======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 12, NUMBER 1 January 2012 ISSUE #96e ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. It's hard to believe that we're quickly approaching our 100th issue - it seems we just got started only yesterday! Through these past eleven years or so (we started in September 2001), we've watched Cirque du Soleil grow from an avant-garde circus troupe into a full-fledged entertainment company that not only continues its traditions through staging circus arts, but also dabbles into other entertainment arenas, such as vaudeville, musical revue, and special event productions - to varied success. Fascination has also changed over the years; it's reaching 100 issues is not only an important milestone, it may also be a turning point for us: after 100 issues, what's left to say and do? Although the final decision has yet to be made, our one-hundredth issue could be our last. Be that as it may, we've got quite the packed issue for you this month so I won't waste any further time gabbing. We've got two reviews for you this month: first some personal thoughts on IRIS (Cirque du Soleil's resident show in Hollywood, California) and the first of a two-part look at CirqueWeek 2011 in Las Vegas! (So if you couldn't make it this year you'll definitely want to see what you missed!) And have you heard about the new Cirque du Soleil gift card? Check out our assessment of its usability within. As always we've got the latest news items posted to Fascination! Web and, of course, updates to Cirque's tour schedule! 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 * Didyaknow? -- Facts About Cirque * Historia -- Cirque du Soleil's History o) Fascination! Features * "A Journey Into the World of Cinema: My Thoughts on IRIS" By: Ricky Russo - Atlanta, Georgia (USA) * "CirqueWeek 2011: A Review (Part 1 of 2)" By: Ricky Russo with Barb Lewis * "The Cirque du Soleil Gift Card - Is it Ready for Prime Time?" By: Keith Johnson - Seattle, Washington (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Dralion: From Ballet to the Circus [EXPANDED] {Dec.01.2011} --------------------------------------------- Cirque du Soleil's Dralion, as in half dragon and half lion, is an East meets West extravaganza. The vintage Cirque show is filled with all kinds of performers doing things you would not want to try at home — a spider lady on the silks dropping from the ceiling, a shirtless guy trapped inside a gigantic wheel, bouncing people who walk on walls, a bendable woman who balances on one arm and a gaggle of those well meaning French/Italian clowns. Think world air candy. Like many Cirque shows, it also contains a mild dose of cultural appropriation. Oh, and there's plenty of dancing in this baby. I, for one, never wanted to run away to the circus. Fear of lions, life on the road and the iffy engineering of big tents put me on a different path. Plus, I read Water for Elephants. Life in the circus is not a piece of cake, but it's not boring either. I visited with Dralion assistant artistic director James Santos to get a glimpse of life in the world's most lucrative circus. Santos brings a rich treasure of dance experience, from a stint at Metropolitan Opera Ballet to a thriving career in musical theater. Like me, Santos never pined for a life in the circus, but seems quite content with his new gig. For the past year he's called the big tent his home. He brings us into the traveling life and the world of Dralion... Q. How did you go from ballet to the circus? Well, my training is also in musical theater. I have always to put myself in the director's seat. I see it as a way to spread my wings and a natural progression. Q. I have interviewed many a Cirque director over the years, and they are most often from dance backgrounds. Why is dance the art form best suited for directing Cirque? Dancers have a wide variety of experience. There's also so much acting in dancing. and it's a visual art as well. I think we can also relate to the discipline and hours of training that is required for many of our artists. We are clued into performance as well, it's a natural fit. Q. Did you used to look at Cirque shows when you were a kid and think, "Hey, I could run that show?" No, not at all. In fact, the first Cirque show I ever saw was Dralion when I started the job a year ago. Q. What's the most fun part of your job? I get to work with people from all over the world. I love putting together a new version of an act. The daily variety the job brings to me is so fulfilling. I also enjoy keeping the original integrity of the show. Q. What's the hardest part of your job? It can't be as fun as it looks. Being away from my family. I have two children, ages three and five so we Skype a lot. So life on the road would be definitely the hardest part. We tour for 10 weeks and go home for two. I try to remain connected with my normal state of life within this bubble of the Cirque world, but it's hard. Q. Dralion is an old show and Cirque has shifted quite a bit since that time. How do you keep a show created in 1999 fresh? Cirque shows are always evolving and never static. We never stop creating. In 2010, we brought the show back for what I call "the great Dralion makeover." Today, there are new acts and 80% of the cast is new. The show is in the best condition it has ever been. We have a strong group of artists, and things just keep getting better. I'm really proud of the shape of the show. Q. You have artists of so many disciplines. Some hang from silks while others walk on walls. How do they all stay fit? We provide workshops for them but each has their own workout. I teach class now and then, too. It's a fast moving process, and they have to drive themselves as artists. There are coaches and physical therapists available. We also have a running club that both administrators and artists participate in. Q. Cirque doesn't come cheap. Why should a person plunk down their hard earned cash to see this show? Dralion holds something for everyone. It's a well-balanced show with every style of music, from African to Indian, and even a touch of techno. It's a group of performers from 15 different countries that can do amazing things. You get to see spectacular artists doing what they were born to do. {SOURCE: Houston CultureMap} MJ IMMORTAL Review from LV: "It's BAD" [EXPANDED] {Dec.05.2011} --------------------------------------------------------- If the new Cirque du Soleil tribute to Michael Jackson, "Immortal," confirms one thing, it's that the King of Pop's presence, even in death, sure can rile up a crowd. Every time the late singer's image popped on-screen during the show's Las Vegas premiere on Saturday night, whether as a tyke with a golden voice as part of the Jackson 5 or as a Thriller with a sequined glove and a miraculous body for dance, the sold-out venue erupted, if only for a snapshot moment. But clips of Jackson being MJ, however magnetic, can't sustain an hour-and-a-half show dedicated to his music, nor can a dancing Bubbles the chimpanzee, big-Afroed J5 impersonators, a baffling mid-show cello solo, a sexy contortionist act atop a children's book, groups of synchronized mummies in hoop skirts and, most curiously, a life-sized dancing glove that looked more like a half-dead starfish. The Canadian-based Cirque du Soleil has built an empire choreographing discographies in service of its high-flying human, wire and light tricks. Over nearly three decades, the company has constructed visual extravaganzas that have taken Las Vegas, and the world, by storm, and have helped nudge the look and feel of big arena concerts into the realm of visual, as well as sonic, spectacle. There are eight Cirque-produced shows running in Vegas (and 15 others playing throughout the world), and three of them are themed around musicians: Elvis Presley's memory is celebrated in "Viva Elvis," the Beatles oeuvre in "Love" and through Dec. 27, the collected work of Michael Jackson will be presented at the Mandalay Bay Events Center, where, after touring the world, "Immortal" will set up a permanent home in 2013. As anyone who remembers Jackson's lavish Las Vegas spending spree that was featured in journalist Martin Bashir's damning 2003 documentary, Jackson had an affinity for the city's brand of gauche, and Vegas was only too happy to cash his checks. So it's only natural that his image and music be licensed for glitzy ridiculousness. Plus, he earned the money, the fame and the acclaim through dance, one of Vegas' perennial attractions, through his exacting choreography in videos like "Thriller," "Beat It" and "Billie Jean." There's a lot of great material to work with. Which is why this thing is such a drag. Directed by Jamie King, best known as Madonna's longtime collaborator, and choreographed by Travis Payne, who worked with Jackson on and off for the last 15 years of the singer's life, "Immortal" is a two-dimensional mixtape that, were it relocated to a hockey arena, could be easily adapted as "Michael Jackson on Ice." Filled with Vegas cheese, oddly chosen MJ spoken word interludes, ill-advised song-and-dance combos — the silliest of which involves a little human dressed as Bubbles pretending to be a DJ while men swing on rings below — the production never feels like it ever gets going, and any narrative is quickly sacrificed in service of another requisite series of swinging maneuvers. During "Beat It," at the same time the aforementioned human- sized sequined hand wriggled on the ground, a hot female cellist and equally sexy female guitarist moved slowly on a conveyor belt wailing and two jumbo white-socks-and-black-loafer props, with men stuffed in them, hopped in place. The writers of "The Simpsons" couldn't have imagined a more ridiculous parody of Vegas overindulgence. "Love," like "Immortal," had as its director of creation Chantal Tremblay, but where the former felt like one long, graceful meditation on the melodies of Lennon, McCartney, Harrison and Starr, the latter feels like an impatient, see-what-sticks mishmash crafted by someone way more interested in Jackson's Hallmark-worthy slow songs, the stuff from his increasingly infantilized later work, than spreading groove and getting a move on. Every time a burst of energy arrives, it's quickly interrupted by one of Jackson's lesser ballads or late-period bangers. How can you justify giving more time and creative energy to "Man in the Mirror" and "Earth Song" in a Michael Jackson show than to "Beat It" or "Thriller"? There was only buried-at-the-end tidbit of "Billie Jean" within "Immortal," a song whose rolling bassline seems tailor made for an extended interpretation. Maybe it's just too soon; it was only last week, after all, that Jackson's doctor was sentenced after being convicted of involuntary manslaughter in the singer's death. But the problem isn't timing as much as it is structure. "Love," though flawed, had a flow to it, felt of a piece, and used as much vertical as horizontal space, with high-wire artists and dancers moving not only across the stage but within the vast air above. The problem with "Immortal" is Mandalay Bay's 12,000-seat Events Center: it's a big arena, and the requirements of this touring version of the show dictated portability. {SOURCE: The LA Times} MJ Tribute Show Embraces Jackson's Oddity [EXPANDED] {Dec.05.2011} --------------------------------------------------------- Not to put too fine a point on it, but Michael Jackson was weird. This is hard to argue, whether you feel he was an eccentric, misunderstood genius, or if you thought he was genuinely disturbed and mentally ill (and there's room to land somewhere in the middle). But either way, it goes to follow that "The Immortal," Cirque du Soleil's tribute to the king of pop, is one strange show as well. When you're taking on Michael Jackson you go big or go home, and Cirque has never been a company to shy away from artistic eccentricity itself. How strange is this thing? The end of "Dancin' Machine" leaves us looking at tap dancers, a mime (the central character, Salah Benlemqawanssa, who becomes gradually imbued with the moonwalking spirit of the Gloved One) and a guy suited up as Michael's chimp, Bubbles. Not weird enough? Immediately follow that with costumed elephants in the manner of Chinese parade dragons. They're dancing to Jackson's rat rhapsody, "Ben." Keep going? Out comes then a female rock chick in a halter and bare midriff to lay down a smokin' cello solo. At least she is setting the scene for a '30s gangster production number of "This Place Hotel" and "Smooth Criminal." That one's a straight-on, slam-bang adaptation of Jackson's MTV glory years -- with zoot-suited dancers doing a simultaneous, gravity-defying lean before welding sparks shoot out of their waistcoats -- which you'd hoped "The Immortal" would have more of. Instead, you get a lot of moments that surely come off smaller than intended for the arena spectacle, which parks at Mandalay Bay through Dec. 27. You have to applaud the phantasmic costumes by Zaldy Goco and the bigness of the production design (even though a key prop of a "giving tree" from Neverland ranch disappeared in the two- month journey from the tour's debut in Montreal), which puts as much of the action as possible on a round stage in the center of the arena. But it's still hard to work around the nearly impossible problem of doing a concert without a star. And while there are signature Cirque acrobatics, including an aerial adagio, they are a tough sell in an arena. As was evident on Cirque's previous arena show "Delirium" (which wouldn't have been a bad title for this one either), humans are only so tall and their feats are more impressive when you can see them sweat. "The Immortal" can be divided roughly in half, reflecting the larger world's split opinion on Michael Jackson. Some of the two hours bring back fond memories of the Jackson everyone fell in love with: The boy prodigy who sang and danced his heart out with his older brothers, then grew up to set the '80s on fire. But somewhere after the "Bad" album, a lot of us decided to get off the choo choo train, checking out of Neverland either because of the child sexual abuse scandals or the music that became more naively precious and irrelevant (and there's room to land somewhere in the middle). And so "The Immortal" charts this path. If you love the music enough to buy a ticket, who won't cheer the twin dancers erupting out of giant loafers for "Beat It"? Or the white-clad vampire bats and Baron Samedis doing the graveyard mash to "Thriller"? But casual fans who somehow find themselves here may not regret cashing out at market's peak when they see dancers hold up globes while Michael recites "Planet Earth." Or when the menacing robots of "They Don't Care About Us" storm-troop in front of an equally ominous video montage. Police truncheons, armed missiles, the Klan: Bad. Mother Teresa, Ghandi, the guy facing down a tank in Tianamen Square: Good. It's probably for the best that Cirque chose director Jamie King and other friends of Jackson who would stay true to his vision, avoiding any temptation to give the music new context or merely appropriate it as a soundtrack for Cirque's usual dreamworks. There's a faith and honesty here that reconfirms the pop icon for his true believers, while still giving the less devout (who, frankly, really shouldn't be here) plenty of subtext to chew on as well. King latches on to the 1995 song "Childhood" to set the show's course: The boy who was denied a real childhood spent the rest of his life trying to recreate it. "People say I'm not O.K. 