cirque now runs 20 shows around the world including tours which have travelled to more than 200 cities and permanent performances in locations as diverse as Las Vegas and Macau. To protect against over-expansion Laliberté says "we have made a decision of not creating more than three new tours or permanent shows a year." Cirque – currently performing its Totem show at the Royal Albert Hall – will this year début two new permanent shows: one in New York's historic Radio City Music Hall with the other in Los Angeles's Kodak Theatre, the home of the Academy Awards. The Montreal-based company will also launch a show which sets acrobatics to the music of Michael Jackson, following in the footsteps of other Cirque productions themed to the music of Elvis Presley and the Beatles. Laliberté also revealed that more music collaborations could be coming: "I have been offered Bob Marley but I don't want to touch it because I don't think our creativity would fit with that." He added: "I would like to do Dark Side of the Moon, something to do with Pink Floyd, but that is a personal thing." {SOURCE: The Telegraph} ======================================================================= 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 {Iris, & Zarkana} 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: Vienna, AT -- Feb 10, 2011 to Mar 13, 2011 Madrid, ES -- Apr 2, 2011 to May 8, 2011 Valencia, ES -- Jun 16, 2011 to Jul 10, 2011 Alicante, ES -- Jul 28, 2011 to Aug 21, 2011 Sevilla, ES -- Sep 8, 2011 to Oct 9, 2011 Paris, FR -- Nov 11, 2011 to TBA Koozå: Tokyo, JPN -- Feb 2, 2011 to May 8, 2011 Osaka, JPN -- Aug 4, 2011 to Oct 10, 2011 Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012 Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012 Sendai, JPN -- Apr 19, 2012 to Jun 3, 2012 Ovo: Dallas, TX -- Jan 28, 2011 to Feb 27, 2011 Houston, TX -- Mar 10, 2011 to Apr 3, 2011 Cincinnati, OH -- Apr 21, 2011 to May 15, 2011 Minneapolis, MN -- May 26, 2011 to Jun 12, 2011 Chicago, IL -- Jun 30, 2011 to Jul 31, 2011 Seattle, WA -- Nov 17, 2011 to Dec 22, 2011 Totem: London, UK -- Jan 5, 2011 to Feb 17, 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 11, 2011 to Sep 4, 2011 San Francisco, CA -- Oct 21, 2011 to Dec 18, 2011 Varekai: Taipei, TW -- Jan 20, 2011 to Mar 6, 2011 Seoul, SKR -- Apr 6, 2011 to May 29, 2011 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Online at: < http://www.cirquefascination.com/?page_id=1831 > Saltimbanco: Friedrichshafen, DE -- Feb 11, 2011 to Feb 13, 2011 Istanbul, TR -- Feb 18, 2011 to Mar 5, 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 May 1, 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: 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 Mar 20, 2011 Knoxville, TN -- Mar 23, 2011 to Mar 27, 2011 Charlotesville, VA -- Mar 30, 2011 to Apr 3, 2011 Atlantic City, NJ -- Apr 7, 2011 to Apr 10, 2011 Greensboro, NC -- Apr 13, 2011 to Apr 17, 2011 Biloxi, MS -- Apr 20, 2011 to Apr 24, 2011 Southaver, MS -- Apr 27, 2011 to May 1, 2011 Roanoke, VA -- May 4, 2011 to May 8, 2011 Columbia, SC -- May 11, 2011 to TBA Toledo, OH - May 18, 2011 to May 22, 2011 Louisville, KY -- Jun 9, 2011 to TBA Nashville, TN -- Jun 15, 2011 to Jun 19, 2011 Tampa, FL -- Jun 22, 2011 to Jun 26, 2011 Jacksonville, FL -- Jun 29, 2011 to Jul 3, 2011 Raleigh, NC -- Jul 6, 2011 to TBA Duluth, GA -- Jul 13, 2011 to TBA Sunrise, FL -- Jul 20, 2011 to Jul 31, 2011 Charlotte, NC -- Aug 3, 2011 to TBA Estero, FL -- Aug 10, 2011 to Aug 14, 2011 Oberhausen, DE -- Sep 7, 2011 to Sep 11, 2011 Leipzig, DE -- Sep 14, 2011 to Sep 18, 2011 Stuttgart, DE -- Sep 21, 2011 to Sep 25, 2011 Munich, DE -- Sep 28, 2011 to Oct 2, 2011 Salzburg, AT -- Oct 5, 2011 to Oct 9, 2011 Berlin, DE -- Oct 12, 2011 to Oct 16, 2011 Bremen, DE -- Oct 19, 2011 to Oct 23, 2011 cologne, DE -- Oct 26, 2011 to Oct 30, 2011 Frankfurt, DE -- Nov 2, 2011 to Nov 6, 2011 Mannheim, DE -- Nov 9, 2011 to Nov 13, 2011 Quidam: 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 Apr 17, 2011 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 May 8, 2011 Sacramento, CA -- May 11, 2011 to May 15, 2011 London, ON -- Jun 2, 2011 to TBA Hamilton, ON -- Jun 8, 2011 to TBA Wilkes-Barre, PA -- Jun 15, 2011 to TBA Ottawa, ON -- Jun 22, 2011 to TBA St. John's, NL -- Jul 6, 2011 to TBA Saint John, NB -- Jul 13, 2011 to TBA Halifax, NS -- Jul 20, 2011 to 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 -- Dec 14, 2011 to TBA Toronto, ON -- Dec 20, 2011 to TBA Dralion: Mobile, AL - Feb 2, 2011 to Feb 6, 2011 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 21, 2011 San Antonio, TX -- Mar 23, 2011 to Mar 27, 2011 Des Moines, IA -- Mar 30, 2011 to Apr 3, 2011 Fargo, ND -- Apr 5, 2011 to TBA Sioux City, IA -- Apr 9, 201 to TBA Council Bluffs, IA -- Apr 13, 2011 to Apr 17, 2011 Moline, IL -- Apr 19, 2011 to TBA Peoria, IL -- Apr 22, 2011 to Apr 24, 2011 Madison, WI -- Apr 26, 2011 to Apr 27, 2011 Green Bay, WI -- Apr 29, 2011 to May 1, 2011 Rockford, IL -- May 4, 2011 to May 8, 2011 Kansas City, MO -- May 11, 2011 to May 15, 2011 Abbotsford, BC -- Jun 2, 2011 to Jun 5, 2011 Eugene, OR -- Jun 8, 2011 to TBA Portland, OR -- Jun 15, 2011 to TBA Victoria, BC -- Jun 22, 2011 to Jun 26, 2011 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 to Oct 8, 2011 Hamilton, ON -- Oct 12, 2011 Detroit, MI -- Oct 15, 2011 London, ON -- Oct 18, 2011 Toronto, ON -- Oct 21, 2011 & Oct 22, 2011 Winnipeg, MB -- Oct 26, 2011 Saskatoon, SK -- Oct 29, 2011 Edmonton, AB -- Nov 1, 2011 & Nov 2, 2011 Vancouver, BC -- Nov 4, 2011 & Nov 5, 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 & Jan 28, 2012 Houston, TX -- Feb 10, 2012 Miami, FL -- Mar 2, 2012 Montreal -- Mar 20, 2012 to Mar 22, 2012 Quebec City, QC -- Mar 24, 2012 & Mar 25, 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 2011 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) 2011 Dark Dates: o January 5-19 o February 6 o March 2 o May 8-11 o July 6 o September 3-7 o November 2 2011 Added Performances: o July 14th o December 30th "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2011 Ticket Prices: o Orchestra: $150.00 o Loggia: $130.00 o Balcony: $99.00 o Limited View: $93.50 2011 Dark Dates: o February 6-9 o April 13-17 o June 12 o August 10-14 o October 9 o December 5-18 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2011 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 2011 Dark Dates: o January 18-22 o March 22 o May 17-28 o July 26 o September 20-24 o November 22 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday Dark: Wednesday & Thursday Two Shows Nightly - 7:30pm and 10:00pm 2011 Ticket Prices (18+ Only!): o Duo Sofas: $129.00 o Orchestra Seats: $105.00 o Upper Orchestra Seats: $79.00 o Balcony Seats: $69.00 o Cabaret Stools: $69.00 2011 Dark Dates: o February 6, 15 o April 15-19 o June 21 o August 26-30 o Septembre 2-6 o October 17-18 o December 16-20 2011 Added Performances: o November 23rd o December 31st KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices (adult) / (child 5-12): o Category 1: $150.00 / $75.00 o Category 2: $130.00 / $65.00 o Category 3: $99.00 / $49.50 o Category 4: $69.00 / $34.50 2011 Dark Dates: o January 18-29 o April 5 o May 31 - June 4 o July 12 o August 30 - September 7 o November 15-16 2011 Added Performances: o January 16 o May 29 o November 27 o December 26 o December 31 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices: o Lower Orchestra: $150.00 o Upper Orchestra: $130.00 o Lower Balcony: $99.00 o Middle Balcony: $93.50 2011 Dark Dates: o February 7-8 o April 7-11 o May 16 o June 6 o August 4-8 o October 3 o December 1-12 2011 Added Performances: o May 18th o December 28th o December 31st ZAIA: Location: Venetian, Macao (China) Performs: Every Day, Dark: Wednesday One to Two Shows Daily - Times Vary 2011 Ticket Prices (adult) / (child 2-11): o VIP Seating: MOP$ 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 2011 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 / ¥8,500 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. 2011 Ticket Prices (all): o Category 1: $160.00 o Category 2: $130.00 o Category 3: $109.00 o Category 4: $89.00 o Category 5: $59.00 2011 Dark Dates: o January 11-15 o March 1-5 o June 7-14 o September 6-10 o December 6-17 VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2011 Ticket Prices o Category 1: $175.00 o Category 2: $150.00 o Category 3: $125.00 o Category 4: $99.00 2011 Dark Dates: o January 18-19 o March 15-19 o May 10-11 o July 5-16 o September 13-14 o November 8-12 2011 Added Performances: o May 29th o November 27th o December 26, 31 -------------------------------------- VENUE - Venue & Seasonal Productions -------------------------------------- Online at: < http://www.cirquefascination.com/?page_id=251 > 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: $123.00 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: Location /// Radio City Music Hall New York City, NY (USA) Performances /// June 9, 2011 through September 4, 2011. 2011 Dark Dates: o June 13-15, 20-22, 27-28 o July 4, 11, 18, 25 o August 1, 8, 15, 22, 29 o September 5, 12, 19, 26 o October 3 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 ======================================================================= o) Club Cirque -- This Month at CirqueClub o) Networking -- Cirque on Facebook, Youtube & Twitter --------------------------------------- CLUB CIRQUE: This Month at CirqueClub --------------------------------------- SAFETY AT CIRQUE DU SOLEIL AN ABSOLUTE PRIORITY SINCE 1984 {Jan.13} Since 1984 Cirque du Soleil has considered the safety of its artists on all its show and training sites as an absolute priority. Deeply rooted in its corporate culture, the concern for the artists' health and safety takes precedence over any artistic endeavor or business decision. Cirque du Soleil has established working methods that ensure the artists' work is done in highly controlled environments, day in and day out, in order to effectively manage performance risk. The company leaves nothing to chance, making sure that its equipment and work environments comply with the highest safety standards. Customized training programs for a safe learning experience From the moment a professional artist is hired at Cirque du Soleil right up to his integration in a show, that artist undergoes a comprehensive training program provided by expert trainers. A customized training and performance program and optimal working conditions are imperative for an artist to execute his act safely. Prior to being integrated in a show, the majority of the artists Cirque du Soleil recruits must undergo personalized training for several weeks, even several months. Whether the performers are former high-level athletes or specialists already well versed in the circus arts, they will be trained on two levels: the acrobatic component teaches them to master all of the movements the act requires, while the artistic component helps them to develop their ability to express emotions in order to play a character. Artist training unquestionably includes an important safety component. Particular interest is given, among other things, to teaching the various maneuvers involved in handling the equipment and safety lines as well as the proper positioning of the artist on the acrobatic equipment. The staff makes sure the artist is brought through his training safely. Close to 100 trainers hailing from the four corners of the world are involved in artist training. These experts come from backgrounds as diverse as sports, acrobatics, dance, music and theatre. On