======================================================================= Fascination! Newsletter Issue #8 - April 2002 "Cirque to Live; Live to Cirque" ======================================================================= Bonjour et bienvenue! Though its still cold in much of the Northern Hemisphere this month we hope to warm the soul with a look at a warm and happy performance: Saltimbanco. It is amazing that the show, created in 1992, continues to play to audiences today. Its stamina is amazing and to honor its new European Tour, we have made it our feature presentation. This issue showcases some of Saltimbanco's greatest achievements, highlighting its beginnings through to the current tour. We will look at how much the show has changed over the course of 10 years and perhaps answer the question... how long will the story between the Worms and the Baroques continue to be told? All that and more in this exciting issue... ============ Contents: ============ * News & Rumors * The Itinerary (Tour/Show Information) * This Month in Cirque History * Birthday Wishes * Cirque TV * Special Engagement: "Heeeeere's Cirque 2002!" (By: Ricky Russo) * Le Spectacle: "Ethereal Science and Magic" (By: T. Clay Buck) * Cirque Musique: "Barock Odyssey" (By: Paul Roberts) * Beyond the Big Top: "Oscar Night!" (By: Fascination! Staff) * The Cirque Connection: "He's reading French, help him!" (By: Keith Johnson) * Le Spectateur: "On Stage With Cirque du Soleil" Special Reprint, By: Bill Fitzhugh * Parting Quote * Next Issue * Subscription Information * Copyright & Disclaimer ----------------------------------------------------------------------- ======================================================================= NEWS & RUMORS ======================================================================= News ------ Name of new show revealed!: Fans of Cirque du Soleil have been anticipating the name of the 2002 show for weeks. At 11:00am on Tuesday, April 2nd 2002, Cirque du Soleil released that name in a special never-before done-in-the-history-of-the-company web cast. During the web cast, the world was introduced to the show's concept, its theme, its music, its costume and its acts. But, probably the most important aspect of the web cast was the unveiling of the shows name: Varekai. More on this new, exciting production in this issue. Cirque du Cabaret? Last month we reported that Cirque was in the process of creating another spectacle that might end up at the New York, New York Casino Hotel in Las Vegas. This month Cirque du Soleil has posted a casting call for "a new project". In their words, "Cirque du Soleil is now developing a new form of Cabaret-style show" and they are looking for variety of talents to help bring this project into reality. For those artists that "wish to perform in a provocative, sensual, exotic and cutting-edge environment," you can apply at casting.cirquedusoleil.com. This new show will be staged at a permanent venue within the North American continent but just where is anyone's guess at this time. We will keep you updated. Alexis Brothers... for sale? Fans of Saltimbanco and Mystère, where the Alexis Brothers (also known as the Lorador Brothers) currently perform, can now purchase an array of merchandise dedicated to this balancing pair. Fans can find Hats, Note Pads and an interesting item called "Crystal Cube", a solid 3-D cube with a picture of the brothers in their "one-arm planche" movement. It comes with a velour gift box. Browse their merchandise store: for further information. While you're there get to know this fine balancing pair! A Fly on the Wall: Bravo, the cable film and arts network, who has been the Television home to Cirque du Soleil for many years, is preparing a behind the scenes look at this enigmatic troupe in a special entitled "Cirque du Soleil: A Fly on the Wall." The 13-episode series takes viewers behind the curtain through an 18-month period of the creation of a Cirque Show. One can speculate that the half-hour shows will take us behind the creation of the new Cirque 2002 Tour. The series will begin this fall. More information as it becomes available. Cirque du Celine: During the last couple of months, the Cirque community was stunned with the announcement that Celine Dion was teaming up with Franco Dragone (Cirque's Conjurer) to produce a Las Vegas extravaganza. Details regarding this show have begun to emerge thanks to a March 5th article in the Los Angeles Times. The show, tentatively contracted for 3 years at Caesars Palace, will earn Celine $100 Million US Dollars. The content, "like Dragone's acrobats," as the article suggests, is "very much up in the air." The show will be 90 minutes long and is scheduled to open in March 2003. To read more about this new spectacle by Cirque alum Franco Dragone, visit the LATIME's article at this address: < http://www.latimes.com/entertainment/printedition/ calendar/la-000016338mar05.story >. Cirque taking Alegría Pre-Orders: In July 2002, Cirque du Soleil filmed Alegría on its Australian Tour (in Sydney). According to Cirque du Soleil, it was filmed with DVD in mind as more than 14 cameras and state-of-the-art techniques were used to film the spectacle. The DVD (a release date is still to be determined, but is still Spring 2002 as earlier reported) also includes a 50-minute documentary produced by an Australian TV network. Fans will finally be able to see backstage and watch their favorite artists be interviewed! (The special will not be on the VHS). The DVD (Catalog #:502461) is regionally coded for Region 1 only (US and Canada) and will sell for $29.00. The VHS (Catalog #:502460) is in NTSC format only and is priced at $25.00. Both items will only be available directly from Cirque du Soleil. Pre-order now! < http://store.yahoo.com/cirquestore/alegria2002.html >. Don't delay, order today! Cirque du Soleil Site Juiced Up!: When the previous Cirque du Soleil web site was replaced, many fans were disappointed with the lack of multi-media features, pictures, and show information. Fans can now rejoice as the next phase of the Cirque web site has been placed online. Now, spectators and fans alike can learn more about each show directly from Cirque's official web site. Visit them today at: . Rumors -------- All is quiet on the Rumor Mill front as fans gear up for Cirque 2002! Check next issue for more exciting news and rumors! ======================================================================= THE ITINERARTY (Tour/Show Information) ======================================================================= [Touring Shows] Alegría: * Denver, Colorado: 6/12/02 - 6/30/02. * Minneapolis/St-Paul, Minnesota: Summer 2002 Cirque 2002: * Montréal: 4/24/02 - 6/2/02 * Québec: 6/27/02 - 7/14/02 * Toronto: Summer 2002 * Philadelphia, Pennsylvania: Fall 2002 * San Francisco Bay: Fall 2002 * San Jose: Winter 2003 Dralion: * Las Angeles Area: 3/6/02 - 4/7/02 * San Diego, California: 4/18/02 - 5/12/02 * Portland, Oregon: 6/12/02 - 7/7/02 * Seattle, Washington: Summer 2002 * Sacramento, California: Fall 2002 * Phoenix, Arizona: Fall 2002 Quidam: * Charlotte, North Carolina: 3/29/02 - 4/14/02 * Pittsburgh, PA: 5/9/02 - 5/26/02 * Detroit, MI: 6/20/02 - 7/7/02 * Boston, Massachusetts: Summer 2002 * Cleveland, Ohio: Fall 2002 * Tampa, Florida: Fall 2002 Saltimbanco: * Amsterdam: 2/14/02 - 4/14/02 * Barcelona: 4/26/02 - 5/26/02 * Vienna: 7/10/02 - 8/4/02 * Brussels: Fall 2002 * Madrid: 10/31/02 - 12/01/02 * London: 1/7/03 - 1/26/03 [Resident Shows] La Nouba: * Two shows Nightly - Thursday through Monday. * Times: 6:00pm and 9:00pm * Location: Walt Disney World, Orlando. * No performances on Tuesday or Wednesday. * Other than its normal off nights, "La Nouba" is scheduled to be dark on these dates in 2002: - April 1st through 4th - May 28th through June 12th - July 22nd through July 25th - September 9th through 12th - October 21st through 24th - December 3rd through 11th Mystère: * Two shows Nightly - Wednesday through Sunday. * Times: 7:30pm and 10:30pm * Location: Treasure Island, Las Vegas. * No performances on Monday or Tuesday. * Other than its normal off nights, "Mystère" is scheduled to be dark on these dates in 2002: - April 7th through April 10th - June 5th through 9th - August 4th through 7th - October 6th through 9th - December 4th through 17th "O": * Two shows Nightly - Friday through Tuesday. * Times: 7:30pm and 10:30pm. * Location: Bellagio, Las Vegas. * No performances on Wednesday or Thursday. * Other than its normal off nights, "O" is scheduled to be dark on these dates in 2002: - April 29th through 30th - June 19th through 27th - August 12th through 13th - October 14th through 15th - December 4th through 19th ======================================================================= THIS MONTH IN CIRQUE HISTORY ======================================================================= * April 04, 2001 -- Dralion opened in New York * April 05, 1996 -- Saltimbanco opened in Amsterdam (again) * April 05, 2001 -- Quidam opened in Antwerp * April 06, 2000 -- Dralion opened in San Jose, California * April 08, 1988 -- Le Cirque Réinventé opened San Francisco * April 08, 1998 -- Quidam opened New York City * April 11, 1991 -- Nouvelle Expérience opened New York City * April 13, 1989 -- Le Cirque Réinventé opened Miami, Florida * April 18, 2002 -- Dralion opened San Diego * April 20, 2001 -- Saltimbanco 2000 opened Nagoya, Japan * April 21, 1994 -- Alegría Premiered in Montréal * April 22, 1999 -- Dralion Premiered in Montréal * April 23, 1992 -- Saltimbanco Premiered in Montréal * April 23, 1996 -- Quidam Premiered in Montréal * April 24, 2002 -- Cirque 2002 Premiered in Montréal * April 26, 2002 -- Saltimbanco opened Barcelona * April 27, 2000 -- Mystère performed 3000th Performance (10:30pm) * April 29, 1997 -- Quidam opened in Santa Monica (again) * April 30, 1999 -- Alegría: Le Film premiered in Québec ======================================================================= BIRTHDAY WISHES! ======================================================================= * April 02, 1973 -- Dessy (Ex-Singer/La Nouba) * April 04, 1972 -- Sheetal Gandhi (Character/Dralion) * April 18, 1962 -- Valery Kleft (Clown/Alegría) * April 20, 1967 -- Marco Lorador (Hand to Hand/Mystère) * April 23, 1963 -- Matthew Baker (Fritz/Quidam) * April 26, 1955 -- Rene Bazinet (Clown/Saltimbanco) ======================================================================= CIRQUE TV ======================================================================= Cirque du Soleil is once again scheduled to appear on Bravo, the film and arts Network in the United States. The schedule of performances is as follows (All times are Eastern): * April 1st: 1:00am -- Nouvelle Experience (60 Minutes) * April 22nd: 8:00pm -- Alegría (120 Minutes) 11:00pm -- Alegría (120 Minutes) * April 23rd: 5:00pm -- Alegría (120 Minutes) 10:00pm -- Nouvelle Experience (60 Minutes) * April 24th: 4:00pm -- Nouvelle Experience (60 Minutes) 8:00pm -- Saltimbanco (60 Minutes) 9:00pm -- Le Cirque Réinventé (60 Minutes) 10:00pm -- Saltimbanco (60 Minutes) 11:00pm -- Le Cirque Réinventé (60 Minutes) * April 25th: 6:00pm -- Saltimbanco (60 Minutes) 8:00pm -- Quidam (120 Minutes) 10:00pm -- Quidam (120 Minutes) This schedule is directly from Bravo and is subject to change at any time. Check your listings to confirm show times. ======================================================================= SPECIAL ENGAGEMENT: "HEEEEEEEEEEERE'S CIRQUE 2002" (By: Ricky Russo) ======================================================================= April is a month for new beginnings. Spring is in the air, temperatures rise, flowers begin to bloom, and a big top is raised on the Jacques Cartier pier in the Old Port of Montréal. For the last couple of months, Cirque du Soleil has been hard at work putting up their new big top in preparation for their new show - Varekai - and we are on the cusp of its release. When it debuts, it'll be the first new show to come out of Montréal in 3 years (since 1999's "Dralion"), and the excitement is building for the show's debut. On April 24, 2002, the world will get its first live glimpse of Cirque's new spectacle and the Fascination! Newsletter will be there (on April 25th) to join in the celebration. "Varekai" is a Romanian term that translates into "Wherever". "Wherever the wind carries us," is the underlying theme of the show as relayed by Dominic Champagne, Varekai's Director. "ROM", the rumored and oft mentioned working title for "Varekai" is a Gypsy word with a common meaning - Person. More specifically, it's the word for "man". Cirque's fascination with the imagination holds true for "Varekai" as they dive into European folklore. The inspiration for this new show comes from "the bond between circus artists, acrobats, dancers, jugglers, contortionists, clowns and actors as they risk their lives to defy the laws of gravity, showing the world that something else is possible." Dominic Champagne, the director of the new spectacle, is joined by an assortment of talented people, many of whom are working with the Cirque for the first time. Andrew Watson is the Director of Creation. It is his job to make sure the creative vision remains intact. Stéphanie Roy is the Set Designer. She previously worked on Dralion, Cirque's 1999 production. Eiko Ishioka joins Cirque for the first time as Costume Designer. Violaine Corradi is on board as the show's composer. She made her Cirque debut with Dralion. There are two Choreographers for the