'cause I love such elementary things ... It's been my fate to compensate" (who knew he was so self-aware?), Jackson sings as an animatronic puppet of young Michael floats in a hot-air balloon. Near the end comes a moment of genuine sadness; a video of Jackson twirling in messianic fervor, as we hear a voiceover of him reciting words to "Will You Be There": "In our darkest hour, in my deepest despair ..." Then it cuts to the boy we all loved singing "I'll Be There," his extracted vocal accompanied live on piano by musical director Greg Phillinganes. How did it go so wrong for this boy of such gifts, to end up a victim of unbridled celebrity, devoid of any of life's normal checks and balances? A faded star with a persecution complex, and demons so dark he thought he needed surgical anesthesia to go to sleep? But trust the art, not the artist. As corny as it is to see acolytes holding up glowing valentine hearts in the audience, the gospel power of "Can You Feel It" reminds us there's nothing wrong with childlike faith. Especially when it's followed by dancers sparkling like a Lite-Brite game to "Billie Jean." {SOURCE: Las Vegas Review-Journal} Cirque with Madonna for Superbowl Half-time show [EXPANDED] {Dec.06.2011} ----------------------------------------------------------- The Cirque du Soleil's upcoming collaboration with Madonna for her first Super Bowl half-time show promises an exciting convergence of talents. Nobody will want to miss this event. Not Madonna fans, or Cirque fans or the usual sports fans, and TV ad junkies (only the very best commercials make the cut for Super Bowl). But exactly what it will look or sound like is going to remain a closely held secret until the very last minute, according to Cirque executive producer and general manager of events and images, Jacques Méthé. He's in charge of the Cirque side of the deal. The idea for the collaboration came from Madonna's management team, he explained, although the fact that Jamie King who just directed the Cirque's Michael Jackson The Immortal World Tour will also be involved, does make it seem like it's all in the Cirque family. "Our role in this is to contribute ideas and components to the scenario," he said. Although the Cirque will also be involved in practical aspects of staging, "It is our imagination that is solicited here," he added. Other than alluding to a "very short and energetic moment", Méthé is mum about what's being planned. "I cannot talk about the content," he said, "It's all about Madonna. We leave it to her to decide if and when she wants to reveal anything. This is a Madonna event that we're contributing to. It's not about Cirque, it's about Madonna. The part we're playing there is really in the creative content and the follow-up, until delivery." As for Moment Factory, the second Montreal company that's involved, it was the Cirque who brought them on board, to handle the projections and multi-media side of the number. They've collaborated before on major special events. The Cirque team has been working with Madonna for about three weeks now, Méthé said. And yes, she has been very hands on. "She knows what she wants," he said. "That's how big stars are." The 2012 Super Bowl will be aired on NBC on Feb.5, 2012. {SOURCE: Montreal Gazette} Mystère Getting a Makeover [EXPANDED] {Dec.08.2011} --------------------------------------------------------- Call it the Zed effect. It doesn't mean I know who Zed is, but Cirque du Soleil titles no longer worry me. And "Zed" is the show Cirque will close New Year's Eve in Tokyo, citing the Japan earthquake's continued devastation on tourism. Two "Zed" acts then will be incorporated into "Mystere," giving Cirque's oldest Las Vegas show its biggest changes since it opened at Treasure Island on Christmas Day of 1993. Cirque already has announced a third "Zed" act will be folded into "Viva Elvis" for its final year. This parceling of performers out to other Cirques casts new wrinkles upon rumors that "Zed" in its entirety will replace "Elvis" at Aria. "They're not taking it back. We're keeping ours," jokes "Mystere" artistic director David Gomez. The big change to "Mystere" will be replacing the closing high- bar trapeze act. The new Mexican troupe has nine fliers and three catchers who are positioned upside down. One of the flying men can do a quadruple somersault, and one of the women can do a triple. A solo aerialist who wraps herself in a vertical tissue of silk also will be folded into "Mystere" without replacing an existing act. The notion of refreshing "Mystere" has been talked about since at least 2007. But it stayed on the back burner until Treasure Island became an independently owned hotel, with a separate agenda from the big-picture one of MGM Resorts, landlord of the other six Las Vegas Cirques. "The hotel has been discussing with Cirque the idea of making some changes. We did it not too long ago with 'La Nouba' (at Walt Disney World)," Gomez says. "When the opportunity came along with 'Zed,' I think it just opened up a window for us and we took advantage of it." "Mystere" goes dark from Jan. 12 until its Feb. 11 reopening with the new content and different music to score it. ... The closing of Brad Garrett's Comedy Club at the Tropicana on Sunday is balanced by the arrival, in a different space, of a lounge and casino floor attraction called iCandy Burlesque. Garrett headlines his club's final night as he prepares to move across the street to the MGM Grand, ending yet another element of the Tropicana's entertainment relaunch just a year and a half ago. (Only Recycled Percussion remains from that wave of activity.) "I only have positive things to say about my experience there," Garrett says of the Tropicana. However, the MGM offers 5,000 hotel rooms to the Tropicana's 1,658, as well as networked advertising and cross-ticketing with other MGM Resorts properties. "When a place like this comes calling, it's a no-brainer," Garrett says. The new club will anchor a makeover of the underground retail area between the MGM lobby and the parking garage. Garrett says March 30 is "a hard date in stone" for the opening. The new club is "totally my investment. ... I'm building it from the ground up," he says. But Garrett has a long relationship with MGM Resorts executives. "(Entertainment and sports president) Richard Sturm gave me my first job at Bally's in 1987." "I was limited at the Trop," adds Garrett, who is more of a profane insult comic onstage than "Everybody Loves Raymond" fans might expect. "I did the best I could with the room I had, but they kind of had their own idea of what they wanted it to be," Garrett said. No replacement has been announced for the Tropicana space that for years housed The Comedy Stop. Today however, the resort introduces iCandy Burlesque to its Ambhar Lounge, with environmental performers spilling into gaming areas. It's all helmed by veteran choreographer Nannette Barbara. The actual stage performances are free and happen three times a night, Thursdays through Saturdays. The lounge area won't be enclosed, so no toplessness or tassels are involved. ... It's with some risk to mention almost-90 comedian Marty Allen rescheduling at the Palace Station on Saturday. There's that nagging superstition that we jinxed him by doing a Neon cover feature on him last month. Allen broke his hip in still-mysterious circumstances. "If he knows what he did, he's not telling me," jokes his wife and stage partner, Karon Kate Blackwell. But he's already up walking on a cane after Nov. 17 surgery and plans to make up last month's cancellation at 4 p.m. Saturday. On Sunday, Lena Prima presents Allen with the Showbiz Society's Louis Prima Award in noon festivities at the Italian American Club. Allen remembers rushing over to the Sahara to see Louis Prima "every night for a month," once Allen & Rossi had finished their act in the showroom at the Sands in the late 1950s. "We would stay until 5 a.m. and go home when the sun was coming out. How wonderful." {SOURCE: Las Vegas Review-Journal} MJ Immortal #1 in Box Office Gross This Week {Dec.09.2011} --------------------------------------------------------- The Top 20 Concert Tours from Pollstar ranks artists by average box office gross per city and includes the average ticket price for shows in North America. The previous week's ranking is in parentheses. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers. Cirque du Soleil - "Michael Jackson THE IMMORTAL World Tour" earned $1,924,258 this week on an average price of $116.04 per ticket. The show retained its #1 spot this week over last. Rounding out the top five are: 2. (2) Taylor Swift; $1,320,833; $69.53. 3. (4) Marc Anthony; $961,805; $84.29. 4. (5) Enrique Iglesias; $806,680; $69.00. 5. (7) Journey; $651,018; $58.05. Check out the original article to see the rest of the top twenty: < http://www.cnbc.com/id/45611663 > {SOURCE: CNBC} CirqueWeek in Las Vegas to Continue [EXPANDED] {Dec.12.2011} --------------------------------------------------------- Two tourists, surrounded by a few dozen others, stood onstage and tugged on an invisible rope. One pulled and the other skidded forward as though he were about to topple over. After a brief pause, they reversed the move. If you didn't know where they were -- the "O" theater in Bellagio -- you'd think they were engaging in some weird crab dance. And if you didn't know what this was, you might think it was the strangest thing in the world. But it was just a mime class, taught by an "O" performer. The one-hour session kicked off Cirque Week, 10 days full of special workshops and events for fans of Cirque du Soleil. It was scheduled to end Saturday with a meet and greet between Criss Angel and 100 Cirque Week attendees who paid for the privilege of mingling with the magician. It's the second year for the event, which was organized by Cirque. Last year's event was a collaboration between Cirque du Soleil and the Las Vegas Convention and Visitors Authority, said Lou D'Angeli, the marketing and public relations director for the resident show division. The event lasted five days, but demand was so great, organizers decided to double it for 2011. The event aims to let fans peek behind the curtain of every Cirque show. Tickets were sold in bundles for two, three, five, six or seven shows. Prices ranged from $165 for two shows to $561 for seven shows. All of the packages included free access to eight workshops and meetings. Fans got to see dress rehearsals, technical demonstrations, meet artists, quiz the backstage crews and more. It was like chicken soup for a theater buff's soul. Bert Steinberg, 91, saw "O" when it opened in 1998. A true theater devotee, Steinberg bought tickets to see seven Cirque shows over the 10 days. The trip served as a respite from caring for his domestic partner in San Francisco. She has Alzheimer's and recently had to move into an assisted living facility. Steinberg's family told him to get away for a while and recharge. "The backstage stuff, it's just up my alley," Steinberg said. "I've got to know what makes it work." Steinberg also enjoyed the miming. He watched the clown as he led the 60 or so tourists in a 15-minute mime session. They waved their hands in the air, wiggled their fingers, kicked their legs up. About five minutes into the class, the sweaters and jackets started coming off. One woman sat down, preferring to watch the action instead of participating in it. Eventually, the group graduated to the rope pull. The clown showed them several ways they could use an invisible rope. Then he paired a few people off and made them perform for the group. For Oregon resident John Keith Geiger, 57, the mime class was fun. But his favorite part came after the action, during the Q&A session with artists and their coaches. "This to me is heaven," said Geiger, who has been a Cirque fan for just more than a year. "Being able to go behind the scenes." The events ranged from a demonstration of theater technology at the Love Theatre in The Mirage to a bungee demonstration at Mystere in Treasure Island. Fans also heard company President and CEO Daniel Lamarre talk about the business side of Cirque. At "Love," department heads talked about various aspects of their jobs, including wardrobe, props, lighting and sound. Some guests appeared to have exceptional knowledge about several areas, asking technical questions that seemed to impress the experts. While Cirque wouldn't give an attendance figure, D'Angeli said it did surpass last year's numbers. They plan to continue offering Cirque Week. {SOURCE: Las Vegas Review-Journal} Dralion Returns to Montréal [EXPANDED] {Dec.12.2011} --------------------------------------------------------- From the Montreal Gazette: # # # The Cirque du Soleil's Dralion is coming home for Christmas, reinvented as an arena mega-spectacle that will open at the Bell Centre on Dec. 18. This most Asian of all Cirque shows has come a long way since it made its rather shaky debut as a big top show in Montreal in 1999. This will be Dralion's third Montreal appearance. The last was in 2003 while it was still a tent show. When Dralion was born, the stakes were high, the future of the company uncertain. The creative team that had set the signature for the Cirque du Soleil's first decade had stepped down, exhausted after the openings of two permanent mega-spectacles, O in Las Vegas and La Nouba at Walt Disney World in Orlando, Fla. Director Franco Dragone, set designer Michel Crête, costume designer Dominique Lemieux and choreographer Debra Brown all went their separate ways. Composer René Dupéré had already left, after Alegria in 1994. To preserve a sense of continuity, the Cirque persuaded original artistic director and founder of the National Circus School, Guy Caron, to return. He had parted ways with the company in 1988, saying it was "growing too big, too fast." (Another director, Philippe Decouflé, was initially hired for the Dralion job. But he dropped out in a panic, overwhelmed by the size of the project. Decouflé, too, rejoined the Cirque family, directing Iris in Los Angeles.) Caron brought in a team that included Quebec’s king of costume design, François Barbeau, the man who had taught Lemieux. Crête was replaced by Stéphane Roy who later designed Varekai and Zumanity. Newcomer Violane Corradi composed the score. The Dralion big top was pitched at the Cirque’s new headquarters in the St. Michel district, rather than at the Old Port. Among the opening night guests were Pierre Elliott Trudeau and son Alexandre. (Yes, it was that long ago.) Dralion was the Cirque du Soleil’s last show of the 20th century. The theme was East meets West, as Caron had brought his obsession with Chinese culture to the fore, within a multicultural