the basis of their area of expertise, each one supervises the artists individually and accompanies them along their path every step of the way. In 2010, nearly 600 artists will benefit from custom- designed training in Montreal so they are adequately prepared to take part safely in any one of the shows. Accompaniment by elite specialists as a means of prevention In addition to these coaches and trainers, an interdisciplinary team of highly qualified specialists is made available to each artist, ensuring his physical and psychological well-being. The presence of these experts helps create a controlled and safe environment. Two or three physiotherapists are on hand on each show site and approximately 10 are available continuously at the international headquarters in Montreal. These professionals provide care on a daily basis whenever required, and work with the trainers and physical fitness specialists to implement specific training programs designed to improve posture and flexibility or to correct weaknesses. Performance psychologists provide psychological support to the artists, assisting them in developing and integrating both mental and professional skills such as concentration and relaxation. In addition to helping artists manage certain difficulties such as fatigue, stress and the anxiety of being away from their family, they also help those with a sports background-more than 50% of Cirque du Soleil's 1,200 artists-to adapt to the realities of the arts and entertainment world. A nutritionist is also on hand to respond to those who request nutritional advice or seek ways to maintain a balanced diet. In addition to these specialists, there is a large team of experienced riggers and technicians whose jobs are directly related to artist safety: they are responsible for installing the equipment, operating the various technical systems, including automation and lighting, verifying the equipment, maintaining safety lines and harnesses, etc. Cirque du Soleil is also constantly in touch with a medical network, available anytime and anywhere on the planet. Safety protocols and detailed risk analyses In the industrial sector (e.g., aeronautics), safety protocols and risk analyses are all part of a regular day. At Cirque du Soleil-where artists leap or are flung in the air and where complex automation systems are used to move huge set elements-, risk analysis and safety protocols are part of the landscape too. Precise protocols and detailed performance risk management analyses are required for all of the acrobatic acts performed in every Cirque du Soleil show. Nothing is improvised; each acrobatic element is analyzed and scrutinized, whether it's a piece of equipment used by an artist or an individual physical performance. Each act is deconstructed in a series of individual movements that may entail risks. For each movement, experts identify: o) The potential risk accurately o) The source of the risk o) The person(s) exposed to the risk o) The probability of the risk materializing o) Its degree of severity o) The measures to be taken to reduce the risk. This analysis grid is documented meticulously and extensively. It is developed in conjunction with all equipment and acrobatic performance designers in order to provide artists with the safest workplace. In addition to the risk analyses linked to the various acrobatic acts, Cirque du Soleil has also developed a series of strict and comprehensive safety protocols that cover a wide variety of aspects related to its operations. Emergency and rescue procedures, acrobatic equipment certification and inspection and performance risk management are some of the processes that are governed by protocols. The scope of these protocols covers even the weather! In the case of outdoor performances, for example, weather conditions-wind, rain, humidity and cold-entail risk factors that must be taken into consideration. Low incidence of injuries A series of preventative measures thus ensure the health and safety of Cirque du Soleil artists. These include optimal training conditions and experienced staff qualified to provide proper training; experts in every field to see to the artists' physical and psychological well- being; precise protocols and risk management processes that ensure equipment safety and reliability allowing the artists to execute their acts safely. It is not surprising, therefore, that a comprehensive epidemiological study of the nature of injuries at Cirque du Soleil conducted between 2002 and 2010 by physician-scientists affiliated with five universities in Canada and the United States concluded that the incidence of severe injuries at Cirque is markedly lower than for National Collegiate Athletic Association sports such as football, hockey, soccer, basketball and gymnastics in the United States. The staging of physical prowess is a crucial part of circus arts. But the safety of the artists must take precedence over any other consideration. --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- ---[ "O" ]--- {Jan.28} Shooting the pre-recorded opener for the February 15th UNLV vs. Air Force game with our amazingly talented high divers!! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=10150102813169417&set=a.98604589416. 79108.26000574416 > {Jan.27} Interested in taking a backstage tour at "O"? Here's everything you need to know! LINK /// < http://www.8newsnow.com/category/28259/ 8-news-now-video?clipId=5507979&a > ---[ ALEGRIA ]--- {Jan.30} Heading to Laredo, TX! Opening @ Laredo Energy Arena on Wednesday, Feb 2 LINK /// < http://www.elmanana.com.mx/notas.asp?id=218601 > {Jan.27} Alegria is in the Mountains, Colorado! LINK /// < http://www.coloradoan.com/article/20110127/ NEWS01/101270366/Events-center-soars-with- big-Alegr-a-show > {Jan.09} Colorado Springs here we come! Opening on Wednesday, Jan 12! LINK /// < http://www.csindy.com/colorado/joy-division/ Content?oid=1995242 > {Jan.06} In this article, Slava Petrakov, Aerial High Bar flyer, talks about his artistic background, life on tour with Alegria, etc. Don't forget to listen to the interview! LINK /// < http://www.csindy.com/IndyBlog/archives/2011/ 01/06/cirque-du-soleil-in-the-springs-part-four > ---[ CRISS ANGEL: BELIEVE ]--- {Jan.21} Our new creative is up on billboards around town - check it out! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=10150089267753599&set=a.103473593598. 94236.18869703598 > {Jan.18} In case you missed Criss' appearance on CBS' Rules of Engagement last night, see below for a short snippet from the episode! VIDEO /// < http://www.youtube.com/watch?v=08crNRQSkts > ---[ CORTEO ]--- {Jan.05} Corteo beaming stunt on Le Meridien Brussels Hotel façade...Corteo is in Brussels until January 30, 2011 LINK /// < http://photos-g.ak.fbcdn.net/hphotos-ak-ash1/ hs799.ash1/168954_480947726178_34657386178_ 6460935_5060823_s.jpg > ---[ DRALION ]--- {Jan.30} Cirque du Soleil never makes it simple. But then, simple is boring. The famed company's latest voyage to the Gulf Coast brings the production "Dralion" to the University of South Alabama Mitchell Center for seven shows over the course of five days starting Wednesday, Feb. 2. LINK /// < http://blog.al.com/entertainment-press- register/2011/01/cirque_du_soleils_dralion_brin.html > {Jan.25} Cirque's 'Dralion' merges East and West in Hoffman Estates LINK /// < http://www.dailyherald.com/article/ 20110123/entlife/701219971/ > {Jan.21} If you missed Anthony Cooperwood on Great Day St. Louis yesterday! Here's your chance to see it! LINK /// < http://www.kmov.com/great-day-st-louis/ Cirque-du-Soleil-Dralion-114274534.html > {Jan.19} Watch Tim Ezell from KTVI-TV (FOX) guest starring in the Pas de Deux act. LINK /// < http://www.fox2now.com/videobeta/23b35283-d3a3-4160- a30a-64590924e530/News/Tim-s-Travels-Tim-Joins-t > {Jan.13} Great review in Grand Rapids!!! Playing at the Van Andel Arena! LINK /// < http://www.mlive.com/entertainment/grand- rapids/index.ssf/2011/01/cirque_du_soleils_ dralion_dazz.html > {Jan.09} Dralion by Cirque du Soleil Grand Rapids - Here we come! LINK /// < http://www.mlive.com/entertainment/grand- rapids/index.ssf/2011/01/post_19.html > {Jan.09} Dralion was selected photo of the week in the Boston Globe! FOTO /// < http://www.boston.com/bostonglobe/photos/ photos_galleries/boston_globe_staff_ photos_of_the_week_010711/? p1=Features_link2#/11 > {Jan.06} Watch behind the scene footage from the Agganis Arena and also meet one of our performers - Marie Eve Bisson! LINK /// < http://www.boston.com/bostonglobe/video/ > {Jan.02} Meet one of our main singer: Cristian Zabala. Dralion is opening at the Agganis Arena in Boston this coming Wednesday! LINK /// < http://npaper-wehaa.com/elplaneta/2010/ 12/31/?%3Farticle=1127222 > ---[ IRIS ]--- {Jan.06} Had a blast at the LA Arts Month kick-off event. A great way to start the new year. We're glad to be a part of Los Angeles' cultural and entertainment arts community! L.A. Arts Month Kick-Off Celebration FOTO [6] /// < http://www.facebook.com/album.php? aid=34697&id=161171830587832&ref=mf > {Jan.05} While the creative team in Montreal is busy preparing for IRIS, here is a video showcasing acts that give you a feel of what you can expect at the Kodak Theatre. IRIS: Teaser Trailer VIDEO [1:00] /// < http://www.facebook.com/video/video.php? v=1672632208034&oid=161171830587832&comments&ref=mf > ---[ KÀ ]--- {Jan.20} Hello everyone! We're 4 days into our vacation and things here are super quiet so we're making an announcement (ATTN: Diana Lettiere Tedone): KÀ will present a shortened version of the martial arts performance from Pageant at the New York City Lunar New Year Parade on Sunday, Feb. 6th. It's going to be COLD so we will need as much warmth and love from all of you as we can get! LINK /// < http://www.facebook.com/photo.php? fbid=10150143635116929&set=a.176667951928. 146847.31527171928 > {Jan.04} We know a bunch of you probably made the annual "this year I'm going to get in shape" resolution, so here are a few tips on how to do just that from several Las Vegans, including KÀ artist Emmanuel Kizayilawoko. Now get out there and jump off stuff! LINK /// < http://www.desertcompanion.com/ article.cfm?articleID=79 > {Jan.01} Wishing all of our KÀ friends a happy and healthy 2011! We ended last year/started this one with some love from our local newspaper. What do you think, should we have been higher on his top 10 list? :o) LINK /// < http://www.lvrj.com/living/garth-brooks-rules-roost- with-meaningful-one-man-acoustic-show-112467939.html > ---[ LA NOUBA ]--- {Jan.13} Favorite quote from this Stage and Cinema review: "La Nouba never pretends to be more than it is: a thrilling evening of performers at the height of their acrobatic skills, lovingly supported by an array of characters that seem to mimic the many dimensions of our psyche." LINK /// < http://www.stageandcinema.com/2011/01/12/la-nouba/ > {Jan.06} VIDEO [2:37] /// < http://www.facebook.com/video/video.php? v=1812290870016&oid=16315569901&comments&ref=mf > {Jan.04} Check out the official La Nouba trading pin we gave exclusively to our guests on New Year's Eve! It is so shiny it was hard to take a photo that does it justice. Now for that 2012 design... *scratches chin* FOTO [1] /// < http://www.facebook.com/photo.php? fbid=482588989901&set=a.190647189901. 