new show: Michael Montanaro and Bill Shannon. Sound is designed by François Bergeron, who has been around since Nouvelle Experience. He is joined by Nol van Genuchten (Lighting Designer), who has been Luc Lafortune's (Lighting Designer on many Cirque shows) assistant for the past few years. He breaks out on his own for "Cirque 2002". Francic Laporte joins the new tour as Projections Designer. The Make-up designer is Nathalie Gagné, another Cirque alum since Quidam. Rigging is done by Jaque Paquin, and last but not least, André Simard designs yet another acrobatic performance. There have been lists of acts to be presented in "Verakai" released on the internet by fans, but these turned out to be mostly rumor and speculation. During the web-cast on April 2nd, the world got its first glimpse of what characters and acts would fill the stage. If you missed the web cast, members of Cirque Club will be able to view it beginning the evening of April 2nd (Eastern Time) at this link: < http://www.cirquedusoleil.com/go.asp?p=117&l=en >. Regardless of the performances onstage, fans of Cirque du Soleil will get a treat - a new big top! Affectionately called "The Grand Chapiteau", it is an impressive beast standing 17 meters high (that's 55.77 feet) and 51 meters in diameter (or a little over 167 feet). Those dimensions make it the largest big top Cirque has ever performed under! And, unlike previous (more traditional) big tops, the blue and yellow stripes are replaced with a "Swirl" of blue and yellow. This new design made its debut in Miami, Florida on the Quidam tour and is an interesting twist to a classic design. Further information regarding the new tour will be released officially by Cirque du Soleil through the Cirque Club (www.cirqueclub.com). As always, the Fascination! Newsletter will keep you up to date on the events surrounding "Varekai" and all the other tours world-wide. ======================================================================= LE SPECTACLE: "ETHEREAL SCIENCE AND MAGIC..." (By: T. Clay Buck) ======================================================================= Ethereal Science and Magic - The Art of Saltimbanco I came to Cirque du Soleil through the back door. That is, by the time I'd seen Mystère, the tour of Quidam had already left Montreal. These quixotic Quebecois were already a decade into their circus reinvention and had established nearly one-half of their repertoire. Greedily I latched on to everything I could find about them, and thus it wasn't until only a year or so ago that I came upon Saltimbanco - and even longer than that until I truly fell in love with the show. Now, let me begin by saying, I've only ever seen it on videotape and in the images and stories from various articles and web sites. Like most of Cirque's creations, I can't even begin to imagine what it's truly like to experience this show under the Big Top. But, to me, Saltimbanco represents the foundation of the Cirque I have come to know and to love. By the time Saltimbanco was conceived, Cirque du Soleil had already established its reputation for excellence. Le Cirque Réinventé and Nouvelle Experience had charmed audiences across North America, and the world domination had already begun. Thus, the concepts that would become the framework for Saltimbanco were in place. But in this creation, the team of conjurers took greater leaps than had ever before been dared. At the same time, they laid the framework for what would become the hallmark of Cirque du Soleil - the spectacle, the story, and the amazing feats of human agility and strength. The story of Cirque du Soleil is truly a story of evolution. On a snowy Saturday, take the day and watch every video (or DVD) from start to finish. When you get to the end of Dralion, think back to the opening act of Cirque Réinventé and see just how far we've come. Falling somewhere in the middle of this evolution lies Saltimbanco - the one, the many, eternal, and out of time. The acts that are contained within the show have become a hallmark for Cirque - the Chinese poles, resurrected in Mystère, the Russian Swing, born again in O, the Bungee (or Elastics), brought to life in Mystère, Journey of Man, and at the 74th Academy Awards. These images of aesthetic athleticism are immediately recognizable as Cirque. At the same time, the entire spectacle of Saltimbanco envisions the other indicator of Cirque-ness. The all-encompassing thematic spectacle. Even more than its predecessors, Saltimbanco brings together a troupe of characters, of personnages, who construct the thematic over-current of the show. Yet, unlike its descendents (Alegría, Quidam, et al) Saltimbanco embodies a more over-arcing image than a true plot-line. A does not necessarily lead to B in this kaleidoscope of fantasy. The world we enter in Saltimbanco is one unlike any other - even in a Cirque-centric universe. At the opening, the entire arena is covered in a large white sheet which parts to reveal a world rich in color and texture. The stage and its environs are reminiscent of a bright, fantastic forest - rich, bright blues and greens dominate in eye- popping colors. And the inhabitants of this world are straight out of an iridescent comic book. More than any of Cirque's other creations, Saltimbanco is vivid, bright, almost iridescent. It is a world that exists in primary colors - red, yellow, blue, green - with little variation in the between the line hues. Unlike the more somber Quidam, the darker Alegría, or the earth-toned Dralion, the colors in Saltimbanco are eye-popping. It is through this vivid use of color that the theme of Saltimbanco is revealed - as the notes of the show say, "As an antidote to the violence and despair typical of the 20th century [it] proposes a new vision of urbanity, overflowing with optimism and happiness." It is, perhaps, the embodiment of Cirque's mission of being merchants of happiness. As in all Cirque shows, the acts flow one after the other as this mythic fable unfolds. But, again, not through any traditional sense of a story line. There is no lost child who carries through to catharsis; no sad hunchback who tells us his tales of lost love and desire. But instead, a kaleidoscope of characters, and images, that lead us to a perhaps brighter future. Dominated by two species - the Worms and the Baroques - the world of Saltimbanco is a rich one, indeed. The Worms are the nameless, faceless many who aspire to be better than they are, to transcend the low social strata. The Baroques are the antithesis - with a deeply perceptive sense of the world around them. The Worms spend their time in trying to achieve the status of Baroque. There is a certain simplicity, too, to this show. It is full of a child-like wonder and amazement. It is an