mix. The sense of anticipation was high. And, predictably, some were disappointed. The clowning was weak and the segues weren’t up to par. But the Asian acrobats were astounding. Now a road-tested Dralion is about to make another Montreal debut, as an arena show playing to a 4,500 seat venue. Much has been altered since its last visit. A new troupe of Chinese performers has joined the cast. And five new acts have been added, including trampoline, contortion, aerial hoop, diabolos (Chinese yo-yo), chair-balancing, and a unique crossed-wheel act, performed by Jonathan Morin. During a recent visit to Cirque headquarters, Morin, aerial artist Marie-Éve Bisson and African dancer Henriette Gbou performed briefly for the cameras. Gbou has been with the show for 10 years. She began her career in her homeland, Ivory Coast, where she was discovered by the Cirque. Her eyes lit up while talking about the response Dralion had received, playing to 10,000 people per night in Puerto Rico. “People love the Cirque. And they love Dralion,” she said. “You feel good when you’re on stage and you help the show.” What effect has the Cirque had on her life? “I’m from far away, so it’s a very big thing for me,” she replied. “It opened up my life. Now I travel. And before, I didn’t speak any English.” Gbou spent several years touring with Dralion through North America, then one year in Europe, another in Australia. Now a Canadian citizen, she makes her home in Montreal. When first hired she had to leave her three children (now 12, 14 and 18) behind with family in Africa, but they’re with her now. Her husband, also a dancer, came with her to Canada, but they have since separated. That’s the downside of circus life: “I couldn’t be there for him,” she said. Now that Dralion is an arena show, it’s easier for her to keep up a personal life. “After every 10 weeks of work,” she said, “we have two weeks off. That’s good.” As a tent show, Dralion stayed several weeks in each city, but there were more performances. She would get one day off per week. The performers travel mostly by air, she said. Or by bus if the trip is five hours or less. Gbou, now 39, plans on dancing around the world as long as she can. But she’s thinking about the future, too. With the Cirque, “You can save money because you don’t pay hotel, you don’t pay food. You can save a lot of money if you really want to.” Morin and Bisson love their jobs, too. Since they’re a couple, it’s a bit like living an extended honeymoon with the company picking up the tab for the hotels and restaurants. They joke about never having to argue about things like who’s going to make the bed, cook dinner or take out the garbage. So what do they fight about? Well, he’s from Montreal and she’s from Quebec City. Plenty of room for conflict there. They met while working on Quidam, but romance came later. Morin, who signed up with Dralion just a couple of months ago, brought in his own act. “It’s an apparatus that I created myself,” the former gymnast said proudly. “So it’s unique in the world. I call it the crossed wheel.” Bisson, who does an aerial hoop act, was already in the show. After working on Quidam, Morin did special events for Cirque, then corporate gigs, on his own. Bisson, too, was a competitive gymnast before joining the Cirque. Only she never got beyond the national level (having started late), while he went international. She worked on Quidam for five years, then switched to Dralion from 2003 to 2006. “At this point, my act was in rotation,” she said. “If other people were out or injured, then I would move in.” Eventually, she left and worked freelance for four years. She rejoined Dralion early in 2010, this time as a permanent act. Like Gbou, Morin and Bisson enjoy working in an arena show, even if means changing cities more frequently. “We stay a week, usually,” Bisson said. “We get two days off at the beginning of the week, Monday Tuesday, and we run Wednesday through Sunday. Then we move again.” With 13 performances, the Montreal stop is longer, allowing them time with their families at Christmas. According to Sylvie Galarneau, who was the general artistic director of Dralion, beginning in 2001, and now oversees three other Cirque shows, not all artists prefer arena shows. “The rhythm is different. Moving to each city is way faster than the big top. And we don’t maintain a school. Artists who have a family often decide not to come.” Her own lifestyle is two weeks in Montreal, two on the road. “I don’t have a lot of mileage on my car,” she said. “But I have a lot of air miles.” {SOURCE: Montreal Gazette} RumorFix on MJ Immortal: "Shockingly Bad" {Dec.13.2011} --------------------------------------------------------- We at RumorFix love Michael Jackson - there will never be anyone like him again. So we were thrilled when we heard that Cirque Du Soleil was taking on the King of Pop and premiering the world tour at the swanky Mandalay Bay In Las Vegas. RumorFix attended the show on Friday and here are our thoughts: o) The show is supposedly sold out, but only 6,000 of the 12,000 seats were filled. o) The show begins with three Michael Jackson songs no one has ever heard of. Why? Why not "Billie Jean" or "Man in the Mirror" or "Beat It?" o) Insiders acknowledge the big flaw of the show is that acrobats are doing a dance show. o) Why is there a Michael Jackson in a fat suit? It made no sense. We can't tell you what happened the second half of the show, because we walked out. Yikes! {SOURCE: RumorFix} MJ Resident Show in Las Vegas by May 2013 [EXPANDED] {Dec.14.2011} --------------------------------------------------------- Robin Leach, through The Las Vegas Sun, has some interesting tidbits about Michael Jackson THE IMMORTAL World Tour show, now playing the Mandalay Bay Events Center until December 27th: # # # •It's earning: Pollstar reports that "Immortal" has become the highest-grossing live show in the country, and the figures are staggering, with nearly $2 million in tickets sold for each night of its run (it has accumulated nearly $100 million in ticket sales). Pollstar says that's an incredible $500,000-plus more than Taylor Swift, who is the next highest-earning touring show, and she plays larger arenas in different cities nightly, whereas "Immortal" is fixed here at 8,500 seats for two more weeks. •Opening date is set: Cirque founder and billionaire Guy Laliberte and Mandalay Bay President Chuck Bowling have set May 13, 2013, as the opening date for the permanent show. •Plans are underway: Cirque President Daniel Lamarre has confirmed to me that planning for the residency show is underway, and it began the day after "Immortal" opened at Mandalay Bay. When Disney's "The Lion King" departs Dec. 30, Cirque construction crews will begin dismantling the venue to prepare for the one-year makeover starting Jan. 2. •Jamie King signs on: It's now confirmed that touring show author, chief choreographer and Director Jamie King has been signed to a new contract to mastermind the residency production. Extraordinary costume director Zaldy Goco, who designed the "Immortal" wardrobe, also will repeat his genius for the new show. •100% different show?: "It would be a 100 percent different show - you would know that - but I would say there would be certain elements from this touring show that would be incorporated - our favorite moments from this show would definitely be in there. There are some beautiful moments, and I'd like to carry them over. It would be far more theatrical like a Cirque show than a rock arena show." •Michael Jackson museum: Michael Jackson Estate executor attorney John Branca has said that a museum honoring the King of Pop will be part of the residency show's attractions with some of the Neverland memorabilia from the Michael Jackson Fan Fest on display. Reliable sources indicate that the Neverland gates and giving tree will be an entranceway to the new theater. •Michael Jackson nightlife: An interactive arcade with Michael Jackson games will be featured. Plans for a nightclub attraction haven't yet been finalized and might not, but Cirque has partnered with the Light Group to take over the currently shuttered Rum Jungle at Mandalay Bay to open with a new entertainment concept in fall 2012. •It keeps on going: New dates and international venues are still being scheduled, and Cirque estimates that its debut touring juggernaut show will run five years in North America and the rest of the world, with bookings already set for Europe and Asia. * * * Jamie flew here four days before the touring show opened to make changes to the production that I first saw at its world premiere in Montreal. “Ideas have changed, developed and grown. When it’s a touring show, things change because of the nature of the venues, but when you mount a show in one place, it has to be venue specific. I certainly had to adapt to the Mandalay Bay site. So there have been different ideas, certainly. It’s the same show, but certain aspects are now given more prominence. We don’t do anything without Guy’s stamp of approval, and he finally gave us that when the show reached Vancouver.” I talked with Jamie about him signing on the dotted line for the new show before it became official. “I would love the opportunity to do that show. We would need to start on it immediately. Tomorrow! It’s going to be at the Mandalay Bay Theater, so we have to trick out the room and the way to get to the theater. I look forward to the challenge 100 percent. “It would be a 100 percent different show -- you would know that -- but I would say there would be certain elements from this touring show that would be incorporated -- our favorite moments from this show would definitely be in there. There are some beautiful moments, and I’d like to carry them over. It would be far more theatrical like a Cirque show than a rock arena show.” The Michael Jackson Fan Fest that ends Wednesday has been a major success with its 200 items of Neverland memorabilia on display. Some of the pieces in the multimillion-dollar exhibit will be used in the residency show and museum. The collection after Wednesday won’t be seen again until possibly Michael’s next Aug. 29 birthday remembrance and then May 2013 when the new production opens. Fan Fest includes some of designer Zaldy’s unfinished works that Michael was rehearsing in for the This Is It concert run in London’s 02 Arena that was canceled when he died two days before flying there. Ten of the outfits were Zaldy’s for the 50 U.K. performances. This was the first time that the Estate executors approved a showing of Michael’s collections, and since arriving here, the items have been under day-and-night surveillance. “It gives fans the opportunity to see things that were very important and very personal to Michael that had never been seen before. We wanted to choose items that the fans wanted to see and we knew that Michael would want to share with them,” a Fan Fest executive said. “There are items in here that I’d never seen before or even knew Michael had,” his brother Jackie Jackson told me. “But I know Michael would have wanted to share them with his fans. “We, as a family, are proud and happy that ‘Immortal’ is successful, and the fans love it. It takes Michael’s message to an even wider audience around the world, and we know the next residency show in Vegas will be an even bigger success keeping his legacy alive and teaching that peace and love are the most important of all.” {SOURCE: Las Vegas Sun} An Inspiring Review of IRIS [EXPANDED] {Dec.20.2011} --------------------------------------------------------- As the home of the Academy Awards, the Kodak Theatre on Hollywood Boulevard is the perfect setting for Cirque du Soleil’s newest major resident show “IRIS,” which looks at the evolution of cinema through astounding action and effects. Since September, the show has been stunning audiences with its acrobatics that are so precise and gravity-defying, that it’s sure to create plenty of sweaty palms and pounding hearts throughout the show. At the heart of the story is Buster, a sad composer in search of true love. Somewhere between reality and make-believe, he spots the girl of his dreams: Scarlett, a naïve actress who longs to become a movie star. The pair find themselves plunged into the joyful chaos of a film set. Their escapades transport the spectator into a kaleidoscope of movement, moods, and images supported by an orchestral score composed by Danny Elfman. Written and directed by French director-choreographer Philippe Decouflé, the show begins by rewinding back to the concept of shadow puppets on prehistoric cave walls. In an atmosphere of light and shade, two acrobats set the bar for the show as they soar through the air suspended from straps. They take off high above the stage and land with grace and fluidity, delivering a performance that makes one think of an aerial hand-to-hand number. Back on the stage, four contortionists adopt striking poses that are mind-bending. The flexibility of their movements is amazing as they are transformed into living sculptures. What makes each Cirque show like nothing else on earth is its impressive attention to detail in choreography, which is full of high-speed precision. In the act "Filmstrip," performers advance from one "frame" of film to the next, quickly moving through doors into side-by-side rooms that creates the illusion of continuous movement. At the Hollywood Bowl's 90th season opener earlier this year in June, the Kiriki act was performed as a teaser of what "IRIS" would deliver during its 10-year run at the Kodak Theatre. This act features colorful performers that could be mistaken for bright Teletubbies that blur the lines between reality and the impossible as they take turns lying on their backs and spinning fellow acrobats above them using their hands and their feet. Just when you think they have done it all, the eight performers stack themselves several bodies high, before the acrobat at the top launches into a spin and makes a perfect landing. After intermission, controlled chaos returns in the form of the act “Movie Set” that had the theatre roaring with amazement. Nearly all of the production’s 72 performers take to the stage for successive highly visual numbers and audacious plunges that are a bold allusion to various aspects of filmmaking. The choreography brings the circus disciplines of teeterboard, Spanish web, Russian bars, aerial silk to floor gymnastics, and original choreography. The wonder continues in the trampoline act that’s a tribute to gangster movies and to the work of stunt actors. The trampolinists deliver a number packed with thrills on the roofs of buildings, multiplying their astounding leaps, flips, and glides in a non-stop action movie atmosphere. This number vibrates with bright saturated colors and the sharp contrasts of shadows and silhouettes. After so much excitement, there’s a complete change in pace in the next act when the show’s heroine Scarlett balances on canes. She performs a number infused with romanticism, subtlety, and sinuous strength that captures the already conquered heart of Buster. The final act revs back into top gear as it pays tribute to 3D