126413.16315569901 > ---[ MYSTERE ]--- {Jan.20} We're back from our break on Saturday and the stage looks beautiful again! Here's a full time-lapse video of the whole project, and we'll put some still photos in the gallery as well. Yes, that is ONE member of our Props team painting the stage one color at a time. (Janet is our hero!) How to replace a stage by the Crew of Mystère VIDEO [1:28] /// < http://www.facebook.com/video/video.php? v=1822943539777&oid=18155469918&comments&ref=mf > {Jan.12} Hello Mystère fans! You'll be happy to know our construction project is going well and we're a few days ahead of schedule. @Austin Kunis was right-for the 1st time in 17 years we are completely replacing and refinishing the stage! We'll have more in depth still photos later this week but enjoy this time-lapse video from the first day of work. (Looks sort of like Mystère On Ice, n'est-ce pas?) The Mystère Stage Gets a Facelift - Jan. 2011 VIDEO [0:30] /// < http://www.facebook.com/video/video.php? v=1810087818392&oid=18155469918&comments&ref=mf > {Jan.04} Hello everyone! This is our last night of shows before we take a break for a couple of weeks. We'll have some images to share in the coming days from a major construction project we're doing in theatre over the vacation, and in the meantime please enjoy the fourth and final installment of our behind-the-scenes en español fiesta party. Mystère Israel & Ross interview on "Acceso Total" (Telemundo LA) VIDEO [2:00] /// < http://www.facebook.com/video/video.php? v=1796268392915&oid=18155469918&comments&ref=mf > ---[ OVO ]--- {Jan.26} Have a look on the interview that Deborah Colker (director and creator of OVO) did for nature.org. LINK /// < http://www.nature.org/wherewework/northamerica/ states/texas/features/art32941.html > {Jan.21} In the Frisco Enterprise! LINK /// < http://www.friscoenterprise.com/articles/2011/01/19/ frisco_enterprise/news/243.txt > ---[ QUIDAM ]--- {Jan.11} Salut Saguenay, le Cirque est en ville! LINK /// < http://www.cyberpresse.ca/le-quotidien/arts- spectacles/201101/11/01-4358930-le-cirque- du-soleil-sinstalle.php > {Jan.05} Revue de Presse Quidam à Québec LINK /// < http://www.cyberpresse.ca/le-soleil/arts-et- spectacles/sur-scene/201101/04/01-4357230-dans- lunivers-des-quidams-du-cirque-du-Soleil.php? utm_categorieinterne=trafficdrivers&utm_ contenuinterne=cyberpresse_vous_suggere_ 4357229_article_POS1 > ---[ SALTIMBANCO ]--- {Jan.15} La Couverture de l'Équipe Mag ce matin !! LINK /// < http://www.lequipemag.fr/EquipeMag/ Mag/flip/index_flip.html > {Jan.14} De nouveaux sièges ajoutés à Bercy ! LINK /// < http://www.facebook.com/photo.php? fbid=10150118556217959&set=a.121288542958. 129859.41245692958 > {Jan.09} À Paris dès jeudi !! Dépêchez-vous pour les derniers billets disponibles ! LINK /// < http://www.m6replay.fr/#/jeunesse/barbapapa/21450 > {Jan.07} L'implacable et rêveur " Saltimbanco " LINK /// < http://www.nordeclair.fr/Loisirs/Magazine/ 2011/01/07/l-implacable-et-reveur-saltimbanco.shtml > {Jan.06} Quelques photos du spectacle de hier! LINK /// < http://photos.lavoix.com/main.php?g2_itemId=171833 > ---[ TOTEM ]--- {Jan.21} CAST in LONDON FOTO [1] /// < http://www.facebook.com/photo.php? fbid=185008721519826&set=a.111837202170312. 12495.111798252174207 > {Jan.15} Cirque du Soleil: Taking circus to new heights LINK /// < http://www.express.co.uk/posts/view/221955/ Cirque-du-Soleil-Taking-circus-to-new-heights > {Jan.11} Totem is thrilling when it gets its act together LINK /// < http://www.thisislondon.co.uk/theatre/review- 23911395-totem-is-thrilling-when-it-gets- its-act-together.do > {Jan.06} Celebs at premiere of Cirque du Soleil's Totem LINK /// < http://www.thisislondon.co.uk/standard- pictures/Celebs+at+premiere+of+Cirque+du+Soleil% 27s+Totem-latest.do?id=23380137 > ---[ THE BEALTES LOVE ]--- {Jan.16} Paul McCartney is so funny! Sir Paul McCartney and Jimmy Fallon sing "Scrambled Eggs" VIDEO /// < http://www.youtube.com/watch?v=V3WcCZFwZlw&sns=fb > {Jan.11} We've got an air date for our episode of American Idol! Make sure to tune in on Wednesday, Feb. 23! {Jan.10} Steve Martin & Paul McCartney!!! LINK /// < http://www.kansascity.com/2011/01/10/2574775/steve- martin-strums-again-with.html > {Jan.03} Happy 85th birthday to one of the best music producers that ever lived - Sir George Martin! {Jan.01} Cheers from the girls of LOVE backstage :) LINK /// < http://www.facebook.com/photo.php? fbid=496328658665&set=a.101066423665. 92500.14653468665 > ---[ VAREKAI ]--- {Jan.26} It's official!!! Varekai is going to Korea as of April 6th 2011! Tickets are now for sale... are you coming?? LINK /// < http://ticket.interpark.com/Ticket/Goods/ GoodsInfo.asp?GoodsCode=11000461 > {Jan.13} Our big top was raised Tuesday in the city of Taipei! LINK /// < http://udn.com/NEWS/READING/REA3/6089948.shtml > {Jan.13} Varekai in Taipei! VIDEO /// < http://www.youtube.com/watch?v=1ZBnQHuHPBg > ---[ VIVA ELVIS ]--- {Jan.27} Check out Viva ELVIS on The Bachelor on Monday, January 31 (8 p.m. - 10 p.m ET) on ABC! You'll get a behind the scenes look at our show when it airs, but here's a sneak peek! The Bachelor at Viva ELVIS (Jan. 31, 2011) FOTO [5] /// < http://www.facebook.com/album.php? aid=261220&id=167136344108&ref=mf > {Jan.21} "Bossa Nova Baby," a track from 'Viva Elvis - The Album' can be heard in the trailer for Natalie Portman and Ashton Kutcher's film, 'No Strings Attached' which opens today! Check out this clip from the new movie with Ashton Kutcher and Natalie Portman "No Strings Attached" featuring Elvis' "Bossa Nova Baby"! VIDEO [0:32] /// < http://www.facebook.com/video/video.php? v=562974467684&oid=19838724152&comments&ref=mf > {Jan.15} We definitely enjoyed the time we spent with Chilean miner Edison Peña! Here is a short video and some fotos of his visit! FOTO [10] /// < http://www.facebook.com/album.php? aid=257939&id=167136344108&ref=mf > VIDEO [3:11] /// < http://www.facebook.com/video/video.php? v=10100301878729489&oid=167136344108&comments&ref=mf > {Jan.12} Edison Peña made a guest appearance in tonight's 7pm show, riding in the pink Cadillac. He had a great time backstage with the cast and serenaded them with some of the Elvis tunes he knows so well! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=481962729108&set=a.167799494108. 119733.167136344108 > {Jan.11} Chilean miner Edison Peña will be with us tonight! While the miners were trapped he would sing Elvis songs to pass the time - - we definitely hope he enjoys the show! LINK /// < http://www.latimes.com/sns-ap-us-chilean- miner-elvis,0,1132599.story > {Jan.09} Elvis' 76th birthday celebration FOTO [5] /// < http://www.facebook.com/album.php? aid=256309&id=167136344108&ref=mf > {Jan.09} Here's a shot of our special finale for Elvis' birthday tonight. Elvis' birthday cake was created by one of our acrobats, Ashley Kupets. The singers did a great rendition of Happy Birthday and the audience loved it! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=480429224108&set=a.167799494108. 119733.167136344108 > {Jan.08} Check out another birthday video from the cast, produced and directed by our very talented performer, Aaron Felske. VIDEO [1:07] /// < http://www.facebook.com/video/video.php? v=495436177001&oid=167136344108&comments&ref=mf > {Jan.08} Happy Birthday Elvis! The audiences at tonight's shows will see a special birthday performance. Hope you can join us! VIDEO [1:06] /// < http://www.facebook.com/video/video.php? v=495311547001&oid=167136344108&comments&ref=mf > {Jan.06} Take a look at our performance at around 1:05:00! We had a blast doing it! If you're in town for CES or otherwise, we've also got a special $75 ticket off for Elvis' birthday! You can grab that here near the bottom: LINK /// < http://bit.ly/ElvisBDay > {Jan.04} Sign a virtual birthday card for Elvis and see a video from our cast at our new site! LINK /// < http://bit.ly/ElvisBDay > ---[ WINTUK ]--- {Jan.03} We had our final performances in NYC yesterday! Congratulations to the cast & crew and thank you to New York for four great years!! FOTO [1] /// < http://www.facebook.com/photo.php? fbid=10150357997950321&set= a.222882910320.276944.98244255320 > ---[ ZAIA ]--- {Jan.27} ZAIA on live TV broadcast in China for the first time! Watch our artists presenting a fantastic act on the Spring Festival Gala on Hunan TV!!! LINK /// < http://v.youku.com/v_show/id_XMjQwMDU1MzYw.html > ---[ ZARKANA ]--- {Jan.14} ZARKANA Creation Sketches LINK /// < http://www.facebook.com/album.php? aid=30733&id=139797212738843&ref=mf > ---[ ZUMANITY ]--- {Jan.07} 2011 Mashable Awards at Zumanity! FOTO [4] /// < http://www.facebook.com/album.php? aid=276125&id=13931088846&ref=mf > {Jan.07} We had a great time playing host to the 4th annual Mashable Awards Gala! Here's a look at Julia performing 'Hoops' for the award audience! LINK /// < http://www.facebook.com/photo.php? fbid=492384453846&set=a.103927633846. 92609.13931088846 > ======================================================================= COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * Feb.01.2008 -- Delirium opened Oberhausen, Germany * Feb.01.2008 -- Announcement that Delirium will fold in London, UK * Feb.02.2001 -- La Nouba celebrated 1000th performance [Friday, 6:00pm] * Feb.02.2010 -- Saltimbanco Arena opened Nantes, FR * Feb.02.2011 -- Koozå opened Tokyo, Japan * Feb.02.2011 -- Alegria Arena opened Laredo, TX * Feb.02.2011 -- Dralion Arena opened Mobile, AL * Feb.03.2000 -- Dralion opened San Francisco, California * Feb.03.2005 -- KÀ Premiere Gala (Previews End) * Feb.04.1988 -- Le Cirque Réinventé opened Santa Monica (again) * Feb.04.2007 -- Cirque du Soleil performs at Super Bowl XLI. * Feb.04.2009 -- Corteo opened Tokyo, Japan * Feb.04.2009 -- Saltimbanco Arena opened St. Charles, MO * Feb.04.2010 -- Alegría Arena opened Detroit, MI * Feb.04.2010 -- OVO opened San Jose, CA * Feb.05.2007 -- iShares Announces Sponsorship of 2007-2008 US Teams * Feb.05.2008 -- Delirium opened Hanover, Germany * Feb.05.2009 -- Varekai opened Seville, Spain * Feb.06.2003 -- Dralion opened New Orleans * Feb.06.2010 -- Saltimbanco Arena opened Insbruck, AT * Feb.07.2002 -- Quidam opened Miami, Florida * Feb.07.2003 -- Region 2 DVDs released: Saltimbanco, Quidam, Dralion * Feb.07.2003 -- Quidam opened Tokyo * Feb.07.2007 -- Dralion opened Tokyo * Feb.07.2007 -- Koozå Creative Team Announced * Feb.07.2007 -- Delirium opened Moline, IL * Feb.07.2008 -- Alegria opened Sao Paulo * Feb.08.1996 -- Saltimbanco opened Hambourg * Feb.09.2001 -- Saltimbanco opened Fukuoka, Japan * Feb.09.2005 -- Alegría opened Fukuoka, Japan * Feb.09.2007 -- Corteo opened Dallas * Feb.09.2007 -- Delirium opened Minneapolis/St. Paul, MN. * Feb.09.2011 -- Alegria Arena opened Hidalgo, TX * Feb.09.2011 -- Dralion Arena opened Columbus, OH * Feb.10.2008 -- Delirium opened Bremen, Germany * Feb.10.2006 -- Cirque announced/launched Fashion Line * Feb.10.2008 -- Cirque du Soleil performs "A Day in the Life" from The Beatles/Cirque du Soleil LOVE at the Mirage at Grammy's. * Feb.10.2008 -- Cirque du Soleil wins 2 Grammy's for LOVE album. - "Best Compilation Soundtrack Album for Motion Picture, Television or other Visual Medium" - "Best Surround Sound Album" * Feb.10.2011 -- Corteo opened Vienna, AT * Feb.11.1998 -- Quidam opened Dallas * Feb.11.2010 -- Alegría Arena opened Indianoplis, IN * Feb.11.2010 -- Corteo opened Fukuoka, Japan * Feb.11.2011 -- Saltimbanco Arena opened Friedrichshafen, DE * Feb.12.2007 -- Cirque & Orange Business Services sign Partnership * Feb.12.2009 -- Saltimbanco Arena opened Indianapolis, IN * Feb.13.2008 -- Delirium opened Stockholm, Sweden * Feb.14.2001 -- Dralion opened Miami, Florida * Feb.14.2002 -- Saltimbanco opened Amsterdam * Feb.14.2007 -- Delirium opened Fort Wayne, IN * Feb.15.2005 -- Cirque Music available on iTunes * Feb.15.2007 -- Cirque Partners with Champ Car