exploration, and celebration, of imagination run wild, and perhaps less complicated and more playful than any of Cirque's other creations. Which is not to say that the dark side doesn't linger just beyond the horizon - Death makes an appearance at one point, and there are those who would steal the joy. But all in all, it is a playful, beautiful show, yet always aware of its own mortality. The acts within Saltimbanco have evolved as the show has - it began its tour in 1992, continued on to Japan in 1994, in Europe from 1995, in Asia in 2000 and has recently begun a 2002 tour of Europe once again. Acts have come and gone, yet many remain the same. Yet, each in its own way maintains a basic adherence to the fantasy that is Saltimbanco - the Chinese Poles, the Tight Rope, Russian Swing, and the Bungee. All acts that originated in Saltimbanco and have gone on to be featured in other shows, or indeed to represent the very core of what is Cirque. Others are more truly indicative of Saltimbanco - the Boleadoras, the Adagio Trio, and the Juggling act. Indeed, one of Cirque's greatest performers, Rene Bazinet, was a cornerstone of Saltimbanco for much of its history. If Alegría is Cirque's signature show - the one that pulled together all of the various elements into one seamless, fantastic production - then Saltimbanco is the progenitor of what would become the essence of Cirque du Soleil. By taking a giant leap from the literal-mindedness of Le Cirque Réinventé, and, to some extent, Nouvelle Experience, it laid the groundwork for the true exploration of what these shows had already begun. It is much less literal than any of the shows that came before it, relying more on thematic structure and image than on a strict set of rules. To look at Saltimbanco, coming where it does in the evolution of Cirque's history, is to see a basis of what came after it. In my opinion, with Saltimbanco, the productions became less about pretty pictures that tied the acts together, but more of a total experience, out of which the circus acts became an integral part. In other words, it became one complete theatrical experience. The acts come out of an impulse in the story line; they blend together in one seamless totality of fantasy. The characters, then - the Worms, the Baroques, the Baron - become not just plot devices or wonderful costume pieces that add to the visual excitement, but archetypes of personality and emotions. The Baroques are vividly different from the Worms, and the nature of their performance (most pointedly in the Russian Swing) is vastly different (compared to the Worms on the Chinese Poles). The music of the show is expertly integrated to underlie the thematic structure. Indeed, the signature song of the show - Kumbalawe - is one of the lightest, most lyrical pieces of Cirque's repertoire. Think of it in comparison to the bright colors, the high energy of the set and the design, and it is a simple, almost child-like tune, reminiscent of innocence and joy. What is perhaps most remarkable is that Saltimbanco is still touring - with dates booked through January of 2003, making it the longest- running of Cirque's current shows. It came before Cirque put down its roots with permanent shows, and continues to enjoy wild success across the globe. So, the question then is why is this show such a phenomenal success? I believe it is for two reasons - 1) This show IS Cirque du Soleil in its purest, essential form. It is the Circus - and, indeed, the theatre - reinvented. It is a completely new form, a completely new identity of any kind of performance that had happened before. And, 2) it is a beautifully simplistic show. It reminds us all that there is a brighter world, a hope for the future, and that the barest essence of humanity - whether Worm or Baroque - is to engage in the sheer wonder of life, of color, of sound, and of fantasy. It reminds us that we are individuals, yet as individuals we are part of a whole. "I am one. I am many. I am Saltimbanco." ======================================================================= CIRQUE MUSIQUE: "BAROCK ODYSSEY" (By: Paul Roberts) ======================================================================= The first time I watched the "Saltimbanco" video, I felt somewhat disappointed. At the time I had seen "Mystère" live and the "Quidam" video and initially felt that "Saltimbanco" lacked something. The music, however, absolutely knocked me over. "Saltimbanco" is the longest running current Cirque show and still a favorite of many fans. Developed in 1992, Cirque du Soleil's creative team took another step further from previous shows by casting Francine Poitras as the first vocalist to play an important role. She not only provided her splendid operatic voice, she also developed a frolicking character that meshed with the show's acts. Francine left "Saltimbanco" to become the vocalist for the "Free Willy 3" movie soundtrack in 1997 and hopefully is still displaying her talent somewhere. The live band also included changes to Cirque du Soleil's at-the-time limited tradition. Instead of a salvo of electronic keyboards, the lineup of percussion, keys, bass, guitar, and saxophone created a crew that jammed like no other. Normally Cirque du Soleil musicians as a whole are known as an orchestra, however, for "Saltimbanco" this lineup of traditional instruments could be classified as a progressive-rock band. The musicians shine with improvisations and for the first time a lead guitar is very dominant, and original live guitarist, Yvonne Caultier, provided some of the tastiest guitar chops I have ever heard. I compare him to one of the finest guitarists in the world, Steve Morse, with several styles and leads that are not only lightning fast, but also very melodic. Prior soundtracks had included only limited guitar usage, but in "Saltimbanco" the semi-sterile synthesizer dominance of the past had been replaced by the harder-edge guitar. And thus, let the rock show begin... The Baron recites the spoken word "Rideau," that begins with piano and then crescendos into a full-band triumph. The powerful ending entices the curtain opening as a bell tolls signaling the entrance of The Worms to slither to the melodic song "Kumbalawé." A welcoming theme sung by the cast. The first act is a beautiful contortion scene involving a representation of mother, father, and child that is called the Adagio. The song, with the same name as the act, features a haunting melody line backed by fretless bass and melancholy saxophone with a chorus that includes a memorable classical guitar line. The child then climbs into a large air-filled chair and grows older leading to the exciting act of Chinese Poles. The shuffling beat to the title track, "Saltimbanco" provides a majestic