movies. An aerial bungee ballet takes place more than 100 feet above the audience. These women in crystal studded costumes dive and soar in unison from the ceiling with thrilling, swirling flight. Many of the show’s props have taken on a life of their own. Resembling the contents of a cabinet of curiosities, they are variations on the themes of sound, optics, light, and smoke. These little devices represent the beginnings of cinema and the mechanical inventions that made its development as an art form possible. Light sources and ingenious machines, as well as panels, ladders, beams and chairs, take on personality traits, transforming them into characters that give life to the artists who operate them. Elfman’s music for “IRIS,” which is primarily orchestral, combines both large and small ensembles throughout the show. Its melodies contain references to many genres of film – at times grandiose and stirring, at times playful and light, sometimes surrealistic, frequently action-packed, and often humorous and surprising. By combining this music with dance, acrobatics, live video, film footage, and interactive projections, the show succeeds in illustrating both the mechanics of cinema and its extraordinary power to deceive the eye. The name of the show “IRIS” is taken directly from both camera diaphragms as well as the colored iris of the human eye. {SOURCE: Santa Monica Mirror} Highlighting Mystère's Upcoming Changes [EXPANDED] {Dec.21.2011} --------------------------------------------------------- As "Mystere" celebrates its 18th anniversary on Christmas Day at Treasure Island, Vegas Deluxe can confirm that the production will go dark for a month starting Jan. 12 for what Cirque du Soleil's creations director, Gilles Ste. Croix, describes as "a needed tune-up" for the company's first Strip spectacular. "Mystere" is still playing to capacity crowds after more than 8,500 performances since Dec. 25, 1993, but Cirque founder Guy Laliberte flew here from Japan a week ago and authorized changes. First, he's replacing the high-bar finale with a trapeze act from his show "Zed" in Tokyo that closes on New Year's Eve. A second "Zed" act arriving here early next year is being added to "Viva Elvis" at Aria, as we reported previously. Cirque also is adding a solo aerial act to "Mystere," and the choreography and staging of the amazing Chinese poles number will be restaged. The first show to debut the additions will be Saturday, Feb. 11. When “Mystere” celebrated its record-breaking 8,000th performance, Vegas Deluxe sat with Cirque chief Daniel Lamarre and asked him about the long-running production. “‘Mystere’ has made entertainment history because no one show of this magnitude has lasted so long. All the other shows that have more than 8,000 representations have duplicates, like ‘The Phantom of the Opera.’ … This is only one show, one cast, one crew and 8,000 performances, and there are still standing ovations every night. “It’s as emotional today as it was when it opened, and the artists are still excited for every performance. There have been several updates over the years -- it’s the only way. We have an artistic team working here, and every day they train, they try to make their show evolve. That’s why after so many years, the show is still relevant. “This is the original. There is a real extraordinary emotional link between the public, Cirque du Soleil and ‘Mystere.’ To them, ‘Mystere’ is the classic that will be around forever. It will continue to keep making history.” “Mystere” is one of seven resident Cirque productions on the Strip. Incidentally after flying here from Japan, Guy also made tweaks to “Michael Jackson: the Immortal World Tour” at Mandalay Bay even though he’d officially signed off on changes when he saw it in Vancouver. ” He always thinks you can make something better every time he sees one of his shows,” I was told. {SOURCE: Las Vegas Sun} ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Corteo, Koozå, OVO, Totem, Varekai & Amaluna} 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 Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna (Cirque 2012): Montreal, QC -- Apr 19, 2012 to Jul 15, 2012 Quebec, QC -- Jul 25, 2012 to Aug 19, 2012 Toronto, ON -- Sep 5, 2012 to Sep 30, 2012 Vancouver, BC -- TBA Corteo: Paris, FR -- Nov 4, 2011 to Jan 8, 2012 Barcelona, ES -- Jan 20, 2012 to Feb 26, 2012 Amsterdam, NL -- Mar 22, 2012 to Jun 3, 2012 Antwerp, BE -- Jun 3, 2012 to TBA Gijón, ES -- Jul 25, 2012 to Aug 26, 2012 Zurich, CH -- Aug 31, 2012 to TBA Berlin, DE -- Nov 28, 2012 to TBA Koozå: Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012 Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012 Phoenix, AZ -- Jun 8, 2012 to TBA Houston, TX -- Jul 26, 2012 to TBA Dallas, TX -- Sep 19, 2012 to TBA Tampa, FL -- Nov 8, 2012 to TBA London, UK -- Jan 2013 to TBA Ovo: Mexico City, MX -- Oct 29, 2011 to Jan 1, 2012 Santa Monica, CA -- Jan 20, 2012 to Mar 25, 2012 Portland, OR -- Apr 5, 2012 to May 13, 2012 Brisbane, AU -- TBA Sydney, AU -- TBA Melbourne, AU -- TBA Totem: London, UK -- Jan 5, 2010 to Feb 16, 2012 San Jose, CA -- Mar 2, 2012 to Mar 25, 2012 San Diego, CA -- Apr 25, 2012 to TBA Boston, MA -- Jun 10, 2012 to TBA Washington, DC -- Aug 15, 2012 to TBA Atlanta, GA -- Oct 25, 2012 to TBA New York, NY -- Nov 19, 2012 to TBA Varekai: Rio De Janeiro, BR -- Dec 8, 2011 to Jan 8, 2012 Belo Horizonte, BR -- Jan 19, 2012 to Feb 12, 2012 Brasilia, BR -- Feb 23, 2012 to Mar 18, 2012 Recife, BR -- Mar 30, 2012 to Apr 8, 2012 Salvador, BR -- May 3, 2012 to May 13, 2012 Curitiba, BR -- Jun 7, 2012 to Jul 1, 2012 Porto Alegre, BR -- Jul 11, 2012 to Aug 5, 2012 Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012 Santiago, CL -- Sep 28, 2012 to Oct 28, 2012 Lima, PE -- Nov 16, 2012 to TBA Bogota, CO -- TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Saltimbanco: Tallin, EE -- Dec 28, 2011 to Jan 1, 2012 Gdansk, PL -- Jan 19, 2012 t0 Jan 22, 2012 Malmö, SE -- Jan 26, 2012 to Jan 29, 2012 Sofia, BG -- Feb 3, 2012 to Feb 5, 2012 Bucharest, RO -- Feb 8, 2012 to Feb 12, 2012 Bratislava, SK -- Feb 15, 2012 to Feb 19, 2012 Graz, AT -- Feb 22, 2012 to Feb 26, 2012 Bordeaux, FR -- Mar 2, 2012 to Mar 4, 2012 Rome, IT -- Mar 15, 2012 to Mar 18, 2012 Manila, PH -- Aug 9, 2012 to TBA Alegría: Lisbon, PT -- Dec 21, 2011 to Jan 8, 2012 Granada, ES -- Jan 11, 2011 to Jan 15, 2012 Bilbao, ES -- Jan 18, 2012 to Jan 22, 2012 Toulouse, FR -- Jan 25, 2012 to Jan 29, 2012 Nantes, FR -- Feb 1, 2012 to Feb 5, 2012 Lyon, FR -- Feb 23, 2012 to Feb 26, 2012 Toulon, FR -- Feb 29, 2012 to Mar 4, 2012 Nice, FR -- Mar 7, 2012 to Mar 11, 2012 Montpellier, FR -- Mar 14, 2012 to Mar 18, 2012 Strasbourg, FR -- Mar 21, 2012 to Mar 25, 2012 Brussels, BE -- Mar 28, 2012 to Apr 1, 2012 Manchester, UK -- Apr 4, 2012 to Apr 7, 2012 Glasgow, UK -- Apr 11, 2012 to Apr 15, 2012 Birmingham, UK -- Apr 18, 2012 to Apr 22, 2012 Dublin, IE -- Apr 25, 2012 to Apr 29, 2012 Budapest, HU -- May 17, 2012 to May 20, 2012 Prague, CZ -- May 23, 2012 to May 27, 2012 Hambgurg, DE -- May 30, 2012 to Jun 3, 2012 Hanover, DE -- Jun 6, 2012 to Jun 10, 2012 Nuremberg, DE -- Jun 13, 2012 to Jun 17, 2012 Vienna, AT -- Jun 20, 2012 to Jun 24, 2012 Tel Aviv, IL -- Aug 8, 2012 to Aug 18, 2012 Lille, FR -- Nov 21, 2012 to Nov 25, 2012 Paris, FR -- Nov 28, 2012 to Dec 2, 2012 Quidam: Oshawa, ON -- Jan 4, 2012 to Jan 8, 2012 Windsor, ON -- Jan 11, 2012 to Jan 15, 2012 Detroit, MI -- Feb 2, 2012 to Feb 5, 2012 Hoffman Estates, IL -- Feb 8, 2012 to Feb 12, 2012 Springfield, IL -- Feb 15, 2012 to Feb 19, 2012 Baton Rouge, LA -- Feb 22, 2012 to Feb 26, 2012 Austin, TX -- Feb 29, 2012 to Mar 4, 2012 Frisco, TX -- Mar 7, 2012 to Mar 11, 2012 San Antonio, TX -- Mar 14, 2012 to Mar 18, 2012 Roanoke, VA -- Mar 28, 2012 to Apr 1, 2012 Knoxville, TN -- Apr 4, 2012 to Apr 8, 2012 Evansville, IN -- Apr 26, 2012 to Apr 29, 2012 Green Bay, WI -- May 1, 2012 to TBA St. Louis, MO -- Jun 20, 2012 to TBA Indianapolis, IN -- Jun 27, 2012 to TBA Winnipeg, MB -- Jul 19, 2012 to Jul 22, 2012 Regina, SK -- Jul 25, 2012 to Jul 29, 2012 Edmonton, AB -- Aug 8, 2012 to Aug 12, 2012 Kamloops, BC -- Aug 15, 2012 to Aug 19, 2012 Kelowna, BC -- Aug 22, 2012 to Aug 26, 2012 Abbotsford, BC -- Aug 29, 2012 to Sep 2, 2012 Victoria, BC -- Sep 5, 2012 to Sep 9, 2012 Honolulu, HI -- Oct 4, 2012 to Oct 14, 2012 Dralion: Quebec, QC -- Jan 3, 2012 to Jan 8, 2012 Kingston, ON -- Jan 11, 2012 to Jan 15, 2012 Loveland, CO -- Feb 2, 2012 to Feb 5, 2012 Broomfield, CO -- Feb 8, 2012 to Feb 12, 2012 El Paso, TX -- Feb 15, 2012 to Feb 19, 2012 Colorado Springs, CO -- Feb 22, 2012 to Feb 26, 2012 Rio Rancho, NM -- Feb 29, 2012 to Mar 4, 2012 Laredo, TX -- Mar 6, 2012 to Mar 7, 2012 Corpus Christi, TX -- Mar 9, 2012 to Mar 11, 2012 Hidalgo, TX -- Mar 14, 2012 to Mar 18, 2012 Highland Heights, KY -- Mar 28, 2012 to Apr 1, 2012 Cleveland, OH -- Apr 4, 2012 to Apr 8, 2012 Hamilton, ON -- Apr 26, 2012 to Apr 29, 2012 Halifax, NS -- May 2, 2012 to May 6, 2012 Saint John, NB -- May 9, 2012 to May 13, 2012 London, ON -- May 16, 2012 to May 20, 2012 Michael Jackson THE IMMORTAL World Tour: Boise, ID -- Jan 3, 2012 Denver, CO -- Jan 6, 7 & 8, 2012 Sacramento, CA -- Jan 10 & 11, 2012 San Jose, CA -- Jan 13, 14 & 15, 2012 Oakland, CA -- Jan 17 & 18, 2012 San Diego, CA -- Jan 21 & 22, 2012 Anaheim, CA -- Jan 24 & 25, 2012 Los Angeles, CA -- Jan 27, 28 & 29, 2012 St. Louis, MO -- Feb 7 & 8, 2012 Houston, TX -- Feb 10, 11, & 12, 2012 New Orleans, LA -- Feb 15 & 16, 2012 Tulsa, OK -- Feb 18 & 19, 2012 Kansas City, MO -- Feb 21 & 22, 2012 Indianapolis, IN -- Feb 24 & 25, 2012 Orlando, FL -- Feb 28 & 29, 2012 Miami, FL -- Mar 2, 3 & 4 2012 Jacksonville, FL -- Mar 7 & 8, 2012 Raleigh, NC -- Mar 10 & 11, 2012 Charlotte, NC -- Mar 13 & 14, 2012 Milwaukee, WI -- Mar 16 & 17, 2012 Montreal, QC -- Mar 20, 21 & 22, 2012 Quebec City, QC -- Mar 24 & 25, 2012 Minneapolis, MN -- Mar 27 & 28, 2012 Newark, NJ -- Mar 30 & Apr 1, 2012 New York City, NY -- Apr 3, 4 & 5, 2012 Long Island, NY -- Apr 7 & 8, 2012 Philadelphia, PA -- Apr 10 & 11, 2012 Pittsburg, PA -- Apr 13, 14 & 15, 2012 State College, PA -- Apr 24 & 25, 2012 Columbia, SC -- Apr 27 & 28, 2012 Hartford, CT -- May 2 & 3, 2012 Baltimore, MD -- May 5 & 6, 2012 Worcester, MA -- May 16 & 17, 2012 Dayton, OH -- Jun 6, 7 & 8, 2012 Columbus, OH -- Jun 9 & Jun 10, 2012 Nashville, TN -- Jun 12 & 13, 2012 Austin, TX -- Jun 15, 2012 San Antonio, TX -- Jun 23, 2012 Atlanta, GA -- Jun 29 & 30, 2012 Montreal, QC -- Jul 6 & Jul 7, 2012 Washington, DC -- Jul 13, 14 & 15 2012 Cleveland, OH -- Jul 17 & 18, 2012 Chicago, IL -- Jul 20 & 21, 2012 Ottawa, ON -- Jul 24 & 25, 2012 Boston, MA -- Aug 3 & 4, 2012 Salt Lake City -- Aug 21, 2012 Europe 2012: ------------ Hanover, DE -- TBA Vienna, AT -- TBA --------------------------------- 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. Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 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) 2012 Dark Dates: o January 14 - February 8 o May 12 - 16 o September 8 - 12 o November 14 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm Ticket Prices: o Orchestra: $150.00 o Loggia: $130.00 o Balcony: $99.00 o Limited View: $93.50 2012 Dark Dates: o February 5 - 8 o April 9 - 15 o June 10 o August 6 - 12 o October 14 & 17 o December 3 - 18 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 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 2012 Dark Dates: o January 17-21 o March 20 o May 15-26 o July 24 o September 18-22 o November 27 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday Dark: Wednesday & Thursday Two Shows Nightly - 7:30pm and 10:00pm 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 2012 Dark Dates: o TBA KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 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 2012 Dark Dates: o TBA LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm Ticket Prices: o Lower Orchestra: $150.00 o Upper Orchestra: $130.00 o Lower Balcony: $99.00 o Middle Balcony: $93.50 2012 Dark Dates: o TBA ZAIA: Location: Venetian, Macao (China) Performs: Every Day, Dark: Wednesday One to Two Shows Daily - Times Vary Ticket Prices (adult) / (child 2-11): o VIP Seating: MOP$ 1288 / MOP$ 1288 o Reserve A: MOP$ 788 / MOP$ 394 o Reserve B: MOP$ 588 / MOP$ 294 o Reserve C: MOP$ 388 / MOP$ 194 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. 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 2012 Dark Dates: o TBA VIVA ELVIS: Location: Aria, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm Ticket Prices o Category 1: $175.00 o Category 2: $150.00 o Category 3: $125.00 o Category 4: $99.00 2012 Dark Dates: o TBA NOTE: VIVA ELVIS to close by end of 2012 -------------------------------------- VENUE - Venue & Seasonal Productions -------------------------------------- Zarkana: Madrid, ES -- Nov 12, 2011 to Dec 31, 2011 Moscow, RU -- Feb 4, 2012 to Apr 8, 2012 New York, NY -- May 9, 2012 to TBA IRIS: Location: Kodak Theatre, Hollywood, CA (USA) Performs: Tuesday through Friday @ 8:00pm Saturday @ 2:00pm and 8:00pm Sunday @ 1:00pm and 6:30pm DARK: Monday 2012 Dark Dates: o TBA Ticket Prices: Weekday Matinees: o Category Premium - $253.00 USD o Category 1 - $123.00 USD o Category 2 - $93.00 USD o Category 3 - $68.00 USD o Category 4 - $43.00 USD Saturday Matinee & All Evening Performances: o Category Premium - $253.00 USD o Category 1 - $133.00 USD o Category 2 - $103.00 USD o Category 3 - $78.00 USD o Category 4 - $43.00 USD ======================================================================= 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 --------------------------------------- Dance Master: Overseeing Flawlessness [EXPANDED] {Dec.13} ----------------------------------------------------- Viva ELVIS at ARIA Resort & Casino in Las Vegas displays thrilling acobatics and transcendental stage sets, which are the perfect complement to Elvis Presley's iconic and dance-able songs. Dancer Extraordinaire Andrea Ziegler, dance master for Viva ELVIS, is responsible for ensuring that every dance routine, in every show, is flawlessly executed. "I oversee all the dancers in the show," Ziegler says. "It is my job to rehearse any new cast members and organize the show every day - because every day is different." While this may seem like an impossible task, Ziegler is no stranger to the challenges of rigorous productions. The seasoned show-business veteran has been dancing since she was 3 years old and majored in dance performance at Ryerson Theatre School in Toronto, Ontario. Her impressive resume includes Cirque du Soleil shows Mystère and Quidam, and along with her experience as a dance captain in Celine Dion's iconic Vegas show A New Day, it's clear that the role of dance master far Viva ELVIS couldn't be a more perfect fit. “The biggest asset I have in my position overseeing the performers at Cirque is that I was a dancer with Cirque” Ziegler says. “I can relate to the dancers and understand the demands placed on them trying to maintain 10 high-quality shows per week, 476 shows a year. Empathy can be everything at times.” The Art of Adaptation Viva ELVIS consists of 16 dance numbers performed by 30 