race * Feb.16.2001 -- Quidam opened Manchester * Feb.16.2008 -- Delirium opened Turku, Finland * Feb.16.2011 -- Alegria Arena opened Corpus Christi, TX * Feb.16.2011 -- Dralion Arena opened Detroit, MI * Feb.17.2005 -- Saltimbanco (2005) CD Released (CDS Musique) * Feb.17.2007 -- Delirium opened Chicago, IL. * Feb.17.2010 -- Alegría Arena opened Austin, TX * Feb.18.2009 -- Saltimbanco Arena opened Batton Rouge, LA * Feb.18.2011 -- Saltimbanco Arena opened Istanbul, TR * Feb.19.1998 -- Alegría opened Madrid * Feb.19.2002 -- Quidam Extended CD Released (BMG/CDS Musique) * Feb.19.2004 -- Alegría opened St. Petersburg * Feb.20.2007 -- Cimarron gives KÀ new visual style * Feb.20.2008 -- Saltimbanco Arena opened Memphis, TN * Feb.21.2007 -- CirqueCon's 2007 & 2008 Announced * Feb.21.2007 -- Delirium opened Kansas City, MO * Feb.22.1991 -- Nouvelle Expérience opened Cosa Mesa * Feb.22.2000 -- Alegría: Le Film CD Released in US (RCA/Victor) * Feb.22.2007 -- Alegría opened Barcelona * Feb.23.2006 -- Alegría opened Milan * Feb.23.2011 -- Alegria Arena opened Tulsa, OK * Feb.24.2005 -- Saltimbanco opened Birmingham * Feb.24.2005 -- Varekai opened Austin * Feb.24.2007 -- Delirium opened Ames, IA * Feb.24.2009 -- Saltimbanco Arena opened Rockford, IL * Feb.24.2009 -- Varekai celebrated 2,500th performance [Seville, Spain] * Feb.24.2010 -- Alegría Arena opened Frisco, TX * Feb.25.1988 -- Le Cirque Réinventé opened Calgary * Feb.25.2001 -- Quidam opened Manchester * Feb.25.2008 -- Delirium opened Zurich, Germany * Feb.25.2010 -- Varekai opened Manchester, UK * Feb.25.2010 -- Koozå opened San Diego, CA * Feb.25.2010 -- Banana Shpeel opened NYC (Previews) * Feb.26.2003 -- Saltimbanco opened Bilbao * Feb.26.2008 -- Saltimbanco Arena opened Charlottesville, VA * Feb.26.2009 -- Cirque & Reebok announce "Fit to Fly" * Feb.26.2009 -- Quidam opened Liverpool, UK (Temporarily Arena) * Feb.26.2010 -- Quidam opened Sao Paulo * Feb.27.2005 -- Dralion opened Amsterdam * Feb.27.2008 -- Quidam opened Veracrux, Mexico * Feb.28.2000 -- La Nouba celebrated 500th performance [Monday] * Feb.28.2002 -- Alegría opened Singapore * Feb.28.2007 -- Delirium opened Green Bay, WI * Feb.29.2008 -- Varekai opened Amsterdam * Feb.29.2008 -- Delirium opened Budapest, Hungary ======================================================================= FASCINATION! FEATURES ======================================================================= ------------------------------------------------------- INTERVIEW /// Exclusive Interview with the Musical Director for Viva Elvis!: "Erich Van Tourneau - Takin' Care Of Business" By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------- Cirque du Soleil was quick to realize, with the critical and financial success of The Beatles Love, that it could expand its stable of productions beyond ideas and characters generated exclusively in- house. Many of the lessons learned during the creation of the Beatles project would be applied to its next collaborative endeavor - a show based on the life and work of The King Of Rock And Roll, Elvis Presley. But while the creative thrust of the Fab Four show - illustrating the life and times that inspired the Beatles along with bringing the characters from their songs to life - worked well for that show, it would not work as well with Presley. Instead of placing him within a strictly historical context it was decided to update The King's songs and image, bringing both into the 21st century for modern audiences. But it wasn't going to be a remix effort (most notable of which was the JXL remix of "A Little Less Conversation"). This would involve updating the music and arrangements, utilizing Elvis' vocals while placing them inside arrangements and instrumentation different (sometimes vastly different) from when they were originally recorded. This task fell to Viva Elvis! Musical Director Erick Van Tourneau. When we spoke with Mr. Van Tourneau back in early December from his cottage in Montréal Blanc (in northern Montréal), it was just weeks after the release of the soundtrack CD, Viva Elvis - The Album (2010, Sony/RCA Legacy 88697-77582-2). The album has gotten high marks for its creativity and power, if criticized for its brevity. (At 42 1/2 minutes it's the shortest Cirque soundtrack album since the very first Cirque album back in 1987, which was originally produced for vinyl LP.) Mr. Van Tourneau first came to Cirque's attention at the end of 2007. "[Someone at] Cirque du Soleil called me a couple of months before Elvis [was announced], to have my press kit and information about the work I did to [put] in their bank of creators, because I've produced several albums in Montréal for different genres of music and for different labels." "[Then] I heard about the Elvis project [and] they asked me to do a pitch. I pitched two songs; "Hound Dog" and "One Night With You" (Ed: both of which are in the show but not on the CD). I didn't have access to masters at the time so I found a version of "Hound Dog," I believe from the '68 comeback special, and worked with that version." These demos, it turned out, are "really really close" to the way they sound in the finished show. "It's funny, sometimes you create something and it's more unconscious. I hadn't explored and listened to the catalog of Elvis songs [when I did the pitch], so in a way what I created in the moment was really pure." "The director [Vincent Paterson, was] really happy with the music he heard, so that was the beginning of this great adventure." Sample This His research included listening to all of the Elvis recordings he could, both official and unofficial, a task that took more than 3,000 hours and resulted in a bank of more than 17,000 samples of music. But only a fraction of those samples made it into the final show, and not all of the samples in the show made it to the CD. Fortunately, for those who are interested there is a listing of the samples used in the CD at www.vivaelvis.com/samples. (It doesn't include samples (if any) used in "Memories," "You'll Never Walk Alone (Piano Interlude)" and "Suspicious Minds.") Working on the actual songs involved a great number of creative decisions, not the least of which was what material out of Elvis' original recordings to keep and what to re-arrange or augment. "It [was] really a case-by-case situation, depending on the song. Like I've mentioned many times the most important thing, the heart of the project, was really Elvis' voice. In each song I tried to keep the melodic line and Elvis' voice intact and paint new colors around him. The clash was really coming from that, keeping the heart of the song, meaning Elvis' voice, and clash that against new colors." "[Let's] talk about "That's All Right" for instance. [The version I used] was the one from 1954 where he recorded at Sun, it really represents the ripe incarnation of Elvis. It's not a version from the 1970's, it's the purest one. In "That's All Right" there's no drum, the upright bass was really doing the drums job. So to really bring the song into 2010 and have the same kind of force that it had in '54 I had to bring a drum into the new arrangement. Also to have that hard rock feel I had to muscle up the rhythm section and record new bass and new guitars. But it was really important to me to have that clash, that mixture of tones. [So I kept] Scotty Moore's guitar in there, because the sound of Elvis back in '54 was coming from his voice but also from Scotty Moore's guitar. That's something everybody can easily recognize. So I kept [snippets] from Scotty Moore's guitar, but mainly it really goes around the voice." Creating the soundscapes involved technology unavailable during Presley's time. "To isolate Elvis' vocal I worked with the program, "Digital Performer" (Ed: a software recording/editing/mixing package from MOTU-Mark of the Unicorn, www.motu.com/products/software/dp/). But I used a program called "Melodyne" when I had to change the harmony in the Jordainaires introduction to "Can't Help Falling In Love." It came from "Known Only To Him," an old gospel song. I had to change the harmony because it was clashing with the chord progression. (Ed: Melodyne is a digital studio package from Celemony, www.celemony.com.)" He also worked with an old friend, a pioneering stereo digital sampler released in 1988, the Akai S-1000 (see a picture with info at en.wikipedia.org/wiki/Akai_S1000). "[Laughs] It's my sampler, my companion; I've had that sampler for years. I [had to make] some new knobs [out of] Fimo clay (Ed: a polymer clay paste like Sculpey, www.fimo.com). It's really archaic, really old, I think the memory is 32 meg so it's a joke. But it's my old companion and I did a lot of mash-ups and breakbeats on the album [with it]." To CD or Not to CD As Mr. Van Tourneau worked on creating the show's music, he wasn't thinking toward an eventual CD soundtrack release. Indeed, though it's desired to have a soundtrack as part of a Cirque shows merchandise mix it's never a given, especially when somebody else's music is involved. "In this industry nothing is taken for granted," said Mr. Van Tourneau. "Of course it's natural to think there would be an album, [as with] LOVE. But I didn't take that for granted. I was delivering song after song and doing my best just to stay on the boat in this adventure and keep everyone into it. Because [this] was my first project with Cirque and I didn't have the name or history of (Beatles producer) George Martin." "[At one point] we were in Las Vegas at Guy Laliberte's place there, and we had a meeting listening to all the songs with the people at Sony. And it was really the first time that I could feel and sense that [people] were really into it and interested in the music by itself, not just as part of the show. Because the music is serving the show and, depending on the act, it has to serve a purpose. [But] there was really a good vibe and it was really the first time I could feel that we could have an album [that would stand] by itself." "I really began to work on the project at the beginning of June. (Ed: In order to meet Sony's desire to have the CD in stores by the 2010 Holiday Season.) I [had produced an album during the summer] once before and promised myself [I wouldn't do that again]! [laughs]" "Working during summer is really tough for a creator," he continued. "I was working from 5am until 10pm. Mentally it was tough to [be working and] see my dog running outside. But I couldn't refuse to produce [the CD] because it was my baby. Sony only gave me three months so it was really really fast. The vocals were really complicated to deal with, so three months was [not a lot of time]." Keeping with the practice of recent Cirque soundtracks, Mr. Van Tourneau made efforts to include musicians and singers from the live Vegas band. He even went so far as to have show guitarist Jean- Sebastian "The Flash" Chouinard record parts in the Viva Elvis Theater at night after shows. Yet there is one notable musician missing from the CD, percussionist Kit Chatham (who is a very present musical personality in the show). Kit is a fan favorite from his days as drummer with Corteo, why does he not appear on the CD? "Because of his bad attitude! [laughs] No, no, I'm kidding. Kit is so cool and has a strong presence in the show. I clearly remember when I saw his audition tape. [I got] a really strong impression of Kit and he was the first musician that I chose." "I think the main difference between the album and the live performance is really an aesthetic one. [With the CD] I tried to bring Elvis samples into the