rhythm for the pole climbers and jumpers. This instrumental is just a preview of what is to come throughout the show as several improvised solos are provided from the musicians. Saxophone and distorted guitar play the major theme as interruptions of instrument solos are choreographed with the artists' exploitations. A Taïko drum introduces the next act and songs. Although separate songs on the CD, "Kazé" and "Norweg" are interestingly combined during the Double Wire act. "Kazé" is a subtle piece with synthesizer flute and a rich melody that continues throughout. A basic 4/4 drum pattern is laced with a kalimba-like sound and a choir "ah" sound from the keyboards. The subtlety ends and "Norweg" kicks in with a moving bass line that is reminiscent of a 1950's-like chord progression. During the intense moments of the high wire artist's jumps from wire to wire, the song evolves into a keyboard-fingered triplet section in a 6/8 time signature. As the audience breathes a sigh of relief following the artist's successful performance, "Kazé" is revisited to calm things down, then "Saltimbanco" enters into a world of fantasy. As a set-up act, The Sleeper experiences a dream sequence featuring a parade of characters. The music includes backward-masking guitar patches, echoing saxophone runs, dreamy synthesizer chords, and improvised fretless bass riffs, while the singer continues with the melody line from "Kazé". This short piece has a chilling effect that haunts The Sleeper. As he awakes the sequence segues into a high- spirited percussion attack that introduces the Juggling act accompanied by "Arlequin." "Arlequin" is absolutely Cirque du Soleil's jazziest tune and all the musicians get to show off their improvised talents. Each member of the band has a solo with the highlight of the song being a frenzied trade- off between guitar and saxophone. The jazz theme incorporated by an alto and baritone (synthesizer) sax combo bounces in unison with the juggler's multitude of balls. Groovin', Man! The blissful theme of "Arlequin" ends with a drastic dynamic evolution as "Death" makes an ominous appearance to set up the next act. The theme during this transition is dark and could easily be incorporated into "The Phantom of the Opera." A drone synthesizer note fills the darkness until a frantic barrage of random sequencer notes introduces the following act: Bolas. The accompaniment to the Boleadoras Flamenco act incorporates a percussion contraption that looks like some sort of bizarre octopus. This assortment of synthesized drums includes MIDI (Musical Instrument Digital Interface) connections that allow the percussionist to play various patches that enhance the performers' bolas and tap shoes as they strike the miked stage. The Bola Girls dance and twirl and the pace becomes so intense that the bola balls appear to be flying off of their strings as the percussionist seems to grow several arms to keep up with the multitude of drum strikes. Following the Bolas, The Baron slows down the pace as he steps onto another miked stage to perform a tap dance with percussion providing a tribal beat. As he dances and swings his white and black-striped cape he groans and screams an evil version of "Rideau" sounding as if he were alone in a vast cavern. When he completes his dance, a straight drum beat signals the beginning of one of Cirque du Soleil's most rocking songs, appropriately titled "Barock." "Barock" accompanies the energetic Russian Swing act and is another instrumental that features a myriad of instrumental ad-libbing. A descending guitar riff travels through most of the upbeat song as various instruments provide tasty solos. In the middle, however, the band quiets down to enhance the intensity of setting up for a flyer to land atop a chaired pole. With the safe landing, the tune then returns to its vigorous theme. During "Barock" the band appears to be having a lot of fun as they are seen dancing around like rock stars. Afterwards, comic relief is in store to be followed by the incredible double trapeze act. "Amazonia" is one of my favorite Cirque du Soleil songs. While accompanying the dual trapeze act, this piece goes through a multitude of time signatures and dynamics. The beginning includes Taïko drums beating to synthesizer sequences behind the vocalist's spoken-word in the famous Cirque du Soleil imaginary language. A bass guitar interrupts the intro and begins a steady pattern of full-band classical-like chord progressions. The climax of the song occurs when the one of the trapeze twins slides down the other twin's legs to be caught by her feet. Like the amazing routine, the high note hit by the vocalist is spine-tingling. And as the trapeze twins take their bow, the band plays a reprise of this wonderful song. Morphing into a pulsating synth bass line, "Urgence" provides a perfect backdrop for the Hand-to-Hand act of two strongmen, originally performed by the Lorodor Brothers, now of "Mystère" fame. A great representation of the bandleader's duties is represented in the video by keyboardist, Bridgette LaRouche. After several hand-to-hand movements, Paulo attempts to raise a hand-standing Marco by his feet, which is the climax of the act and thus the music rises to the occasion. However, Paulo has difficulty in raising Marco and has to give up momentarily. Bridgette notices this and directs the band to soften the song until he triumphantly raises his brother in the air. Then on cue, the music's chord pattern ascends with Paulo's legs. During their bow, Paulo expresses pain in his face. And to think they do this twice a night, five nights a week. The passionate side of "Saltimbanco" now ensues as one of Cirque du Soleil's most operatic songs "Il sogno di volare," compliments the beautiful Bungee Ballet. Franco Dragone wrote the lyrics and, as the flyers take to the air, a string ensemble escorts a soaring melody line. When the bungee artists descend, a sorrowful ambiance ensues. The end is near. To celebrate another successful show, all the performers gather on stage and take turns flying and flinging on the bungee cords. Some grab acrobats by the feet and sling-shot them so hard that they soar to the top of the tent. The band plays a quirky little song that embellishes the jovial mood, but with a sudden snap of the snare drum the finale arrives. Cirque du Soleil is known for rearranging live songs from the studio versions, but the closing song, "Horéré Ukundé", has one of the most distinctive changes. On the soundtrack this song is played with a slow 4/4 time signature; live, however, it is played to an upbeat 2/4 signature that almost seems rushed. This song includes some of the most interesting imaginary lyrics with words like "qwu-eggy" and "mah- leggy" that rolls off the