dancers. During the show, audience members will see a carefully orchestrated parade of vibrant costumes and perfectly executed moves, but the real challenge to delivering a seamless production often occurs before the curtain rises. “When you have numbers created for 15 men and 15 women, and suddenly, due to illness you are down to 10 men and 10 women, a lot of reorganizing, learning of each other's park, energy and teamwork need to take place in order to put on a fabulous show,” Ziegler says. Viva ELVIS is in its second year as a resident show on the Las Vegas Strip, and even audience members who have experienced the show multiple times can always discover a new surprise within each performance. From Artist to Artistic Director [EXPANDED] {Dec.14} ----------------------------------------------------- Neelanthi has been Artistic Director for Saltimbanco since 2010. Her professional journey shows her love for the stage, which has grown as her career has progressed. She started a career as a professional dancer touring with Les Ballets Jazz de Montréal - a lifestyle she simply could not get enough of. In 2007, she joined Dralion to play Oceane. As coaching began to play a bigger role in her career, Neelanthi left the stage to become Assistant to the Artistic Director and eventually Artistic Director on Saltimbanco. From Front Stage to Back Stage "My transition from artist to Artistic Director is one of the turning points of my career. It is the fate of every artist: to know when to retire as an artist and how to grow in your craft. I'll always remember my final Dralion performance. My family, friends and troupe were all behind me. It was such a memorable moment! But what came next would not have been as great without Cirque's support, which provided for a smooth transition." Drawing from Experience to Inspire As Artistic Director, Neelanthi is constantly drawing inspiration from her experience as an artist. This makes her a true mediator when it comes to verbalizing the artists’ needs to other teams, so they can achieve spectacular acrobatic performances every time they take the stage. “Because I was a professional dancer and worked on stage for many years, I can easily relate to the artists when they face various problems. They know the situation they are going through is probably something I have experienced. And helping them excel professionally gives me an adrenaline rush that is comparable to what I felt on stage, and it culminates when I see them reach the acrobatic goals they’ve set for themselves.” The Overseer Yes, providing the artists with an environment where they can achieve their full potential is an important part of Neelanthi’s work, but it isn’t the only thing! As Artistic Director, she solves dozens of problems every day, which she enthusiastically refers to as “daily surprises.” All of these challenges add a little excitement to the long days spent at the office, planning and attending acrobatic and artistic training sessions and meeting members of the troupe. This reality is far different from that of an artist: “Artists manage their day-to-day based on their performance—what their body needs, their well-being before a show, training, stress, acrobatic challenges to be faced. The Artistic Director, meanwhile, makes sure that the show meets its objectives. When I was a dancer, I had an individual responsibility; I had to give my best performance. Now, this responsibility is broader. I have to ensure the troupe is happy in order to give the best performance possible.” Creativity has always played a huge part in Neelanthi’s professional life. From dancer to Artistic Director—who knows what her next move will be? --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- ---[ CIRQUE WEEKK SPECIAL ]--- If you couldn't attend Cirque Week in Las Vegas this year, you can still experience it! Click through the links below and view content that has been already been unlocked! Also click "share" within the app, to unlock more of these exclusive video experiences! "O" /// < http://www.facebook.com/Ocirque?sk=app_283038825071438 > BELIEVE /// < http://www.facebook.com/CrissAngelBelieve? sk=app_283038825071438 > KA /// < http://www.facebook.com/KA?sk=app_283038825071438 > MYSTERE /// < http://www.facebook.com/Mystere? sk=app_283038825071438 > LOVE /// < http://www.facebook.com/TheBeatlesLOVE? sk=app_283038825071438 > ZUMANITY /// < http://www.facebook.com/Zumanity?sk=app_283038825071438 > ---[ ALEGRIA ]--- {Dec.11} Soon in Lisbon for 3 weeks (Dec 21-Jan 08)! Watch this interview with Diogo Oliveira Faria (Portugal, Lisbon) / artist and character in the show. LINK /// < http://tv1.rtp.pt/noticias/?t=Cirque-du-Solei-traz- Alegria-a-Lisboa-de-21-dezembro-a-3-janeiro. rtp&headline=20&visual=9&article=508251&tm=4 > {Dec.25} Feliz Natal from backstage in Lisbon, Portugal! Musicians & Singers: Malika Alaoui, Mariana Sobol, Fritz Kraai, Raphael Lavoie, Jeremy Johnston, David Chala, and Christian Poezach. LINK / < http://www.facebook.com/photo.php?v=10150441101948372 > ---[ CORTEO ]--- {Dec.04} Critique de Corteo dans Le Figaro... LINK /// < http://www.lefigaro.fr/lefigaromagazine/ 2011/11/26/01006-20111126ARTFIG00594-corteo-le-cirque- autrement.php > {Dec.11} Barcelona friends, Corteo will be there soon. In the mean time, don't miss our little hello as part of next week's Marato! LINK /// < http://www.tv3.cat/marato/ > {Dec.14} Corteo & Daniele Finzi Pasca on today's ABC LINK /// < http://www.abc.es/agencias/noticia.asp? noticia=1034150 > {Dec.17} Corteo dans LE MONDE LINK /// < http://www.lemonde.fr/culture/article/2011/12/15/ cirque-songe-d-un-vieux-clown-veille-par-un- ange_1619278_3246.html > {Dec.18} Daniele Finzi Pasca, Corteo's director in La Vanguardia! LINK /// < http://www.lavanguardia.com/lacontra/ 20111217/54241177840/daniele-finzi-lo-realmente- necesario-es-abrazar-y-ser-abrazado.html > {Dec.24} Corteo sur TF 1 Reportages...Joyeuses Fêtes à tous! LINK /// < http://videos.tf1.fr/reportages/dans-les-coulisses- du-cirque-du-soleil-6876585.html > {Dec.30} Daniele Finzi Pasca en TV 3 LINK /// < http://www.facebook.com/photo.php?v=242503229156610 > ---[ KA ]--- {Dec.13} Check out the KÀ comic book video below! LINK /// < http://www.youtube.com/watch?v=5yX0ja3AYCs &list=UU6A7YzOHnW_uPl3QCkgnlIQ&feature=plcp > {Dec.16} Look who's in Times Square NYC at the WIRED Store! LINK /// < http://www.facebook.com/photo.php? fbid=10150552260791929&set=a.176667951928. 146847.31527171928&type=1&ref=nf > {Dec.22} Hi KÀ friends! Just like Santa's elves we have a ton of people most of you never see who make KÀ happen 10 times each week. Here's a look above and below the scenes at what they do, and be sure to check out the fantastic picture gallery! LINK /// < http://www.lasvegassun.com/news/2011/dec/14/ elaborate-strip-shows-usher-demand-specialized-sup/ > ---[ KOOZA ]--- {Dec.20} Follow us on twitter: @REAL_KOOZA ! {Dec.25} Uuuu- Merry Christmas! From KOOZA!! LINK /// < http://www.facebook.com/photo.php? fbid=10150423661021339&set =a.71836936338.88957.34324811338&type=1&ref=nf > ---[ LA NOUBA ]--- {Dec.08} Five new pictures to Out and About! LINK /// < http://www.facebook.com/media/set/? set=a.430520644901.209463.16315569901&type=1 > {Dec.13} Almost no one can see them, but they see everything. They have but one idea in their heads: to mind everyone's business but their own - to disobey, to muddle lines, stories and destinies - and to have FUN! Who does this describe? A: LES CONS ---[ MJ THE IMMORTAL ]--- {Dec.06} Pictures of the Premiere in Las Vegas LINK /// < http://www.facebook.com/media/set/? set=a.312293012128901.77206.163439450347592&type=1 > {Dec.09} Have a first look at tour memorabilia including costumes, set pieces and more at Michael Jackson Fan Fest! LINK /// < http://www.youtube.com/watch?v=-AOaWQPjvqE > {Dec.12} Here's another sneak peek of Michael Jackson Fan Fest! There are only 2 days left and you can join us on Tuesday 12/13 for an exclusive Q&A with Musical Director Greg Phillinganes at 2pm PST. LINK /// < http://youtu.be/bm0l_t2z--4 > {Dec.14} Fan unlocked exclusive red carpet footage of the Las Vegas premiere of Michael Jackson THE IMMORTAL World Tour by Cirque du Soleil! Here it is below: LINK /// < http://www.youtube.com/watch? v=4fp2Zuhlt1I&feature=g-upl > {Dec.22} If you've missed it, here is our performance with The X Factor (USA)'s Top 3 finalists singing Michael Jackson's "They Don't Care About Us"! LINK /// < http://cirk.me/sB7zay > ---[ OVO ]--- {Dec.07} Learn about the costume inspiration (interview with OVO Costume Designer Liz Vandal - via the Santa Monica Daily Press. LINK /// < http://www.smtp.com/Articles-local-news-c-2011-12-06- 73081.113116-Cirques-costume-designer-reimagines-the-wild- bug-world.html > {Dec.09} Costume Designer Liz Vandal Shares Secrets of 'OVO' LINK /// < http://losangeles.cbslocal.com/2011/12/06/costume- designer-liz-vandal-shares-secrets-of-cirque-du-soleils- > ---[ MYSTERE ]--- {Dec.29} While you're all enjoying some post-Christmas sales, remember that sometimes a mall can be more than just a place to buy stuff and go to the movies. Sometimes a trip to the mall turns into you watching a surprise performance from Mystère! What Mystère acts would you like to see while you enjoy snacking on someone's aunt's pretzels? LINK /// < http://www.facebook.com/photo.php?v=2991210425719 > ---[ QUIDAM ]--- {Dec.02} Quidam in the Fayetteville media... < http://fayobserver.com/articles/2011/11/24/1139141 > < http://www.weekendernow.com/Articles/2011/12/01/1139084 > < http://upandcomingweekly.com/content/view/1643/1/ > < http://fayobserver.com/articles/2011/12/01/1140702 > < http://photos.fayobserver.com/mycapture/folder.asp? event=1371187&CategoryID=1035&ListSubAlbums=0 > {Dec.07} 13News at Noon: A local musical performance from Cirque LINK /// < http://www.wvec.com/community/13News-at-Noon-- 135157448.html > {Dec.08} Quidam in the Hampton, VA media < http://hamptonroads.com/2011/12/maestro-quidam-magic > < http://www.dailypress.com/entertainment/dp-fea-cirque-hampton- 1204-20111203,0,7173237.story > < http://www.wvec.com/community/13News-at-Noon--135157448.html > < http://www.wtkr.com/videobeta/?watchId=ba1b2e77-4da0-45d4- a6bd-20f2073715f1 > < http://www.dailypress.com/entertainment/newsletter/dp- pictures-behind-scene-quidam-show- 20111207,0,6615440.photogallery > < http://hamptonroads.com/2011/12/cirque-du-soleils-quidam- beautiful-experience > {Dec.14} Quidam cake by Sweet Bakery in Worcester mmmmm! LINK /// < http://www.facebook.com/photo.php? fbid=10150420317597046&set=a.172887642045.134560. 35752277045&type=1&ref=nf > {Dec.16} Quidam in the Worcester media... < http://www.telegram.com/article/20111209/NEWS/112099719/- 1/raw_story_links > < http://www.bostoneventguide.com/hubcrawl/?p=3474 > < http://www.worcestermag.com/speak-out/two-minutes/Two-Minutes- WithJean-Philippe-Viens-135588293.html > < http://www.eagletribune.com/lifestyle/x161777813/ A-Show-for-Everyman > < http://bostoneventsinsider.com/bostonevents/2011/12-12/ cirque-du-soleil-quidam-tix-giveaway.htm > < http://www.worcestermag.com/multimedia/photo-gallery/ Photo-Gallery-135649908.html > < http://www.pcphotographics.com/2011/12/15/cirque-du-soleil- quidam-dcu-center-worcester-ma-121411/?utm_source= rss&utm_medium=rss&utm_campaign=cirque-du-soleil-quidam-dcu- center-worcester-ma-121411 > {Dec.28} Quidam reviews in Toronto media < http://www.toronto.com/article/708128> < http://www.theglobeandmail.com/news/arts/theatre/cirque-du- soleils-quidam-is-mesmerizing/article2279887/ > < http://www.fabmagazine.com/fab-blog/next-gay-review-quidam > < http://www.torontohispano.com/blogs/andrea- sagues/quidam/cirque-du-soleil.shtml > ---[ SALTIMBANCO ]--- {Dec.16} Saltimbanco Premiere in Vilnius on December 15, 2011!! Fantastic perfomance and reactions from the Lithuanian audience!! LINK /// < http://www.15min.lt/gallery/show/Pasakiskas-cirko- Cirque-du-Soleil-spektaklis-Saltimbanco-21751 > {Dec.18} The Dreamer in studio at M-1 Radio Station in Vilnius, Lithuania!! LINK / < http://www.m-1.fm/naujienos/index.php?naujiena=139164 > {Dec.27} Saltimbanco in Tallinn,Estonia!! Opening Night tomorrow, Wed Dec 28th at Saku Suurhall!! LINK /// < http://www.baltictimes.com/news/articles/30127/ > {Dec.29} Great story!! Reporter trying Chinese Poles act with two performers from Saltimbanco!! Backstage of Saku Suurhall Arena in Tallinn, Estonia! LINK /// < http://www.reporter.ee/2011/12/28/reporter-proovis- tsirkusetrikke/ > {Dec.30} Congratulations Saltimbanco, 1 million spectators in 2011!!! LINK /// < http://www.facebook.com/photo.php? fbid=10150562469402959&set=a.121288542958. 129859.41245692958&type=1&ref=nf > ---[ THE BEATLES LOVE ]--- {Dec.07} Dancers from LOVE collaborated with bboy crew Battle Born to create this masterpiece called "The Matrix". Check it out! LINK /// < http://www.youtube.com/watch?v=z8_6nbnoa5c &feature=youtu.be&fb_source=message&noredirect=1 > {Dec.28} The holidays are winding down and we invite you to download The Beatles LOVE app for your new savvy phones! iPhone: http://cirk.me/tgzPuo Android: http://cirk.me/ttiP8b ---[ ZAIA ]--- {Dec.31} ZAIA wishes you all Happy New Year! LINK /// < http://www.facebook.com/photo.php? fbid=10150560917588064&set=a.10150543768853064. 