picture as much as possible. So when I had a choice between using a musician from the show or using samples coming from Elvis' work or world, I would use Elvis samples. I tried to use the musicians every time it was possible, but if I had access to nice percussion coming from [the world] of Elvis I would use those." (Indeed, there is no one listed as performing "Percussion" on the CD.) The resulting CD features Elvis on 10 of the CD's 12 tracks with a running time of just over 42 minutes. Why not more tracks and a longer running time? "It was just a question of time. If I would have had six months I would add maybe four more cuts. But in my opinion more than 16 cuts on an album is too much. When you listen to the album as it is now, for me I'm exhausted at the end. Because it's really intense emotionally and energy[-wise], it's like a 45-minute long rock concert. So I preferred to leave on a high note rather than do 20 cuts." Missing from the CD are such show set-pieces as "Got a Lot of Livin' To Do," "Hound Dog," "Are You Lonesome Tonight," "It's Now or Never," "Jailhouse Rock," and "One Night With You." The short time to produce the album meant hard decisions of which songs to include had to be made. "I really loved "One Night With You." I didn't touch a hair to [it] since the creation of [the original pitch demo], it was really solid. I loved the emotional side, it's really different. But it was [a duet, and it would be] too much to have four duets on the album. That was really the main argument for song choices, to have Elvis singing on the album. The name of the show and album is Viva Elvis, so for me it was fun to have maybe a couple of duets, but other than that it was too much." Might this lead to a second volume of the show's music? "Personally I would love to work on a "Volume Two." After that I think it's a question for Sony and Cirque. We'll see how "Volume One" goes. I did ask Sony to print a vinyl version of the album for collectors. It [would be] so cool, having access to [an Elvis album on] vinyl. I am anxious to see that happen, I would buy one!" (Answering his request, the soundtrack album has since been released on 180-gram audiophile vinyl by Sony Legacy Recordings, with a UPC code of 8-86977-67661-1 and can be purchased through Amazon and other sources. But it doesn't look like there will be a surround-sound version as there was with the limited-edition CD/DVD-A package for The Beatles Love.) The final CD also incorporated assistance to mix the final tracks, bringing in Serban Ghemea and renowned mixer Brendon O'Brien. Utilizing them helped in several ways, Mr. Van Tourneau explained. "It was [a matter of] time but also competence. I am a big fan of Brendon O'Brien's work. And Serban Ghemea is an amazing mixer, I think he's mixed more than 1,000 albums. I wanted Brendon to work on the songs that were really rock (Ed: he mixed "That's All Right," "Heartbreak Hotel," and "Suspicious Minds"). And I wanted Serban to work on the songs that were more urban and hip-hoppish, with machines and drum machines (Ed: he mixed "Blue Suede Shoes," "Bossa Nova Baby," "Burning Love," and "Can't Help Falling in Love"). Serban did a really cool job because it's a big range. [Like in] "Blue Suede Shoes," where it's more urban with the beat and handclaps, and you have real drums and real fat guitars." "It was really complicated to find someone that could understand all the musical influences that are in there. I was fortunate to have those two guys." It wasn't too difficult for him to pick his favorites from the CD. "I don't have the set list [in front of me], but for sure "Blue Suede Shoes" is one of my favorites. It's so eclectic and modern and at the same time so relevant to and using all of Elvis' roots. Like using Delta blues, a harmonica and a Bo Diddley beat. But clashing that with DJ scratching (such as the stuttering "go-go-go"), all the samples coming from Milton Berle, and all that stuff. I really love the infectious energy of "Blue Suede Shoes," it's really decadent." "On the other side I [also] love "Can't Help Falling In Love." It's sensibility, [with] Elvis' voice sounding so amazing and rich, and I love the female vocal. The beat is really urban, a really 2010 kind of R&B, Bill Withers beat. And the ending is really one of my favorite mash-ups [where] I bring "Love Me" into the picture. You have Elvis singing and the curtain falls, and there's a big gospel choir [with] Elvis in front of them. For me it's really a nice tribute to Elvis' roots, he was so into gospel music. Those two I really like." The Sound of Silence When he finished working on the show and soundtrack CD it was time to take a well-deserved break. "I just came back from a road trip, I was on the road almost two months in the United States. And every time I'm driving - and I did a lot of driving, sometimes fifteen hours a day - I didn't listen to music at all. Because it was so intense, working so hard during the summer and the last two years. When I can I don't listen to music. Sometimes I like to play piano and guitar with friends at parties, and have a glass of wine and play and jam, but I don't listen to a lot of music at the moment." "I imagine it's the same when you work [hard], like you're working sixteen hours a day, when you have a chance to disconnect and do other things I think you do that. When I work I listen to everything that can have a connection with the project. I'm a big big fan and freak of music of all kinds, so it's really from Abba to Zappa. I like that expression really, because I listen to everything." As our time drew to a close, we asked Mr. Van Tourneau what characteristic he felt was most critical for success in music. In a word, "Discipline." "Because you can have talent; if you don't have talent don't expect to work one hour in the business. I think that's the minimum, the first thing you need to have. But after that it's really hard work. I was fortunate to have a father that is really a kick-ass person that is really disciplined with his projects, and I learned a lot just [watching] him." Discipline that equipped him to create a powerful album starring the King of Rock And Roll in a short three-month time-span. Takin' Care Of Business, indeed. (Another great interview with Mr. Van Tourneau can be found at www.elvisthemusic.com/us/conversation-erich. Parts of that interview can be heard in audio form (including a great segment with him discussing - and playing - his update of the Elvis classic "Suspicious Minds") on the "Elvis.com Podcast" at http://www.elvis.com/news/ follow-elvis/weekly-podcast/default.aspx (4-part "Special Edition - Viva Elvis between November 1-8, 2010, just prior to Episode #50). My sincere thanks go to: Mr. Van Tourneau for so graciously spending time with us, Chantal Côte, Corporate PR Manager, and my wife LouAnna for putting up with my sometimes obsessive hobby. ------------------------------------------------------- "CD Review: Criss Angel BeLIEve Soundtrack CD" By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------- What are you to do when the music for a show that has been in development for years goes through a wholesale revamping a short time after its debut? If you're Cirque du Soleil, realizing this is a possibility you tend to hedge your bets, letting a show go through its "fixation" process before considering a CD release, so as to have the most current music available on the soundtrack. With TOTEM being an exception (the CD being released six months after the shows debut in Montreal) the average time to release a CD has been a year or more. And in the first case of a show to go through a major post-premiere revamp - Mystere - the solution was to re-record the CD in a live performance setting with the new musical score. But what do you do if you have a completed soundtrack CD already in the can, ready to release, when the show unexpectantly goes through significant changes? How can that be representative of the current show? Welcome to the Criss Angel BeLIEve soundtrack CD. Available for the last few months in the Cirque Boutique and at the Luxor BeLIEve gift shop as a physical CD (Cirque du Soleil Musique CDSMCD-10032, 2010) the soundtrack has just been made available for download on ITunes ($10.00) and Amazon (where it's currently $8.00). The album can also be sampled in its entirety (not snippets, but full versions of all of CD songs) on the Cirque du Soleil website, in the Audio section of the Multimedia Gallery. For a show that had "Version 1.0" with music and storyline dominant, and a "Version 2.0" where those take a backseat, the question becomes which version of the show does the CD document? Since it was recorded before the changes to the show this CD is obviously for Version 1.0, but how would a buyer know? And how many of the songs from Version 1.0 made it into Version 2.0? For the first question, one need look no further than the CD front cover. Emblazoned there, on the booket first page, and CD label is a thick red banner saying in French and English "Original Soundtrack by Eric Serra 09-2008 through 09-2009." So there is truth in advertising going on here, Cirque is being very clear in saying this is the music for the first year of the show. As to the second question, depend on your friends at Fascination! But more about that in a minute. Is the CD worth it or not? It isn't just the red-band "warning" that makes this most-recent CD release different from other recent Cirque CD's. While the packaging is the standard Cirque tri-panel recycled cardboard (with artwork evoking the tone of the show), and there are pictures of show characters Kayala, Crimson and the clown quartet there are no pictures of Criss Angel anywhere. The booklet is a simple 4-page affair, there are no producer, composer, or musical director notes to be found (as have appeared on other CD's lately). The booklet has the feeling of just presenting the basics in order to get the CD released and be done with it, it doesn't have the "feel" of a graphics team that wanted to evoke the show with more graphics within its pages. But the booklet is revealing. It shows that most of the sounds are played by Eric Serra himself, eschewing the original live BeLIEve band, which included.. o) Vocalist Nitza o) Guitarist Elvis Lederer o) Bandleader and Bassist Jean-François (DJeff) Houle o) Percussionist José Pepe Jimenez The CD does feature vocals by Nitza on four tracks, as well as soprano InvaMula. Jim & Jon Grandcamp, who play guitar and drums on Serra's side project RXRA, contribute to two tracks. There are also symphonic parts performed by the London Session Orchestra. But the rest of the keyboards, guitars, drums and sounds are Serra's (though he does credit several sample libraries). The 64 minutes of music centers on slow and mid-tempo rhythms featuring exotic sounds and carries the ethos of Angel's darker gothic persona throughout. A few themes recur - the fun"Homage to the Rabbits" theme appears in several places, as well as a grander "wedding" theme that comes into play towards the end of the CD (the orchestral version of the theme on the last two songs are highlights). Many cuts incorporate several short musical ideas, as if Serra were editing different ideas together to make a full track. While most of the mash-ups are successful, some of the combinations make me want to slice the CD up into smaller tracks so the musical ideas don't mash together. As a CD, despite the troubled show to which it's attached, there are some interesting melodies and sounds to be heard here. The "Homage" and "Magic