vocalist's tongue. Maybe Cirque du Soleil could just create a universal language for all to speak. And...the bell tolls once again. The performers wave goodbye to the admiring crowd. On the soundtrack CD (RCA Victor/BMG Catalog #: 09026-61486-2), there is a beautiful piece titled "Pokinoï" that as far as I know has been never used live. Why? This song includes a wonderful staccato-string accompaniment to Francine's operatic melody line and a heavenly choir fills out the song's chorus. The Japanese version of the CD (BMG/RCA Catalog #:BVCF-31076 74321- 82877-2) also includes two live cuts: "Adagio" and "Arlequin." Even though the CD's liner notes gives no musician credits, I'm fairly certain that it is close to the same line-up as on the video and I un- mistakenly know that Mr. Caultier is playing the guitar. But, as a side note, the live cuts on the Japanese CD are not the same as the Saltimbanco video. " 'Saltimbanco', at first was going to be a rock show...baroque rock. Rock baroque," said an subtitled Franco Dragone on the Baroque Odyssey video, "but in the end, the show, instead of rock stayed baroque, but became tender. In a way, it was inevitable. The cast members were sensitive types. I tried to turn them into rockers...heavy metal...but they remained sensitive." The second time I viewed the tape, I seized the emotion of the complete show. There is a special energy in "Saltimbanco", but the sensitive passion that Franco found in the performers has allowed the show to stand the test of time and I hope to someday actually experience "Saltimbanco" live. ======================================================================= BEYOND THE BIG TOP: "OSCAR NIGHT!" (By: Fascination! Staff) ======================================================================= Oscar Night was a special one for Cirque fans. For five minutes, Cirque du Soleil would be the focus of the 74th Academy Awards. It took Cirque four months to create the show, which featured eleven acts from some of their most popular productions: Dralion, La Nouba, Quidam, Mystère, "O", and Alegría. Millions would see the performance and out of those millions, the Fascination! staff wishes to express their thoughts on the wonderful outing by Cirque du Soleil! Paul Roberts: So much anticipation on the night of March 24, 2002. Not only had my favorite story of all time been successfully adapted into a movie, my biggest obsession was to also perform at the Academy Awards Presentation show. Twenty years ago I read J. R. R. Tolkien's "The Lord of the Rings" trilogy and the story became an important part of my life. As a band of five friends gathered and wrote stories of our travels through Middle Earth, I relived some of my best memories when director Peter Jackson's movie hit the big screen. Five years ago, I experienced my first Cirque du Soleil show: "Mystère" and discovered a new passion, one like I had not felt in twenty years. This new passion led to meeting several of my Cirque du Soleil heroes and even fellow fans from all over the world, via e-mail and in person. I now had reason to watch my first-ever Oscars show. Approximately an hour and a half into the awards ceremony, Whoopie Goldberg strolled onto the stage wearing Hobbit feet and a "Lord of the Rings" highlights film followed. Next, Sir Ian McKellen and Madame Maggie Smith, wizards from the "Lord of the Rings" and the "Harry Potter" films respectively, segued to the next feature: a performance by Cirque du Soleil. Cirque du Soleil's extraordinary tribute to the magic of film had me in awe as usual, but I realized that my past and my present had been united in such a magical way that these tributes held personal significance. Thank you, Peter Jackson and Cirque du Soleil for combining memories that I shall always cherish. Keith Johnson: I really liked their performance at the Academy Awards. More of a "greatest hits" than premiering new acts, the performers actions synced up to the film montage by Lewis Cohen perfectly. The German Wheel accompanying images of the space station in 2001 - trampoline wall- climbing with images of flight and falling. It was short and intense, with the bungee act as a final, breathtaking touch. I almost feel tired after watching it, there is so much going on (much like a Cirque show. This is a performance I will keep. When friends ask me "What is Cirque?" I'll sit them down in front of the TV and show them this tape. "This is Cirque du Soleil," in five minutes or less. Ricky Russo: When I first heard that Cirque du Soleil would be performing at the Oscars I knew I had to make sure I tuned in. In the past I had watched the Oscars religiously, but TV time had become less and less over the past year and I wasn't sure I would be able to make time to watch. Then Cirque du Soleil came along and fouled that up. Now, I had to watch! So, there I sat in front of my TV from the beginning of the telecast hoping to catch glimpses of my favorite circus troupe. The show Cirque du Soleil put on was nothing short of spectacular. As the curtain went up featuring the Banquine artists in formation, a bizarre feeling overwhelmed me. My skin became bumpy and raised, my breath still and my mind focused. Cirque had besieged me already. And I knew right then that watching the performers from all of Cirque's spectacles flood the stage would be something special. I was not disappointed in the least. The finale of the spectacle was just as overwhelming as Chris Lashua cycled out into the audience, stopped and pointed up at a sight that made me fall out of my chair (yes, literally) - the Bungees! I yelped out in excitement and watched with glee as the elastic artists bounced into my heart and soul. Cirque du Soleil can definitely put on a show! T. Clay Buck: The March 27 edition of The Chicago Tribune ran a section called "Oscar Reconsidered," a listing of what should be kept and what should be axed from the annual Academy extravaganza. In the Keep column they listed, "Cirque du Soleil. What does the circus have to do with movie special effects? Who cares? They're cool." Well, my sentiments exactly. What absolutely blows my mind is that Cirque was actually able to capture the feel of what was going on on-screen with their live acrobatics - the Quidam and the Invisible Man, the Fire Act with Backdraft - every act fit perfectly with the screen version. Which begs the question - which came first, the acts or the movies? Somebody, somewhere put together those acts with the clips from the films. Did Debra Brown do it all? What genius Hollywood editor had the foresight to put it all together. Either way, I think it's a remarkable testament to the power that is Cirque - that even they could eclipse the work of film and bring Hollywood to its feet in a standing ovation to the power of live performance. We've all slogged through so many of those retrospectives and tributes to a particular element of film in the Oscar broadcast. Cirque, true to form, raised the bar and made this one especially exciting. Jen Waldman: I arrived home from Atlanta, GA around 10 PM on March 24 and immediately went to bed...but though I was tired, I couldn't sleep. So I turned on the TV. As the picture became clear, I saw Maggie Smith say "Cirque du Soleil!" Do I time my plane arrivals well or what? I hadn't heard La Nouba in a while, so it was a pleasure to hear that. And then I spent the whole time trying to match the acts to their shows, and marveling at the way the acts matched the film clips shown. I thought the pairing of Elena Lev with Metropolis was perfect. Loved the use of Banquine. I bet myself that cordes lisses would be matched with Mission:Impossible. That was correct (at one point), but since I was all alone, the bet was off. I was actually annoyed by the appearance of the Bungee People, though I usually adore that act. Perhaps it was just jet lag. As I just happened to catch the performance, I was unable to tape it or even give it my full attention, but I remember what I said aloud then and I will say it here now: "This is bloody brilliant stuff here!" ======================================================================= THE CIRQUE CONNECTION: "HE'S READING FRENCH, HELP HIM!" (By: Keith Johnson) ======================================================================= "Le Cirque Du Soleil: La Creation D'un Spectacle Saltimbanco" by Julie Boudreault (Nuit Blanche Editeur Publishers, Montreal, Quebec, June 1996, ISBN # 2-921053-56-X) This book is in French, I informed my erstwhile editor Richasi. I don't read French, don't understand much beyond "Bonjour" and "Michelin." So I wouldn't be any good at a decent book review, would I? "Oh, give it a try," he replied, "It fits the theme of the issue, Saltimbanco, perfectly. Just write up a few paragraphs." Okay then, and with apologies to our French speakers... I found this 204-page curiosity at www.archambault.ca , a French bookstore website (which also has an English translation). It cost about $23.00 Canadian. I purchased it fully expecting it to be in the French language, but hoped it might have some interesting illustrations. The book begins with a quick Cirque du Soleil history, then a quick circus history with illustrations, focusing on "traditional" circus disciplines and clowns. It then concentrates on Cirque du Soleil in three basic sections. (Now remember I'm translating, poorly.) "The Acts" covers the less-traditional acts in Saltimbanco, such as Bungee and Chinese Poles, and the people who perform them. "The Concept" seems to discuss the creation and brainstorming of the show with several pages of costume sketches by Dominique Lemieux. It also discusses and has diagrams of the stage, big top, and lighting design. It's in this section where you'll find a majority of the books 47 illustrations. Finally, what I would call "The Evolution" part of the book seems to address how the show evolved, and how the Cirque du Soleil process differs from more traditional circuses, with the artists and creators interacting and feeding off each other. The book takes great pains to point this out, to the point of having a diagram of "spectacle du cirque traditionnel" showing an insular "tradition" keeping out the "nouvelles idees" from the process. This is offset by a similar diagram for Cirque du Soleil, showing "nouvelles informations", as well as all other areas of the production, having influence on each other. There are three interesting Appendixes at the end of the book. The first has year-by-year highlights from 1987-1996, listing awards and media (magazine, television) appearances. The second is a very complete listing of tour itineraries from 1984-1998 (even including their first tour of Quebec in June-Aug 1984). And finally there is a 5-page bibliography, including some citations in English. I'm afraid I can't comment on the books style, or whether it's a good read. Though I can make out some words, I can't read French. That being said, I did appreciate the many pages of costume sketches, the tour itineraries, and bibliography. Is it worth $20.00 of your hard-earned American currency? I'd suggest only to a hard-core fan. This would be a wonderful translation project for a bi-lingual Cirque fan, with lots of time and a fair amount of Web page space. A hard-core bi-lingual Cirque fan. ======================================================================= LE SPECTATEUR: "ON STAGE WITH CIRQUE DU SOLEIL" SPECIAL REPRINT, ORIGINALLY WRITTEN BY BILL FITZHUGH ======================================================================= Ahhh, the allure of the circus. Step right up and witness captive lions stripped of their magnificence as they are whipped by an idiot costumed like an albino Liberace! Behold the awesome power of mighty African elephants trivialized by a goon in a stove- pipe hat! Examine the collection of freaks guaranteed to give children a permanent mental block when it comes to dealing with the handicapped! "Anyone want to run away and join the circus?!" I don't think so. On the other hand, I have long believed that Juvenal was right when he noted that people could be distracted from their lives by the games of the circus. For me, final proof of this came one recent Saturday afternoon when I found myself on stage with René Bazinet, the ringmaster and head clown of Cirque Du Soleil. The first clue that something was afoot should have been when the usher looked our tickets, said, "Uh oh," and took us to a seat so close to the stage that I sat sideways to prevent splinters from lodging under my kneecaps. Once seated, I shrugged off the "uh oh" assuming it meant I was destined to be doused with water in some classic clown routine. The distractions began immediately as I attempted to divine how the oddly set stage could present the magical event I had heard so much about. After all, it was nothing more than a brightly painted round platform partially covered by a sizable sheet emanating from an industrial-sized air duct. Not exactly Barnum and Bailey. Then the lights went down, the music came up, the sheet disappeared into the pipe, and a parade of characters unlike any I've ever dreamt of drifted onto the stage to the strains of enchanted harmonies. The lights, music, and costumed performers converged to present a world Walt Disney might have concocted after a dozen martinis, a bit of peyote, and a "Road Warrior" film festival. THE SMELL OF THE GREASEPAINT Early in the second half of the show, Rene Bazinet, the Main Clown, was on stage peeking behind imaginary doors when