434512.40707978063&type=1&ref=nf > ---[ ZED ]--- Our dearest fans, Thank you a million times for the amazing 3 years. We love you and you all will be in our hearts forever. Until the day we meet again, stay well and we hope you all have a wonderful new year!!! < http://a2.sphotos.ak.fbcdn.net/hphotos-ak- snc7/s720x720/390228_10150655446476164_ 41326571163_12023286_242537158_n.jpg > ====================================================================== COMPARTMENTS -- A PEEK BEHIND THE CURTAIN ======================================================================= o) DIDYAKNOW - Facts at a Glance about Cirque o) HISTORIA - Cirque du Soleil History --------------------------------- DIDYAKNOW? - Facts About Cirque --------------------------------- o) The Got a Lotta Lovin Set in VIVA ELVIS weighs 60,000 lbs and is stored ABOVE the stage! It takes 9 winches with 1/2" cables to fly the set. The rigging system is 10x stronger than it needs to be to be sure it's safe. o) In the Aerial Ballet number of IRIS by Cirque du Soleil, costumes of the bungee-jumping "diamond women" are studded with nearly one million Swarovski crystals. In the air, the artists themselves are not as visible as the brilliance of the stones, which give their bodies a smooth and bright look. o) In contrast to the 10 other Cirque du Soleil resident productions, CirqueIRIS is unique in that it is designed like a touring show, allowing it to fold up and vacate Kodak Theatre to make way for the Academy Awards every year. o) Among the performers in IRIS by Cirque du Soleil are two dancing cameramen. To go along with the show's theme, they shoot real-time images that are projected within the production. ------------------------------------ HISTORIA: Cirque du Soleil History ------------------------------------ * Jan.02.2009 -- Koozå opened Atlanta, GA * Jan.03.2008 -- Saltimbanco Arena opened Quebec, QC * Jan.04.2007 -- Quidam opened Dubai, UAE * Jan.04.2009 -- Quidam opened London * Jan.04.2011 -- Corteo opens Brussels * Jan.04.2011 -- Quidam Arena opened Quebec, QC * Jan.05.1996 -- Saltimbanco opened London * Jan.05.1999 -- Alegría opened London * Jan.05.2006 -- Alegría opened London * Jan.05.2007 -- Alegría opened London * Jan.05.2007 -- Varekai opened Auckland, New Zealand (Asia-Pacific Tour Begins) * Jan.05.2007 -- REVOLUTION Lounge opens (based on Beatles/LOVE) * Jan.05.2010 -- Alegria Arena opened Quebec City, QC * Jan.05.2011 -- TOTEM opened London, UK * Jan.05.2011 -- Saltimbanco Arenao opened Lille, FR * Jan.05.2011 -- Alegria Arena opened Baton Rouge, LA * Jan.05.2011 -- Dralion Arena opened Boston, MA * Jan.06.2003 -- Premiere of Fire Within on BRAVO * Jan.06.2005 -- Saltimbanco opened Manchester * Jan.06.2005 -- Varekai opened Houston * Jan.06.2005 -- Dralion opened London * Jan.06.2008 -- Varekai opened London, UK * Jan.06.2010 -- Varekai opened London, UK * Jan.07.1998 -- Alegría opened London * Jan.07.1999 -- Saltimbanco Asia-Pacific Tour Began (Sydney) * Jan.07.2003 -- Saltimbanco Euro Tour II began London * Jan.07.2003 -- Varekai CD Released in US (BMG/CDS Musique) * Jan.08.2009 -- Saltimbanco Arena opened Tupelo, MS * Jan.08.2010 -- Koozå opened Irvine, CA * Jan.08.2010 -- Quidam opened Rio de Janiero, BR * Jan.09.2004 -- Dralion opened London * Jan.09.2004 -- Alegría opened Miami * Jan.10.1999 -- Alegría: Le Film showcased in Palm Springs * Jan.10.2001 -- Alegría opened Auckland, Australia * Jan.12.2011 -- Alegria Arena opened Colorado Springs, CO * Jan.12.2011 -- Quidam Arena opened Chicoutimi, QC * Jan.12.2011 -- Dralion Arena opened Grand Rapids, MI * Jan.13.2006 -- Saltimbanco opened Mexico City * Jan.13.2010 -- Alegria Arena opened Chicoutimi, QC * Jan.13.2010 -- Saltimbanco Arena opened Salzburg, AT * Jan.13.2011 -- Saltimbanco Arena opened Paris, FR * Jan.14.1997 -- Quidam CD Released in US (RCA/Victor) * Jan.14.2009 -- Alegría opened Taipei, Taiwan * Jan.14.2009 -- Saltimbanco Arena opened Biloxi, MS * Jan.16.2003 -- Varekai opened San Jose * Jan.16.2004 -- Saltimbanco opened Seville * Jan.16.2004 -- Varekai opened Costa Mesa * Jan.16.2008 - Saltimbanco Arena opened Chicoutimi, QC * Jan.17.1999 -- Banquine Act awarded in the 23rd Festival du Cirque de Monte-Carlo. * Jan.17.2002 -- Dralion opened Houston, Texas * Jan.17.2008 -- Quidam opened Monterrey, Mexico * Jan.17.2010 -- Dralion's Final Curtain Call [Mexico City] * Jan.19.2006 -- Quidam opened San Diego * Jan.19.2006 -- Dralion opened Seville * Jan.19.2006 -- Corteo opened San Jose * Jan.19.2011 -- Alegria Arena opened Broomfield, CO * Jan.19.2011 -- Dralion Arena opened St. Louis, MO * Jan.20.2000 -- Quidam opened Barcelona * Jan.20.2006 -- Varekai opened Miami * Jan.20.2008 -- Corteo celebrated 1,000th performance [San Diego, CA] * Jan.20.2010 -- Saltimbanco Arena opened Stratsbourg, FR * Jan.20.2011 -- TOTEM opened Taipei, Taiwan * Jan.21.2009 -- Saltimbanco Arena opened Hoffman Estates, IL * Jan.23.2003 -- Alegría opened Dallas * Jan.23.2008 -- Saltimbanco Arena opened Detroit, MI * Jan.24.1995 -- Alegría opened Costa Mesa * Jan.24.2007 -- Delirium opened Detroit, MI * Jan.25.2000 -- Saltimbanco opened Hong Kong * Jan.25.2008 -- Dralion opened Tokyo * Jan.26.1991 -- Nouvelle Expérience opened San Diego * Jan.26.2011 -- Alegria Arena opened Loveland, CO * Jan.26.2011 -- Dralion Arena opened Chicago, IL * Jan.27.2004 -- Order of Canada bestowed upon Guy Laliberté * Jan.27.2010 -- Saltimbanco Arena opened Frankfurt, DE * Jan.28.1999 -- La Nouba Premiere Gala (Previews End) * Jan.28.2011 -- OVO opened Dallas, TX * Jan.29.1997 -- Quidam opened Orange County * Jan.29.2008 -- Saltimbanco Arena opened Cleveland, OH * Jan.29.2009 -- Dralion opened Perth, Australia * Jan.30.1993 -- Saltimbanco opened Costa Mesa * Jan.31.2007 -- Delirium opened Grand Rapids, MI * Jan.31.2008 -- Koozå opened San Jose, CA * Jan.31.2009 -- Dralion celebrated 3,500th performance [4:00pm, Perth] ======================================================================= FASCINATION! FEATURES ======================================================================= o) "A Journey Into the World of Cinema: My Thoughts on IRIS" By: Ricky Russo - Atlanta, Georgia (USA) o) "CirqueWeek 2011: A Review (Part 1 of 2)" By: Ricky Russo with Barb Lewis o) "The Cirque du Soleil Gift Card - Ready for Prime Time?" By: Keith Johnson - Seattle, Washington (USA) ---------------------------------------------------------- "A Journey Into the World of Cinema: My Thoughts on IRIS" By: Richard Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- Two thousand and eleven has been a tough year for Cirque du Soleil and its productions world-wide, and an even harder one for a fan such as myself. with the announcements that ZED would close at the end of 2011 and VIVA ELVIS at the end of 2012 (at the urgency of MGM Resorts International), and rocky starts to their newest productions (ZARKANA in New York City, which I had previously reviewed... negatively; and MICHAEL JACKSON THE IMMORTAL WORLD TOUR, which I had planned to dissect but... I can't. I just found it too horrible), that only left IRIS, Cirque du Soleil's swaré in Hollywood to help save the year. On Friday, December 2, 2011, I along with scores of other Cirque du Soleil Passionates descended upon the Kodak Theatre in Hollywood, California for CirqueCon 2011, where many of us would see IRIS - Cirque du Soleil's newest resident/venue production - for the very first time. Whilst there we'd also be treated to watching the solo trapeze artist (Uuve Jansson) rehearse with her coach (Sasha Pikhienko) assisting her, as well as a fantastic Q&A session with a panel of seven behind-the-scenes personnel. But they were not just any seven people; they were the heads of their respective offices! o) Denise Biggi, Artistic Director o) Claudette Waddle, General Stage Manager o) Kevin Kiely, Technical Director o) Robert Foster, Head of Automation o) Mark Jenkins, Head of Carpentry o) Chris Latsch, Head of Electrics o) Jared Peter, Head of Properties I have to say it was one of the best Q&A sessions we've had at CirqueCon, with a number of fantastic stories about how they came into the business, how each came to Cirque du Soleil, and some of the roadblocks they faced, and hurdles they had to overcome to load in the show (not to mention some of the tension they felt at having to unload the show for the upcoming Academy Awards). About an hour or so later we all stepped on-stage for a group photo (which you can see here, thanks to Passionate Tim Steele - http://www.facebook.com/photo.php? fbid=10151143461400014&set=a.275206435013.325149.272446895013&type=1&t heater) and then gathered at The Grill on Hollywood to eat, drink, and talk of our shared passion for Cirque du Soleil. And then, by 8:00pm, we re-assembled at the Kodak Theater to take in Cirque du Soleil's IRIS. THE CONCEPT Cirque du Soleil's IRIS draws much of its inspiration from Hollywood in all its past and present glory. The initial spark of the concept, though, was ignited during Cirque du Soleil's performance at the 74th Academy Awards - held in the Kodak Theater on March 24, 2002 - nearly 10 years ago. That night, for five minutes, Cirque du Soleil was the focus of the awards ceremony. It took the company four months to create the special show seen that night, which featured eleven acts from some of their most popular productions at the time: Dralion, La Nouba, Quidam, Mystère, "O" and Alegría, all set to the electro-urban sound of the La Nouba soundtrack. It was so well received that it set the creative wheels at Cirque in motion. The result: a poetic phantasmagoria inspired by the world of cinema. The name of the show, IRIS, taken directly from a camera diaphragm as well as the colored iris of the human eye, presents an imaginary journey through the evolution of cinema - from the foundations of the art form to the bustle of the soundstage - through optical effects and film genres. IRIS transposes into a language of dance and acrobatics all of cinemas splendor, inventiveness and, above all, its sense of wonder. IRIS also conjures up a place between motion and picture, light and sound, which shifts constantly between reality and make- believe, to explore the limitless possibilities of cinema. By combining dance, acrobatics, live video, film footage and interactive projections, the show illustrates both the mechanics of cinema and its extraordinary power to deceive the eye through a number of "scenes" using acrobatics as their core, such as: Aerial Straps Duo, Contortion, Hand-to-Hand, Filmstrip, Icarian Games, Movie Set, Trapeze & Brooms, Trampoline, Hand Balancing and a Cirque du Soleil favorite: Bungees. MY THOUGHTS Theme /// The theatrical tapestry behind Cirque du Soleil's IRIS is the plight of two young heroes - Buster and Scarlett - who find themselves plunged into the joyful chaos of a film set; their escapades transporting the spectator into a kaleidoscope of movement, moods and images supported by Danny Elfman's magnificent orchestral score. Buster himself is a melancholy composer in search of true love and somewhere between reality and make-believe; he spots the girl of his dreams; Scarlet, a naïve actress who longs to become a movie star. But will Buster and Scarlett find each other in the real world? Only on the journey of IRIS can one find out (and **SPOILER**, yes they do.) A number of acts in the show help support this cliché (but pure celluloid) plotline, and though not as esoterical as ZED, Mystère, "O" or Quidam, IRIS was quite fun and way more enjoyable than more recent fare, Zarkana and MJ Immortal for example. Score /// The score, crafted by venerable motion picture composer Danny Elfman ("Beetlejuice", 1989's "Batman", "Dick Tracy", "Edward Scissorhands", "The Nightmare Before Christmas" and much, much more), is a wonder to hear mixed live. The choice of the orchestral approach reflects the fact that over 95 percent of film music since the 1930s has been scored for full orchestras, and this imparts to the show a sonic connection between circus and film via strings, brass, harps, flutes, clarinets, bassoons and so on, as opposed to the sounds of a jazz or rock ensemble. Cirque utilizes a blend of 100 orchestral musicians to create the pre-recorded portions of the soundtrack (the largest in Cirque du Soleil's history) spread over both large and small ensembles. This is then mixed with the show's eight live in- house musicians to create a wonderful aura of sound. But strangely enough there are no singers! (And you don't really miss them). Lighting /// The lighting of more recent shows has been an issue for me, explained away by the switch from normal gels to LED-style lighting equipment. One of the gripes I've had with this change (although I support the "greener" LED lighting, no pun intended) is that LEDs, whether white or colored, are too discrete. At times they're not bright enough while at other times too bright and the light projected feels cold, unforgiving and uninviting. In fact, lighting was one of the interesting contrasts in 2008's ZED: although I loved the show dearly, the lighting left me with some difficulty "warming up" to some of the show's more emotional moments. In 2009's OVO and 2010's TOTEM, this form of lighting became more of an issue to me. And as for 2011's ZARKANA, well, that's a horse of a different color. IRIS, thankfully, has solved (or at least masked) many of the lighting issues I've seen lately by creating a much warmer ensemble. And thankfully so. Projections /// Much ado has been made about IRIS' projections and the technology behind them. Early in the show, real-time projections of acrobats' performances capture their movements as trails of still images - in very much the same way that frames of film create the persistence of vision effect that we see as motion pictures. The intended result is a living decomposition of movement that takes on a luminous life of its own as an ever-changing abstract kaleidoscope above the action, but the observed result is a needless distraction from the main event itself - the performers! This type of projection is used during the Contortion and Hand-to-Hand acts to much dismay, ruining (IMO) what should be the focus, the movement of the performers' bodies, not the photonic outlines behind them that trace and then follow as they move about. Costumes /// In a brilliant tribute to cinema, the costumes in IRIS are the result of a visual exploration of a broad range of themes connected with the invention of cinema: the taking of pictures and the recording and transmitting of sound and light. The costumes Philippe Guillotel designed let IRIS follow the major stages in the evolution of color in film, from black and white and sepia, through Technicolor and colorization to the deliberately saturated colors of films like Dick Tracy. The symbiosis between the costumes and the technical inventions of cinema is particularly striking in the half-human/half machine 'hybrid' characters. One of these wears a skirt reminiscent of the praxinoscope, one of the first animation devices. Based on the stroboscopic effect, this costume illustrates the decomposition of movement. The circular structure of the skirt reveals - through slots as it rotates - two boxers in action. This is just one of the show's innovative, but hardly seen, characters. Others include: "camera men", whose costumes include a camera mounted on their head or chest; a "sound man", who wears a large carbon fiber cone; a "Screen Man", whose costume conceals a 135 sq ft. screen that comes out of his stomach, and a character whose costume is inspired by the first sound equipment used to detect the sound of bombs in war. The influence of Dick Tracy is front and center in a number that pays tribute to gangster movies. The artists who leap up and down the buildings from trampolines in the stage floor are wearing bright red, yellow and blue tartan suits. In the Aerial Ballet number the costumes of the bungee- jumping "diamond women" are studded with nearly one million Swarovski crystals. In the air, the artists themselves are not as visible as the brilliance of the stones, which give their bodies a smooth and bright look. The costumes worn by the Icarian Games "Kiriki" characters are an evocation of costumes in the films of Georges Méliès (and they are one of the costume ensembles that do not work, in my opinion; they looked like little bug characters from OVO!). The hybrid Furniture Characters are artists whose costumes make them look exactly like pieces of living room furniture: two chairs, a lamp, a table and a moose head on the wall. At one point, as part of a movie, they all come to life and unfold in a matter of seconds. Acts /// The acrobatic performances are, of course, the most important aspect for this observer. I want to see the evolution of skill and presentation that I've come to know and love about Cirque du Soleil, as well as be wowed by how the entire package comes together. Each of the acrobatic numbers presented in IRIS are on-par with what you'd find in other Cirque du Soleil shows, whether they be on tour in the Grand Chapiteau or Arena