Wedding" tracks stand up against some of the best Cirque has to offer. I would have liked to hear more of the creation musicians, but since the show no longer uses them it doesn't matter. As to the question of whether it's a worthy soundtrack to Criss Angel BeLIEve 2.0... At the risk of eliciting sympathy (or more likely noting how much money I "wasted") from BeLIEve haters I should state that my wife and I have seen the show twice (on the same date a year apart it turns out), once for Version 1.0 and once for Version 2.0. The show is now much more suitable to Angel's persona, dropping the "storyline"(and with it a majority of the "Cirque" input) and taking a straight-ahead magic show approach. Criss talks much more and has more audience interaction now, but keeps the show the same length, so there is less chance for music. As we recall, some cues sounded like recordings of the old live band, while several cues sounded like they came straight from the CD. Our recollection is that the following tracks on the CD are used in Version 2.0 of the show: o) 1-Homage to the Rabbits o) 2-The Life Factory (last section) o) 4-Flying With The Birds (first section) o) 13-Prewed o) 15-She is Gone to the Sky o) 16-The Magic Wedding You can decide for yourself if six tracks (though it may be more like seven or eight) is enough to make it a "soundtrack" or if this relegates the BeLIEve CD to the scorned stack of Cirque soundtrack mis-fires like "Zumanity" (and to a lesser extent Varekai). Though before you do (as you should do with all Cirque CD's) give it a listen on the Cirque website first, it has several things to recommend it. Because I doubt we will be getting a soundtrack dedicated to the time after September 2009. Unless something magical happens. ------------------------------------------------------- Tokyo Dance Magazine Covers ZED [EXPANDED] A Special Collection of Interviews ------------------------------------------------------- Tokyo Dance Magazine has a cover story this month about ZED, featuring Bungee/Hammock artists Mai Sato & Giulia Piolanti, Artistic Director Luc Ouellette, Rigger Shoji Kurata, and Costumer Chihiro Tafuku. The interviews were originally conducted and printed in Japanese, and were translated into English by the TDM staff. While translations are... a little bizarre, we've decided to leave leave them as is. # # # # # Inaugurating ZED; an original show by Cirque du Soleil, at the summer of 2008, we have watched its trial one month before its premier. We had already heard many times about its successes in show business home, Las Vegas, and its presence of Cirque du Soleil enthralling audiences all around the world, though, it made us amazed by the magnificent performances beyond our imaginations as appeared. Normally, we should have reported such current issues at that time, though, all the medias proclaimed its great performances and we did not have topics directly relevant to you, therefore we believed and waited for its timing. Then, the time has come to us. We had a previous interview for Mai Sato who passed a demanding audition of Cirque du Soleil. She is performing in ZED since the summer of 2010. She told us to introduce Cirque du Soleil to dancers and appreciate it, thus, we could have interview for her again. We watched ZED again before the interview. Then, we realised big differences comparing to its trial we had watched; it has renovated the techniques’ and performances’ qualities, expanded its show time, and enhanced totally. ZED has made progress within itself. We would understand why it has gathered and fascinated audiences over one million for one year and nine months since it began. Thanks to Cirque du Soleil, we could interview Giulia Piolanti; one of the artists and Mai’s friend, Mr. Luc Ouellette; Artistic Director, Mr. Shoji Kurata; rigger, and Ms. Chihiro Tafuku; costume unit. We could infer the reason, by their childlike smiles, it widely acclaimed as “the most renown entertainment in the world” and fully comprehend depth and kindness of Cirque du Soleil. ZED “ZED” is names of the show premiered on October 1st, 2008 and its first magnificent residential theatre, except North America, established by renowned circus, Cirque du Soleil, founded by Canadian, Guy Laliberte and Gilles Ste-Croix in 1984. he show was structured on dramatic storyline representing its main character; Zed, the same name as the theme, performs acrobatically traveling around the worlds in “heaven” and “earth”. Producing its skilled performances and athletic beauty, live at the performances by musicians, audience cannot stop getting excited and elated for its series of acts of artistic quality and spectacles in the show. This is the only unprecedented entertainment in the world, which ran over three years everyday and has collected over one million audiences. ZED appears in different views from angles and places has developed and renovated itself since it began, so that draws repeating audiences. Shoji Inagaki, taken his role as Djinn, the world champion of Baton Twirling, is currently performing in the show. MAI Mai won at International Pole Championship in 2009 and 2010. Seeing a several artists belong to Cirque du Soleil introduced by friends of hers in 2007, she came to be interested in aerial acts, and started training for aerial tissue with Ms. Asa Kubiak. She took audition for bungee, aerial, and hammock performances of Cirque du Soleil cheered by Giulia Piolanti; her friend and also an artist of ZED, and eventually passed. She stayed at Montreal about a month to have intensive trainings for choreography, voice, making up, getting dressed in costumes. Since August 2010, she performs as an artist of ZED in the acts of bungee, aerial and hammock. GIULIA PIOLANTI Giulia has participated in international championships as an athlete in Rhythmic Gymnastics from at the age of six to nineteen. She went to dance school after for three years and learned dance, singing, acting, and vocal exercise. She expanded her career from a dance company, Kataklo, in Italy and performed at various events all around the world, including the opening ceremony of Turin Olympic games in 2006, for seven years. Since 2003, she started her model career in exhibitions and art books. Working with photographers from the U.S.A., Australia, Switzerland, Italy, and the U.K., she won at the international photographic competitions in 2004 by her three pictures. She invited as an artist for ZED in 2007 and performing bungee, aerial and hammock. LUC OUELLETTE Luc was born in Montreal, Canada and performed as a professional contemporary dancer from 1984 to 2000. Working as a director assistant at a choreography centre of Circuit-Est from 1999 to 2003, he assigned as an Artistic Coordinator in Japan tour of Quidam since 2003. He traveled with as Artistic Coordinator of Alegria for three years since 2004 in the U.S.A., Europe and Japan tour. After that, for three years, he was allocated as Artistic Director of O at a residential theatre, the Bellagio Hotel and Casino in Las Vegas. Currently he directs ZED as an Artistic Director. # # # TDM: We did not imagine at a previous interview, which although you have told us you had a friend of yours in Cirque du Soleil, you joined there. Mai: Me neither. It was my friend, Giulia. I did not imagine to join Cirque du Soleil, too. TDM: No. Could you tell us your process to Cirque du Soleil? Mai: Cirque du Soleil provides social action programs as a member of society by the section; Global Citizenship. I am interested in its program at first, Cirque du Monde which teaches circus for street children, young at youth or etc. I went and saw there to participate in to which its artists also came, and I regretted that I could not teach anything because I would not be a professional. At the same time, I wondered if I were an artist of Cirque du Soleil, I could change myself. That was my motive. I won at a championship of pole dancing in 2009 where its scouting team watched our performances and asked me to send a video, and also I had submitted another one over the Internet. After that, I had a phone call suggesting “we are looking for a replacement for bungee of ZED, then, could you apply for it?” TDM: Did it come around to you in a spontaneous way? Mai: Yes, it did. The former was to perform in another show, so I have taken a role in ZED since its audition. And then I stayed at Montreal about a month. TDM: What was impressed you there? Mai: I am scared of higher place. (haha) First, I fall down from aerial swing hanged from ceiling to start my bungee performance, though, I could not even stand there. I need to take my hands off but I could not. I feared to jump off from there. TDM: But you do that every day, don’t you? Maybe you had demanding training for it, didn’t you? Mai: I came to be able to do that. Also, I had other classes, such as dance or act where I practiced to express my feelings of happiness or sadness. I have trained pole and “hammock” performed on a trampoline many times as well, since I had my routine there. TDM: How did you feel that you have exercised at, most renowned circus in the world, Cirqu du Soleil? Mai: I was going to participate in the existing show, ZED, then I concentrated on the training personally at Montreal. While, as I came back to Japan and took part in the show, I recognised a big difference because the artists here have played rhythmic gymnastics or ballet, whose bodies have been worked out exquisitely. Therefore, it was hard for me to do what they could do very easily. But, Gulia always helped me, whom explained how to do many times until I understood and practiced together. TDM: Have you obtained any confidence since you joined Cirque du Soleil? Mai: I have not yet. I think that will take a time more. I am afraid of the responsibility as a Japanese for standing on stage of Cirque du Soleil, and feel pressure. I have not taken over it yet. Though, I am trying not to think about that. TDM: How was your first stage? Mai: My debut was on 31st August, 2010, but I could not remember it so much. TDM: Did you feel any changes? Mai: Gradually I am getting not to be conscious of the pressure so much. Members here are very kind to me. Although I cannot speak in English so much, they are trying to see what I want to tell. When I disappoint, they concern me with saying “Are you okay?”