something suddenly spooked him, causing him to bolt across the stage and into my lap. "Uh oh, " I thought, "there's a sweaty clown in my lap. " So this is what the usher meant. The next thing I knew, I was standing at center stage, holding this clown's hand. At this point, self-consciousness gave way to hysterics and I began laughing so hard I nearly went blind. It turned out I was going into one of the invisible rooms with this joker, and the room we entered was evidently filled with fruit-bearing trees. Rene picked two imaginary bananas from an imaginary banana tree and gave one of them to me. He peeled his and took a bite, indicating I should do the same. However, not wanting to mis-peel my fruit and look the fool, I slid the banana into my pocket, and got quite a laugh from the distracted masses. Rene responded to my improvisation with a disapproving look that made me panic. Trying to make amends, I retrieved the banana, peeled the sucker, and took a bite. With that, I was back in the game. Rene then sashayed to center stage where he ceremoniously dropped both our banana peels before returning to my side and indicating I should watch him. But there was no need for that; I knew what was expected of us at this point. "Hell, we're clowns," I mused, "and we've got to go slip on those peels." Rene went first, then it was my turn. Five nonchalant steps and zwip, bang! Flat on my back. One of the best amateur pratfalls in amateur pratfall history. The crowd went wild. There was confidence in Rene's eyes when he helped me to my feet. This clown knew he had something to work with, so we strapped on imaginary holsters filled with fictitious six-guns and I got a quick lesson in how to handle those puppies. Rene threw one of his guns in the air and caught it in his holster. I followed suit and, bingo, six-gun in the side pocket. Rene then pitched both of his sidearms skyward and just as easily caught them. Then it was my turn --I hurled my weapons, they soared gracefully (trust me) before landing neatly one, two, whump, whump...right back in the holsters. Or so I thought. Mister bigshot funny-guy rolled his eyes conspicuously before swaggering over and picking up my second six-shooter which, it turns out, I did not catch. "Hey, I'm new at this,' I thought, "so shoot me if I don't catch both guns on my first try. Besides, if I don't stop laughing and catch my breath soon, I'm going to be dead anyway." In addition to being a clown, Mr. Rene Bazinet evidently also reads minds because he then decided we would play "Shootout At The Cirque Du Corral." Rene strode to the far side of the stage and turned to face me. We began circling, arms akimbo and fingers fidgeting, prepared to find out who was the fastest fool in the west --a quick draw contest for clowns leading to certain, if fictitious, death. Rene waited for me to make the first move. And he had to wait a long time because I had no idea I was supposed to draw first. When he finally gave me an exasperated look, I got the clue. So I pointed behind him to make him turn around. (Sometimes the oldest trick in the book works; that's why it's in there.) The moment he turned, I squeezed a shot off, BANG! Got him. But before he died, Rene managed to get a shot off too and I went down like a sack of oats -- dirt nap time for a dead clown. The crowd loved us and we lay on the stage milking the wild cheers for a minute. Rene then helped me to my feet and we returned to center stage to absorb the ovation. My fifteen minutes of fame was over. When the show ended, people came over to shake my hand; they said I had been wonderful. One woman found my performance so amusing she thought I was a shill and said she kept expecting the other clowns to rush onto the stage and strip off my clothes, revealing tights underneath (something that might be fun for me to try at home). Rene Bazinet had never said a word to me, but I felt like we were old friends by the time it was over. Unfortunately, my date had been too stunned to take a picture and I was too dumbfounded to ask. Perhaps if he reads this, Rene will invite me down for a photo op, or maybe he'll send an autographed eight by ten glossy, "To Bill -- As Chaplin said, 'What a sad business is being funny.' If you'd like to run away and join the circus, keep us in mind." And you know, now that doesn't seem like such a bad idea. * * * Bill Fitzhugh is the author of the comic thrillers, "Pest Control" and "Cross Dressing," now in development at Warner Bothers and Universal Studios respectively. He also wrote "The Organ Grinders," an ode to human organ trafficking. His most recent novel, "Fender Benders," is a comic murder mystery set in Nashville's music industry. Fitzhugh lives in Los Angeles where he is at work on his next novel. You can find more about Bill Fitzhugh at his web site, < http://www.billfitzhugh.com/ >. Article Copyright 1999-2002, Reduviidae, Inc., and is reprinted with permission of the Author, Bill Fitzhugh. ======================================================================= PARTING QUOTE ======================================================================= "I am celestial and eerie. Playful and mischievous. Subtle and striking. Magnificent. Androgynous. I am Saltimbanco." - Saltimbanco ======================================================================= NEXT ISSUE... ======================================================================= Saltimbanco is an eternal, never-ending show that seems to never run out of steam. Later this month, April, Cirque du Soleil will unveil its new show - Varekai - on April 24th. On April 25th, 2002, writers for the Fascination! Newsletter will be attending the show and get a first hand glimpse! So, our next issue will feature... drum roll... CIRQUE 2002! Thank you for reading! Have a comment, question or concern? Simply email the Fascination! Newsletter staff at either richasi@azlance.com or through the Yahoo Groups email address: CirqueFasincation-owner@yahoogroups.com. We are anxious to hear any and all comments! ======================================================================= SUBSCRIPTION INFORMATION ======================================================================= Fascination! is a monthly newsletter, available only through sub- scription. If you wish to unsubscribe, please send an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. To re-subscribe in the future, you can do that automatically by emailing us again at: < CirqueFascination-subscribe@yahoogroups.com >. If you have any questions, feel free to email us at: richasi@azlance.com. ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= "Fascination! Newsletter" Copyright (c) 2002 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. {Issue 8a: August 01, 2002}