format or taking up residence in a specially designed theater. But, as with Zarkana, I felt there was no real advance in acrobatic skill here. Only what appeared to be a focus on the show's projection technology. The show's acrobatic pieces open on the Atherton Twins' Aerial Straps Duo number, beautifully performed with precision and grace; they yield to the Contortion artists who do much better here than they did in Banana Shpeel (they're rescues from that ill-fated show - although I rather preferred their costuming and lighting there). The show began to break down artistically during the Hand-to-Hand number - two porters launch their partners into the air to perform stunning feats requiring absolute mastery and control while kaleidoscopic projections above the acrobats (generated live by their every move) decompose motion to add a poetic dimension to their number. But it didn't. The projections were tacky and when a black-clothed artist coming on stage during one trick to spot it destroyed any illusion the artists attempted to create. This disconcerting feeling continued through to the next act, Filmstrip - a choreography that calls for high-speed precision, performers advancing from one frame of film to the next to create the illusion of continuous movement. And though the performers create the illusion well, the visual went on a tad too long in my opinion and broke down into a cacophony of chaos when it should have just stopped. Thankfully the Icarian Games performers appeared next and brought things together acrobatically - though I am not a fan of the bug-like costumes they are forced to wear. The second half of the show continued the cacophony of chaos I mentioned earlier through an interesting number simply called "The Movie Set". "Controlled chaos reigns over a succession of highly visual numbers and audacious plunges as a bold allusion to various aspects of filmmaking," the official description goes. The choreography brings the circus disciplines of teeterboard, Spanish web, Russian bars, aerial silk and floor gymnastics (which I was happy to see, even if their inclusion was fleeting at best - the disciplines would no sooner appear then disappear again!) and original choreography. Although executing a number as chaotic as this deserves some praise, the action was all over the place, which made it hard to not only focus on the images at hand but appreciate the skills involved. Trapeze & Brooms, thankfully, slowed things down (and it did not disappoint). Here an artist on stage (Buster, or a performer who is supposed to "be" Buster) manipulates his broom (quite a slick maneuver actually) while above him, a trapeze artist - the embodiment of his dream - performs. Then a really creative segue segment, simply titled "Noir", evokes the black and white film era through the exploration of a building's tenants through their open windows. Using an inventive coordination of screens and staging, bits of action poping into color for only a moment before the light/camera moved on to another window, it was truly a highlight. But then chaos reigned again in "The Rooftop" where, in a tribute to gangster movies and to the work of stunt actors, trampolinists deliver a number packed with thrills on the roofs of buildings, multiplying their astounding leaps, flips and glides in a non-stop action movie atmosphere. Cool maneuvers and nice trampoline moves, but the constant movement was a wee bit distracting (and it went on a little too long). Hand Balancing and Bungees round out the show. Although it was nice to see Olga Pikhienko perform on the hand balancing canes again (having previously seen her perform in Quidam and Varekai), there was little change in her performance (and her role here, to share a kiss with the hero, is also seemingly copied from Varekai); and the Bungee performers do take flight... so long as you're in the right seat (otherwise viewing might be limited!) CONCLUSIONS Despite all the nit-picking I have with the presentation of the show I had a great time as an audience member. Cirque du Soleil's IRIS is standing on much firmer ground artistically than Zarkana. Everything feels just about right. With some tightening of those longer-running segments, fleshing out the emotion in the story of two star-crossed lovers, and losing some of the gimmicky projection work, IRIS will be a Cirque du Soleil powerhouse. It should prove interesting to see this show again in the future after its fixation period has ended and the performers have had some time to mature into their roles. All the elements are there. Lights! Camera! Cirque! P.S. CirqueCon didn't end following the performance - there was one little surprise left to spring upon our members: a post-show meet and greet with the Atherton twins, who graciously took time to not only answer some of our pressing questions about their work, but also pose for a few photos. Thanks guys! ---------------------------------------------------------- "CirqueWeek 2011: A Review (Part 1 of 2)" By: Ricky Russo with Barb Lewis ---------------------------------------------------------- Whether you're a casual fan, an enthusiast, a Cirque devotee, a super fan or an aficionado, Cirque du Soleil has created the perfect event to satiate your appetites for all things Cirque. It's called CirqueWeek and it's a gathering of Cirque du Soleil fans (a convention if you will, similar to CirqueCon but organized not by fans but by Cirque du Soleil itself) that offers unique show and event packages with exclusive behind-the-scenes experiences. First announced in 2010 as a collaboration between Cirque and the Las Vegas Convention and Visitors Authority (as a means to bring more guests to Las Vegas during what is arguably its slowest season for visitors - winter), the inaugural event proved quite popular. Many wondered if CirqueWeek is just a one-time happening or if a second would be bestowed. By summer 2011 the answer arrived: From December 1st through 10th (ten days this time, rather than five), the second annual CirqueWeek would commence with behind-the-scenes Q&As & unplugged performances, meet & greet photo opportunities with characters, technology demonstrations, special fan receptions, exclusive performance and dress rehearsal opportunities, plus, for this year only, the opportunity to be one of the first to attend Michael Jackson THE IMMORTAL World Tour and first ever Michael Jackson Fan Fest! I was in town for some of the activities surrounding CirqueWeek, as were many fans of Cirque du Soleil. With the help of fellow fan and Passionate Barb Lewis (who was also there at most of the event), we attempt to bring CirqueWeek 2011 to you... /// WHAT WE MISSED The REVOLUTION Lounge at The Mirage became Ground Zero for CirqueWeek activity, from 11:00am through 3:00pm each day. Here Cirque enthusiasts could mingle with other like-minded fans, pick up their event credentials (a lanyard and specially designed Cirque Week 2011 badge, which would identify you as a member and grants access to the special events), get their gift bags (which included an exclusive full-color program book that highlighted the week's schedule, a light- flashing luggage tag, an event logo button, a Cirque Week branded plastic drinking glass with squirrely sipping straw, and a Cirque Week T-Shirt). Although alcoholic beverages were not on sale during this time (nor was the club in its iconic lighting), if you'd never been inside the REVOLUTION lounge before, this was a cool opportunity! Since neither Barb Lewis nor I were in town for the first two days of the event we missed three of the conventions exclusive events... From 2:00pm until 3:00pm on Thursday, December 1st, we missed a workshop given by select "O" characters at the "O" Theater at Bellagio, who saw if fans had what it took to be an "O" artist. Fans learned how to mime, dance and clown their way across the "O" stage, and then after the workshop, were treated to a question and answer (Q&A) session with a number of artists and coaches from the show. Then on Friday, December 2nd, we missed out on two activities. The first, a Custom Theater Technology Demonstration and Q&A at LOVE, one of the most technically advanced Cirque du Soleil theaters in Las Vegas. Featuring a state-of-the-art sound demonstration through over 6,300 custom-made speakers, The Beatles LOVE theater is a marvel. In addition, the technical presentation showcased the 11 lifts that make up the stage, 24 digital projectors, 204 moving lights and much more. A Q&A opportunity followed featuring experts in the areas of Sound, Automation, Lighting and Projections, learning all about the technical aspects of LOVE. The second activity of the day was a welcome reception for all CirqueWeek attendees held at the REVOLUTION Lounge at the Mirage (from 5:00pm until 6:00pm). It was a Magical Mystery Tour we just couldn't make in time... (We were still at CirqueCon.) /// DECEMBER 3RD - INSIDE CIRQUE An Exclusive Peek at the Business Side of the Show Zumanity Theatre at NY-NY | 12:30pm - 2:30pm Ever wondered where Cirque du Soleil recruits the performers and the skilled technicians who make the magic happen night after night? Ever curious about how they juggle 22 distinct shows playing simultaneously on five continents? Want the scoop on what's next for the company? Find the answers to these questions, and many more at Inside Cirque: An Exclusive Peek at the Business Side of the Show. It's your unique opportunity to hear firsthand from company President and CEO Daniel Lamarre, joined by a panel of key executives from numerous departments from Casting to Marketing, details of the myriad components that are vital to the success of Cirque du Soleil. Don't miss out on this in-depth look at the company from a panel of experts brought together exclusively for Cirque Week. When you sit down for a round-table discussion with customers (a.k.a. fans) of your business, you never know where the discussion might lead. For Cirque Aficionados (or Passionates as some of us like to call ourselves) we like to drive conversations like these beyond the norms. But that doesn't mean you can't teach us a thing or two, and some of the questions asked of Cirque du Soleil management were quite interesting: Q. Where is Cirque du Soleil's IT Department? A. Right there in Las Vegas. Cirque du Soleil employs 1210 technical personnel globally, but the headquarters for this initiative is in Las Vegas. Recently, managers have been busy interviewing the Japanese crew following the (then upcoming) closure of ZED to identify their interests and introducing them to potential opportunities in other shows. But be advised: if you're interested in joining the Cirque Tech Team, you need to have training on the newest everything! And speaking of ZED's closure, "Quiche Lorraine" (a fellow CirqueCon Passionate) asked about how CDS handles placement of personnel from closing shows. The Director of Personnel was touched that fans cared that way about how Cirque du Soleil treated their performers. The head of Personnel stepped up to answer: A: "I flew to Tokyo and personally met with each person performing in ZED." Cirque du Soleil has an internal department that deals specifically with this issue by speaking with performers about their opportunities in other Cirque shows world-wide, especially if a show closes (like ZED) or the performer can't physically perform their act anymore (due to age or injury). Cirque does not waste the talent, if there aren't any character roles an acrobat is interested in attempting, performers can move into more behind-the-scenes positions as trainers, coaches, physiotherapists, Global Outreach staffers, hotel management, or other roles. The Director of Zumanity Costuming also answered a few questions from the audience: Q. "How many costumes does each performer have?" A. "In the beginning of the show," she began, "each performer started out with just one costume each, with the exception of one performer who got a new costume after each show (because in each show one leg gets burned, so two legs a day), and we perform 486 shows a year so that was a lot of costumes, but eighteen months into the show we provided multiple costumes per person for greater flexibility." Q. "What do you need to be a fashion director at Cirque?" A. Basically you have to come to Cirque du Soleil as a Fashion Director, they cannot teach you; however, you can start with the company as a costume technician, learning the skills required to keep the costumes in top shape at one show, then move to another and learn more, and maybe become a Fashion Director once you've learned all you can hands-on. But there's only one Fashion Director per show, and maybe one assistant, so competition is fierce. Q. "What should you include in a resume to Cirque?" A. EVERYTHING! "Don't edit yourself and leave something out because you never know what Cirque du Soleil could be looking for." You never know what the company might be looking for in the future (they do keep your resume and will look over the submissions on a regular schedule, so don't skimp on the details (but don't exaggerate either). A great example of this is the Personnel head of Zumanity. She was the former head of Human Resources at New York, New York and wasn't a good match for them, so she met with Cirque du Soleil as the company was loading Zumanity into the hotel and they immediately saw her energy. A year later she joined Zumanity. So you never know! But what if you don't know what you want to do, how do you learn? Is there a place to intern with Cirque du Soleil? A. YES! Out of eleven colleges and one high school where Cirque conducts internships, the University of Las Vegas (UNLV) is definitely one where Cirque recruits heavily. So definitely check out the programs available at your college. Cirque du Soleil also keeps track of its interns, checking in with them to see what they have been doing. And some actually get hired right out of school! In addition, Cirque du Soleil representatives spoke a lot about the Cirque culture and how it exists everywhere within the company. To help express this to the audience most tangibly, they played a video showcasing all of the departments found at Cirque du Soleil Headquarters. They also spoke a little about Cirque du Monde, Cirque's Global Outreach initiative. Did you know that Cirque du Soleil directs 80% of its charitable funds to youth at risk? Here another video helped express the lengths Cirque du Soleil has gone to remain committed to this cause: there are 30 separate youth programs that Cirque supports just in Brazil alone, demonstrating to young people - through Circus arts - that they can believe in themselves. And last, but not least... Q. "What happens when performers and celebrities meet?" A. When famous people come to see Cirque du Soleil shows, whether it's in Las Vegas or under the Grand Chapiteau throughout the world, and they want to go backstage to meet the performers... something strange happens. Both groups are so in awe of each other they hardly know how to act! Celebrities become like kids at the circus and the performers turn shy! But some, like Janet Jackson (who also gave her blessings for MJ The Immortal), take it a step further. Before Janet goes out on tour she brings a busload of her people to see Mystère so they can understand creativity. Whodathunk? /// DECEMBER 4TH - BUNGEE DEMONSTRATION Bungee Demonstration and Costume Q&A Mystère Theatre at Treasure Island | 4:00pm - 5:00pm Look up! It's a bird... it's a plane... it's the Mystère Bungee Warriors! Enjoy an exclusive demonstration of the bungee act at Mystère and a chance to talk to the artists who take flight ten times each week. There will also be colorful costumes on display and our Head of Wardrobe will be on hand to talk about the bungee costumes and the challenges of maintaining costumes for this very acrobatic show. Mystère (which just reached its 8,500th performance recently and also celebrated their 18th anniversary at Treasure Island - on Christmas Eve) is my all-time favorite Cirque du Soleil show, and being given the opportunity to watch the bungee artists rehearse while also getting hands-on with some of the costumes meant this was one panel I could not miss. And though I was stuck in traffic on the roads behind the casinos usually reserved for servicing (thanks in large part to the closure of Las Vegas Boulevard, a.k.a. "The Strip", for the marathon running later that evening), we didn't miss one minute of it, arriving at the doors to the Mystère Theater just in the nick of time. As costuming was the main topic of this panel, we were greeted by the Head of Wardrobe - Tamara, and her assistant - Julie and in the process learned quite a number of interesting facts about the costumes of Mystère. o) Every costume starts in Montreal, and are the same designs as those created at the beginning of Mystère, but costume maintenance occurs locally, especially for fragile pieces that may need replacing daily. The annual budget for the show is a little over $1 million USD, so they must be resourceful. o) The Mystère costume crew is twice as big as those found at other Cirque du Soleil shows, with a crew of twenty working between 8:00am and Midnight each performance day, supporting the seventy-five to eighty artists and technicians Mystère employs. o) Therefore, the Head of Wardrobe, whose job it is to secure all costume needs before the next show, is the last to leave after any performance. o) A performer can use up to six costumes throughout a performance, portraying up to eleven different looks during a show. Every performer has two costumes each and it can take up to sixty-five costume pieces to achieve those eleven variations. o) All those changes mean a lot of sweat, which means a lot of laundry. Though machine washed (as 90% of the costumes are made from Lycra stretch material), no costume is dried in a conventional dryer. All costumes are placed where fans blow them dry. Every item, including shoes, is washed at least weekly. But it does wear out the clothes: the florescent die in the Chinese Poles costumes don't last that long - up to three weeks before the garment needs to be replaced. o) With all that laundering and use the costumes take quite a beating, but costume fit is very important at Mystère (and at Cirque in general) as it's a safety issue. For example, if a Chinese Poles garment is not properly fitted, it could snag on the poles when a performer is expecting to slide, causing an accident or a wardrobe malfunction. o) Such malfunctions became more prevalent after Cirque was forced to change suppliers for the Lycra - they found the Chinese Poles artists were comfortable performing when the costumes went on (as they were perfectly fitted for them), but the costumes began to stretch as they performed, reacting to their ever increasing body heat and thus began to snag! o) And what of other types of costume maladies, how are those dealt with? When the show is ON that evening, dressers come in around 4:00pm to address colored tags an artist has placed on their garments. o) Pink tags mean that the costume needs some special attention when being washed and therefore the Wardrobe department knows what to look for. A Yellow tag means "caution", even more attention is required here - there might be a tear. A green tag is used to indicate a biohazard, such as a blood or some other bodily fluid (besides sweat). And costumes tagged in red are dead. o) Maintenance can be performed at anytime, but generally is done during the four weeks throughout the year Mystère is dark. Bungee artists costumes require a lot of touch ups due to the "spaghetti strings" (as they call them) that have to be trimmed in such a way so that they don't wrap around the artists (or the trapeze) in flight. But that has happened before - during a show - preventing the aerialist from performing their act. And then our attention turned to the Bungee artists, who were taking their seats on the trapezes above our heads. Carl, the head coach for the Bungees, talked us through the rehearsal while the artists got settled. He explained that every bungee artist has another number they perform in the show, such as being part of the Trampoline or Chinese Poles, or appearing as one of the show's esoteric characters, making a cue or some other kind of appearance. And for every on-stage bungee performance artist, there's another in the catwalks above the stage assisting - making them swing and/or helping adjust the bungees themselves when they're out of sync, a point that was demonstrated to us when the Warriors failed to meet up in the middle. In fact, part of today's rehearsal was training new assistants, who will put the swing in their performance. It was a little rough as timing is everything - pull too softly, too hard or not in sync and the performance will be off. Of course, a number of other factors can make the performance go awry. For example, the bungee cords are natural rubber and are affected by humidity. The length of the cords for the start of the act is set dependent on the measured humidity in the theater. The humidity at the start of this practice was 11%. To prepare the artists for the chest-to-chest finale, 26 inches were added to the length of the cords near the end of the act, but it wasn't enough. Safety is, of course, paramount at Cirque du Soleil and even the bungee artists have earwigs (small ear phones) to hear cues (such as "pull" and "release" to the assistants above). Those calling the cues see the performers at all times through an intricate closed-circuit camera setup and communicate over four distinct channels: A, B, C and D. The main show is called off Channel A. Lighting cues are done exclusively through Channel B. Channels C and D are available for the band and other needs, should they arise. Do they ever get interference? Why, yes they do! In fact the show recently had to change some of their audio channels because they were being flooded over by an expansion of the local police channels. Can you imagine getting a call on a robbery while you're attempting a flight? Following their practice routines we had a moment to chat with a few of the bungee artists who were asked how much their headpieces weighed and about any discomforts they might feel tumbling about over our head. One warrior said they experience no discomfort during the week - "This is my playground!; however, we 'see stars' after coming back from an extended break." The other warrior said, "Spinning in the direction we're used to is fine but spinning a hula hoop would make us sick!" Oh, and the headpieces weigh about six pounds each. Following the rehearsal and Q&A session, the fans were granted a marvelous chance to examine actual Mystère costumes and props up close. These included wigs and headdresses from various characters, shoes of all shapes, sizes and colors, props (such as the candelabra), a Bungee, Trampoline (Spermatoza), and other dancers' costumes, and an Asticots mask (the Chinese poles double-faced character). And if you were lucky enough (as Nicole and I were), you could even have tried on one of these costumes - and head pieces! - and become one of Mystère's fantastic characters! * * * The Mystère panel was totally awesome, and I couldn't have asked for anything more out of the experience (except to pound on a taïko drum please?), but CirqueWeek continued on. And we'll pick up with the Zumanity Rehearsal and finish out the week's activities next time! ---------------------------------------------------------- "The Cirque du Soleil Gift Card - Ready for Prime Time?" By: Keith Johnson - Seattle, Washington (USA) ---------------------------------------------------------- "An Invitation to Amazement" is Cirque du Soleil's tagline for one of its newest offerings - the Cirque du Soleil Gift Card. Available in USD denominations of 25-50-75-100-150 or 200 dollars, they can be delivered free to the purchaser or intended receiver by courier or email. While you can't get refunds the card never expires. Sounds like a good way to introduce a friend to the wonders of Cirque du Soleil, no? Being recipients of one of the cards courtesy of Cirque du Soleil we decided to do what they likely hoped we would do - write about it! And after looking at the system and how it works (or in some cases, doesn't) there is a lot to write about. The yellow credit card-sized card comes in its own gift flap with space on the inside for names and a message (which can be customized up to 200 characters when the card is sent via email). On the back of the card are a bar code, a rather long serial number, and a 4-digit security code underneath a scratch-off security layer. It's also here, amongst the legalese, that we find the issuer of the card as EBG Gift Card Services, LLC and not Cirque du Soleil. "EBG" is Entertainment Benefits Group (.com), one of the largest providers of corporate benefit programs and direct travel programs in the US. They maintain such websites as showtickets.com and ticketsandtours.com (which sell half-price show tickets in Las Vegas), ticketsatwork.com (selling theme park and theater tickets to employees whose companies offer the benefit) and bestoforlando.com (a site for Orlando area attraction tickets). In fact, the charge you make will appear on your credit card statement as "Travel Providers of America" an EBG subsidiary. So while you are buying a card to be used for Cirque tickets Cirque is only marketing the card, you are doing business with EBG. To purchase the card you go to < www.cirquedusoleilgift.com > or call 1-877-583-8368. However, the only way to redeem the card is at the website; it can't be taken to a box office. And it can only be used for shows in the United States (which offers at least the nine US resident shows as well as Grand Chapiteau and arena shows). It can't be used for merchandise or concessions. The purchasing interface is straightforward; it's when trying to redeem the card, however, that its shortcomings (at least in its current form) become apparent. To begin, you have to use this website for redemption, limiting you to their ticketing interface. Which is nowhere near the powerful program Cirque uses to sell their Grand Chapiteau tickets (which we think is the best interface of its kind). The website is moderately good at allowing you to select from all US shows or by city, to choose from the complete schedule of shows for several months into the future, and showing all the available ticket types. (It also charges "convenience" and "transaction" fees, but the Gift Card can be used to pay those off too.) But it is at this point the application falls short. After picking the show, performance, and ticket type, the interface presents a page showing seats that have automatically been selected for you, much in the same way as Ticketmaster. Which is fine for those used to Ticketmaster and the way it doles out tickets. But it's a disappointment to those who are used to the lovely Cirque ticket application that not only allows you to pick a seating section, but gives several choices within that section as well as showing a view of the stage from that section. As an example, we used the site to get seats for a performance of OVO in Portland, OR. While the standard Cirque ticket interface provided several options of Category 1 seats just behind the soundboard in Section 200, the Gift Card interface chose seats on the extreme left of the stage, in Row A of Section 103, with no other choices in that price range offered. Fine for being close to the action but not for sitting further back for a wider view. And it won't provide a seating selection for the resident shows at all! Instead, you pay for the tickets without knowing where you will be seated. We have been informed that ticket orders for resident shows are handled manually by the Cirque ticketing team as soon as possible after the order is placed using the same ticket inventory the resident show interface uses, and that the purchaser is then informed of the location of their seats. (The recipient picks up the tickets at a will call ticket booth.) This gave us pause; we don't feel comfortable handing over $200-300 or more for a pair of tickets without knowing where we will be seated. One other comment about the interface - the payment process doesn't automatically assume you will be redeeming a Gift Card; you have to search for and expand that section of the payment page. Since this page is set up exclusively for the redemption of the cards we would think that section would already be expanded when the page first loads. In talking with some friendly sources, we learned that the intricacies of working with the various partners and applications Cirque uses to sell its tickets means the interface used (created by the administrator of the system, EBG) was the best option available in the time they had to put the program together. The goal is to eventually be able to redeem the Gift Card through the Cirque Grand Chapiteau interface, and perhaps through the MGM Las Vegas ticket interface though that may be harder to do. The way the card program is currently structured we find it a great way to introduce someone new to a Cirque du Soleil show. A new person likely won't care too much about where they sit so the ticket interface provided should do just fine. This card works well for that purpose. However, if your recipient is an experienced Cirque fan we don't recommend the Gift Card because it doesn't allow you to control where you sit, and for resident shows it doesn't show you where you will sit until some time after you have purchased the tickets. We also feel it should work for merchandise and concessions, especially at Grand Chapiteau shows and the online Boutique, since it's sold in denominations as small as $25.00. We'd also like to see it be redeemable at the box office, at least for Grand Chapiteau and resident shows. Until it works out those issues we can only give it a one-half thumbs up. ======================================================================= 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 12, Number 1 (Issue #96) - January 2012 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2012 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. { Jan.08.2012 } =======================================================================