. TDM: Could you tell us the superior point of Cirque du Soleil since you have participated in ZED currently? Mai: It should be not only the acrobatic skills but also the stage settings, the light and the costumes, which have collected all the talents in each section. Stage operation, as well. I see their works on a certain way because I would work to put across stuff-flow by manipulating computer graphics. TDM: We have heard that your trustworthy relationships by costume and technical teams are brilliant, but do you feel that? Mai: Yes. They explain to me about their systems or structures very much. They scrutinize, such as a part of clasp of harness, closely and when I ask them, they answer quickly. They have been acquiring knowledge of them much so that I can be really assured. TDM: We see your costumes very beautiful from our seats, in which you get dressed during the show, but do you like them? Mai: Yes, I do. I have three costumes; one of them for bungee is white clothes but seem to be more brighter reflecting on the black light, the second one is, for hammock, dressed in green one and exchanged it for purple clothes at the final scene, Charivari. When I try the costumes at first, our staffs fix them to my personal size, not big or small. Especially for our aerial performance, they make my costumes precise since the clothes are rubbed together. TDM: All of you may have main parts in the show? Mai: Yes, we do. We take roles in it mainly and supportively. My job is to make audience dream. TDM: How did you meet each other? Giulia: When I moved to Japan, we had some friends in common. I found out that she was doing pole dancing, and taught me how to. TDM: How did you join Cirque du Soleil? Giulia: In Italy, I was a dancer in an acrobatic dance company for seven years during which I was doing rhythmic gymnastics, jazz, and modern dance. Although Cirque du Soleil never had official audition in Italy, one day, I felt it was a moment for challenge thus I sent it my performance video. As one month past, I had e-mail from Cirque du Soleil offered me a contract to work a new project in Tokyo, ZED. Of course I didn’t have any doubt and signed the contract immediately. TDM: Is this your first time to live in Japan? Giulia: Yes, this is the first time I live in Japan. I had been longed for coming Tokyo, so I am very happy. TDM: Generally, for dancers, it is lucky to perform the same shows five times at most, but you are performing it everyday, so that you would be grateful. Could you tell us how to motivate for your performances? Mai: This is the third month for me to perform on the stage, therefore, I could not fully satisfy myself then I adapt to every show. I have feedback of my performances day by day whether I can perform better than yesterday, whose adjustment is very crucial. Physical control is vital, as well. As I was working in a computer graphics company, I could switch my ‘life rhythm’ to dancing easily so far, however, I cannot shift it on my personal business at present and also need to build up my body to suit my aerial performance completely different from dance on the ground. I exercise joints especially since it is very pivotal for my performance. Giulia: For me because I am here since ZED begins, I have already had around nine hundred shows, while, its audience is different everyday. Although we have so many performances of the same show, it might be the first time for audience to watch, then, their reactions are various, where is necessary to give them our best performances. My job is to make them dream. Sometimes I am tired or even had a thing as for a human being, though, the moments on the stage is my life, thus, I would like to share with the people watching it for the first time and perform the best for them. We are connecting the world by human bodies’ expressions. TDM: How do you feel now and pursue the goal as mentioned before “I would like to be a dancer who can perform spectacularly regardless in what I get dressed”. Mai: I have not changed it. But, I had never done bungee which was different from tissue performance I did before joined Cirque du Soleil. My body could not accept it well and sometimes freely work but sometimes not, then, I would like to work out my body to make appropriate for the performance enough. Giulia’s performance is very beautiful. TDM: Please give your current message for dancers. Mai: For me I cannot be confident so much anytime, but, it is very crucial to trust yourselves. Giulia: Keep going, never stop dreaming, and trying to make those dreams come true. By dancing and jumping, we only can share those feelings or energy with all the people in the world, not only other dancers or choreographers but also people who love dances and want to see us. I think movements of dance are one of the best ways to keep this world connected together with smile. TDM: Thank you very much! All the best for today's show! # # # LUC OUELLETTE, Artistic Director Cirque du Soleil is in pursuit of its creativity and synergy All of the people, take part in the show, motivate for and work on their creations. Luc, Artistic Director, endeavours to offer artists not only professional performances but also their present and future as human beings. He communicates with each other specifically by his experience acquired as a dancer. We impressed its precisely structured stage management, supportive environment, and its nurture for artists to be grateful for its assistance. Luc was born in Montreal, Canada and performed as a professional contemporary dancer from 1984 to 2000. Working as a director assistant at a choreography centre of Circuit-Est from 1999 to 2003, he assigned as an Artistic Coordinator in Japan tour of Quidam since 2003. He traveled with as Artistic Coordinator of Alegria for three years since 2004 in the U.S.A., Europe and Japan tour. After that, for three years, he was allocated as Artistic Director of O at a residential theatre, the Bellagio Hotel and Casino in Las Vegas. Currently he directs ZED as an Artistic Director. * * * TDM: What impressed us at most was playing music live during the show, as we watched. Especially, their music and performances, are suited precisely, seem to make their synergy. Could you tell us how you would direct your performances when the musicians are sometimes in darkness or under the stage? Luc: Yes, they have visual cues by the artists audience may not realise and play music with earphones to hear our musical director. They also play in the shade, though, have light audience could not see in darkness, which is the magic of Cirque du Soleil. Because they have been working for it more than two years, they have memorised their musical notes, which should be one of the reasons they can play in the darkness. TDM: I see. We do not hear your title; Artistic Director so often, but what would you really do? Luc: Well, I cannot express it in one word, however, Artistic Director embraces our quite large mandates to motivate the artists around well and happy environments. I commit myself to giving their better performances, making them happy and brisk, and considering how they keep motivated. TDM: How would you exactly keep them happy or motivated? Luc: I always try to be a kind of father for casts in a big family. Artistically, I have to be guardian for the concept of ZED with understanding and maintaining, so trying to always provide audience our best performance with fully comprehending its concept. Sometimes we have artists very young coming from a small town in Russia, for example. I endeavour to build relationship comfortable enough to share with me; easy to tell about not only the show but also their lives in general, and think about what to do when the artists injured. I am working at Cirqu du Soleil for eight years and directed Alegria, Quidam and O. And I have been assigned as an Artistic Director of ZED at the summer of 2010. Those shows are running over ten years, then, allocated the Artistic Directors more than ten, and their roles are specific for each. While, ZED is very embryotic, I am the second one here. The former director of ZED participated in since it begun to create, whom gave me all the information about its creation. I put them together and learned as much as possible. Currently I have to liaise with the director to retain its concept and to make it evolve. Of course, although sometimes I put a few elements to the show, I do not touch it so much, thus, valued on its fundamental concept; how ZED should be. TDM: Is there any difference has been made after you become its Artistic Director? Luc: Not yet. Since I have been working with the artists for four months here (interviewed on November, 2010), still a brand new guy in the family. I am a person who likes to take a time, also would like the artists to trust me first and to be careful of what I do; not necessary to make big changes. I correct or bring it to the origin in a respect of technical thing, but I believe that the show is beautiful so that I do not feel a sense of urgency to make any changes. Ideal supportive system; foreseeing assistance for artists. TDM: We think that your insurance systems for the artists are very ideal for us, but could you tell us how you would support them as a company? Luc: When injured during the contracts, they are fully covered by our insurance and support. And also we make sure that they are to be brought back to the same positions before the accident or injury. As we have an artist wants to move to somewhere else on his/her some points in careers, we have a program, called Crossroad, which helps them to see what they would like to do in the future. For ZED, we have our staffs to assist the artists’ houses or lives the same as ordinary people. They can be technicians for the shows after retiring artists if hope, it is possible to train special technique in Montreal. They are surrounded by supportive environment, meanwhile, I want to make sure that the artists stay in connection with the real life. They need to also be responsible, for instance, when they buy mobile phones in Japan, they have a choice to ask for our helps. On the other hand, they need to understand some points they do not go that way outside of here. I would tell the artists need to be curious, proactive on what they need and want to do, otherwise they might become extremely passive so that it is not healthy for them. They cannot be as physical as present forever, which last for a short period in their lives, for ten to fifteen years at most. We have an example such as Artistic Directors who used to be artists in Cirque du Soleil. It is essential for them to acknowledge there are their lives after Cirque du Soleil for which they need to prepare well, and be educated and curious, while performing on the stage. TDM: You have worked for a lot of different shows, such as O or Quidam, so what would you say ZED is most particular as compared to the other shows? Luc: Alegria is a very classic touring show. O, because of the water and its set, it is also unique. When I got an offer to be in charge of ZED, I thought it seemed to be poetic and theatrical, like O, though, I reckoned such an impressive show different from existing ones. It is highly structured especially for the balance in its created way, and the subtle links between its act, set, and music. ZED was created by Francois Girard who came from background of cinema and had never created Crique du Soleil works, it represents something spectacular in its stage structure and creation, jazzed up his movie tones. Comparing to the other shows, it has more diverse performances in aerial region. Because running in a residential theatre, we could perform exclusively and have the theme of ZED; earth meets heaven, which integrates crucial points to express heaven. Trustworthy relationship built by not hesitating to show our weakness and strength TDM: You probably have one thing to believe until now over your process from a dancer to Artistic Director. Please give a message to readers and tell us your belief as a last word. Luc: My artistic background was mainly a dancer for fifteen years so that I was trying to talk to our casts as a dancer as I started my job; Artistic Director. Meanwhile, I shifted the way to achieve with changing my vocabularies or approach because the way, I used to do, did not liaise with them smoothly. I intended to inspire their minds with mentioning something personal for them, rather than telling how to. I have one thing as a dancer; maintaining to be true to myself, not shame to show my weakness and strength. It is important to be as genuine as possible. I tell our artists, even if they are playing roles as dancers in the show, still they have to be close to what strongly believe, as persons in the performance. I would say “follow your instinct”; do on what your really believe and go ahead with it. TDM: Thank you very much indeed. # # # Casts and staffs are participating in creation of Cirque du Soleil, whom seem to be comfortable that they know how to have fun with working and outdoing themselves. That was implied in each story heard from Mr. Kurata supporting Mai technically and Ms. Tafuku in costume unit. They are working on caring about others and liaising with each other after committed to their jobs, which they are doing all the best for success of the show. SHOJI KURATA, Rigger o) I used to be a stuntman. I had this job offer from my old friend, which I believed that I could work with my experience and knowledge, and then got fond of. I had been performing as a stuntman about for twenty years until I came here. o) For what I could apply by my experience; from a stuntman to rigger I work at seventh floor, called “grid” which is the highest floor. It is twenty meters from the stage and aerial region, where the artists fall down and I assist them to perform in the middle of the show. As they fall down to the stage from there, I put various sets to the artists’ bodies and confirm security, which my knack had been obtained is put as well. There are four people working in the basket set at the center of the region; standing on the right and left, two of us for each. There is one higher place, called seventh floor and “grid”, at which I work everyday. o) Supporting Mai’s performances by the aspects of security and technique At first for bungee, artists fasten harnesses; life belts. They have two points to connect, which fix a bunch of gum to lower backs and link to wires directly associated with a machine, called “winch”. The artists can bungee by the machine manipulating rolling up and falling down. I confirm not only the bungee operations but also its cords as it is fixing and fixed, also make sure if lines between the bungee and the cords have no problem, and the “winch” can work smoothly. Since another division’s, automation’s, staffs manipulate the “winch” and control its systems, I have knowledge of it, at least, as it is deeply connected to our work. I have learned a lot of things had not known, and broaden my knowledge that I had never obtained before, so that I integrate them to put out here. o) I would like to be a person who can always stand on performers’ side. Having worked here about for two years since this theatre opened, I am worth to do on the back stage. Though, I am comprising the show, then, as I felt reaction from audience good, saying to myself “Well done!”. I used to be the performing side, thus, a sort of sensitive for their reactions. I would like to be a person who can always stand on performers’ side. Basically, most of staffs in this theatre are foreigners, then, we communicate with each other in English. I am not good at speaking in it, so, that may be hard for me sometimes. But, I can liaise easier with Mai, a one of a very few Japaneses. I try to talk to her not only during the show but also training as I meet her. Also, people here have their happy natures. I would belong to a job which was juxtaposed to danger, though, here is also too. While we must concentrate on acting and, of course, get nervous during the show, we turn off “switch” and often joke after each performance. Our artists are consisted of circus, therefore, some of them are from circus family or former Olympic champions such as in gymnastics, whom have been commonly trained since they are children. Young artists also participate in our shows and their generations are diverse, but it should be comfortable environment. o) Pursuing my goal to be a leading head in the future. I have been working in rigging team, where allocated its positions from head (called chief,) assistant head, to crew. Personally, I was placed as an assistant head about three months ago. Then, I pursue my goal to be a leading head, one step forward from here. To be it, I have to learn a lot of things, of course. o) Do what comes up to your mind Many people would say that, but, do what comes up to your mind. That may be applied to anything, but, if wander, you have to do it. Sometimes you may encounter difficulty, meanwhile, if you do not do that, you cannot have any possibilities broaden. When you do not try it and waste time, you might regret; go for it! # # # CHIHIRO TAFUKU, Costumes o) Longed for taking parting in the costume team, I made an appeal for Cirque to go to Montreal My course was specliased in shoes, then I am a technician to repair them at present. Because I went to costume school, I was interested in stage costumes rather than normal clothes. Especially, since I was enthralled by the costume of Cirque du Soleil at most, I had been longed for taking parting in its costume team so that I made an appeal for it to go to Montreal. One day, I noticed that Cirque du Soleil built a residential theatre in Japan, then I found a job opening page over the Internet and applied for it. Soon after, I had a job interview in Japan, then, I got back to Japan and passed it. I am working in costume team, so, I repair artists’ shoes mainly, but also help to maintain and wash costumes, and get them dressed in the costumes during the show. o) What I am trying to retain For shoes mainly, but, I offer samples our artists as they tell us which material is suitable for the floor to prevent sliding more during the show, or which soles appropriate. It is the same about the costume as well. We cannot change its design, though, confirm with the Head Quarters case by case when its texture should be exchanged. If it does not have any problems with its design, we would take it. o) About Mai’s costumes in ZED For her bungee costume, it is made by a texture closed to leotard fitting her body and crossing waving clothes at points of her legs, which processed UV and become brighter in the darkness. And these clothes are quite long to cross at the points of them, so their lengths are more longer. Another point is, to get undressed quickly, loops are fixed for each, crossing them with each other and pulling them off from the other side in a quick succession. But, it is often broken. Thus, when the clothes are necessary to maintain, we take them off from the costume. We maintain this and can wash separately, which is very convenient. o) Care and process thrashed out precisely It is often broken and shredded. This is her second costume, for hammock, another waving decoration is also easily come off. We all work on maintenances as the theatre closed, but, we have to spread a certain material, like shining sand, in it by our fingers. That is very hard. I suppose these detailed decoration is an outstanding point of Cirque du Soleil, which audience may not realise so much. This is the last one in which she gets dressed at last scene, Charivari, when all casts appear on the stage. It is put wing-like things on her back. We all like this one. We have many artists, then, we are allocated for each of them. We maintain their colours since they are damaged everyday, and also respond to all the artists’ demands certainly as they tell. As they have performed many times, they come to feel pain regardless it have no problem at first. For example, an artist tells us that he feels pain on his back as lying on the floor in the show. We sew a pat on his inner wear in this case. And we sew on it more and more…. Positions of the pats are really different, depending on the person. Characteristics of our costumes are mainly fitted to artists’ bodies sizes and also fire-proofed to prevent transmitting fire in the show which we wash in the morning, fire-proofed and artists can wear next day. That should be a particular point of us. o) Sustaining the basic quality with responding to artists’ demands I really like shoes, then, I often pop around material shops and go to the shoe shop where I used to work. I could learn a lot of things there and really enjoy myself with doing so. I motivate since shoe shapes from Montreal are manifold and interesting. I make effort on on keeping the basic shape provided by the Head Quarters with responding to artists’ demands. It is crucial for us to sustain their basic qualities. I enjoy hearing diverse opinions, because the artists come from all around the world. They have their happy natures and give us various reactions. My highlight of ZED costumes is “effect” clothes, worked specially. For instance, clowns wear the costumes can smoke and balloon. Their shoes are also exclusive which you may not see in other shows. (hehe) Maintenance is demanding as well, but, for that, they should be unique in this theatre. Especially in a scene of juggling, the singer is wearing his costume fixing spin-like stuffs which are turning one by one actually. I expect that audience in the most front seats can check such a small point; even you may say “I cannot see it!”, which is also a spectacular point here. And also costumes installed with stage sets would be also good. Nouit’s costume, a female singer coming down from heaven to earth, is hanged and singing at aerial region fourteen meters from the stage, and Abraka, a male singer’s costume is to go up his long robe connected to ceiling at the final scene of Lasso (rope act). Even I cannot judge they are included in whether stage sets or costumes. Without changing their designs, I would like to adjust in technique with proposing costumes’ processing way to work smoothly not only for the casts but also the Head Quarters. Once we had a costume said “That a good idea” by the Head Quarters. We suggested for them to make some changes in costumes of, duo strap, performed by two female artists dressed in red and blue costumes; wearing tights inside of tutus which used to be connected with each other. Although they would perform wearing the former, they easily made holes on tights so that we had to repair all of them. Thus, we proposed separating tights from tutus to repair only tights when they made holes and left tutus. As the artists tried the new costumes, they, of course, had no problem, and said “That’s a very good idea. ”by the Head Quarters in Montreal. o) I simply enjoyed myself with working on shoes. I had frankly imagined neither I could work in Cirque du Soleil specialising in shoes nor learned such useful knowledge for my current job as I would work in the other shoe shop. I simply enjoyed myself with doing so, I never believe that I know what is going on. If you have what you can enjoy yourselves and learn, go for it. I would recommend you never give up and enjoy yourselves to do it. ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly publication, available through subscription via the World Wide Web in text format at the newsletter's website: < http://www.CirqueFascination.com/ >. To subscribe, please visit our website and enter your name and email address in the "About Fascination" box and press Subscribe. You'll receive an email to confirm your selection. Once confirmed you'll be added to our mailing list. To Subscribe via Realy Simple Syndication (RSS) Feed (News) use the following: < http://www.cirquefascination.com/?feed=rss2 >. To view back issues, or other online Newsletter content, please visit us at: < http://www.CirqueFascination.com/ >. Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 11, Number 2 (Issue #85) - February 2011 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2011 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. { Feb.05.2011 } =======================================================================