======================================================================= Fascination! Newsletter Issue #9 - May 2002 "Take your fill - let the spectacle astound you!" ======================================================================= Bonjour et bienvenue! Spring is an exciting season for Cirque du Soleil fans. April saw the debut of a new Cirque du Soleil spectacle: Varekai and the Fascination! Newsletter Staff was there! This issue explores the theme, skills, music and ambiance of Varekai as presented in Montréal, but our coverage does not stop there. In the coming weeks and months, the Fascination! Newsletter will continue to explore this new and exciting show. And now, let us take a cue from a song from Phantom of the Opera, and let the spectacle of Varekai astound us. Let us see how Dominic Champagne (Director) handles the "reinvented circus" without reinventing it! ---------------------------------------------------------------------- ** SPOILER WARNING ** This issue is full of spoilers about the new show. Please keep this in mind as you read on. ---------------------------------------------------------------------- ============ Contents: ============ * News & Rumors * The Itinerary (Tour/Show Information) * This Month in Cirque History * Birthday Wishes * Cirque TV * Le Spectacle, Part One: "The World of Varekai" (By: Ricky Russo) * Le Spectacle, Part Deux: "The Wanderers of Cirque" (By: Ricky Russo) * Cirque Musique: "'Wherever' is Montréal" (By: Paul Roberts) * Behind the Curtain: "The Imaginations That Power Varekai" (By: Jen Waldman) * Special Engagement: "Le Grand Tour: Varekai" (By: Ricky Russo) * From the Boutique: "When is a program not a program?" (By: Keith Johnson) * Le Spectateur: "A Nouvelle Las Vegas Experiénce" (A Guest Submission by: Mimi Roscioli-Greco) * Parting Quote * Next Issue * Subscription Information * Copyright & Disclaimer ----------------------------------------------------------------------- ======================================================================= NEWS & RUMORS ======================================================================= News ------ Varekai Soundtrack to be Released: While Varekai continues its brand new tour of Canada, plans have already been approved to release the show's music. Unfortunately, the soundtrack is not due in stores until September 2002 (an exact date has not yet been determined). In fact, we do know the music has not even been recorded yet. As always, we will keep you updated on the release of the Varekai CD. Cirque du Celine, Again: In previous issues we reported that Celine Dion and Franco Dragone were working on a new concept to be staged in Las Vegas. In order to rehearse for this new show, Celine Dion is moving to La Louviere, Belgium for three months. Why Louviere, where the population is only 76,000? So she can work with Franco Dragone, who lives there. Franco, former Cirque visionary, is currently working hard constructing the concept of the show at his home. Celine, who is contracted with Caesars Palace in Las Vegas for three years will perform 200 nights a year beginning in March 2003. Terrorism still affecting Vegas: The wake of September 11th still is as strong as ever. While tourism to Las Vegas has gotten steadily stronger, it appears the terrorist attacks have had another profound effect - stopping the development of a multi-billion dollar hotel. It has been reported that casino developer Steve Wynn has halted plans to build Le Reve, his $1.7 billion development on the Las Vegas Strip. The reason? He could not buy enough terrorism insurance to satisfy his lenders. In a speech by President Bush, he is quoted: "A $2 billion resort in Nevada, (which) could provide 16,000 jobs is on hold because they can't get insurance for terrorism. You know, you've got the chance to employ 16,000 people, but because something hasn't happened in the United States Congress, it's not going forward. And that's not right." Bush was referring to his push for Terrorism Insurance and did not mention the Las Vegas developer by name. However, Steve Wynn did support the President in the 2000 elections and remains a personal friend with George W. Bush's father. Wynn is not talking at this time but the gaming industry doubts the claim by President Bush. We will be watching this development and wish Steve Wynn well. Le Reve is set to be the home of another Franco Dragone production. Rumors -------- Cirque du Cabaret? A new venture by Cirque is causing quite a storm in the Cirque du Soleil fan community. While most feel that "cabaret" must mean topless, the Fascination! Newsletter has heard rumblings that "topless" is certainly not the case. What we will all have to do is take a "wait and see" kind of attitude toward this new potential creation and see how it all comes together. Varekai filmed? Well, no... at least not yet. We did hear a rumor that if the show comes together before Toronto, Varekai may be filmed there. This is just speculation and heresy, but fans might have a copy of the show to watch at home by 2003! ======================================================================= THE ITINERARTY (Tour/Show Information) ======================================================================= [Touring Shows] Alegría: * Denver, Colorado: 6/12/02 - 6/30/02. * Minneapolis/St-Paul, Minnesota: Summer 2002 Dralion: * San Diego, California: 4/18/02 - 5/26/02 * Portland, Oregon: 6/12/02 - 7/7/02 * Seattle, Washington: 8/1/02 - 8/25/02 * Sacramento, California: Fall 2002 * Phoenix, Arizona: Fall 2002 Quidam: * Pittsburgh, Pennsylvania: 5/9/02 - 5/26/02 * Detroit, Michigan: 6/20/02 - 7/7/02 * Boston, Massachusetts: Summer 2002 * Cleveland, Ohio: Fall 2002 * Tampa, Florida: Fall 2002 Saltimbanco: * Barcelona, Spain: 4/26/02 - 6/16/02 * Vienna, Austria: 7/10/02 - 8/4/02 * Brussels, Belgium: 9/4/02 - 9/29/02 * Madrid, Spain: 10/31/02 - 12/01/02 * London, England: 1/10/03 - 1/26/03 Varekai: * Montréal, Canada: 4/24/02 - 6/16/02 * Québec City, Canada: 6/27/02 - 7/14/02 * Toronto, Canada: 8/1/02 - 8/25/02 * Philadelphia, Pennsylvania: Fall 2002 * San Francisco Bay, California: Fall 2002 * San Jose, California: Winter 2003 [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: - 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: - 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: - June 19th through 27th - August 12th through 13th - October 14th through 15th - December 4th through 19th ======================================================================= THIS MONTH IN CIRQUE HISTORY ======================================================================= * May 01, 1986 -- Cirque Performed at Expo 86 in Vancouver * May 02, 2000 -- Journey of Man (IMAX) premiered in USA * May 02, 2000 -- Journey of Man CD Released * May 07, 1987 -- Le Cirque Réinventé premiered in La Salle * May 08, 1990 -- Nouvelle Expérience premiered in Montréal * May 09, 2002 -- Quidam opened Pittsburgh * May 11, 1986 -- Cirque leaves Expo 86 * May 11, 2000 -- Saltimbanco Pacific-Northwest Tour Began (Portland) * May 14, 1985 -- 1985 Tour Began in Montréal [Vieux-Port de Montréal] * May 18, 1986 -- Le Magie Continue opened Sherbrooke * May 18, 1987 -- Le Cirque Réinventé opened Sherbrooke * May 19, 1995 -- Saltimbanco opened Munich * May 18, 1989 -- Le Cirque Réinventé opened Chicago * May 20, 1999 -- Alegría premiered "permanently" in Biloxi, Miss. * May 22, 1992 -- Fascination Premiered in Tokyo (Until September) * May 25, 1988 -- Le Cirque Réinventé opened New York City * May 27, 1999 -- Alegría: Le Film premiered in Netherlands * May 28, 1999 -- Saltimbanco opened Brisbane, Australia * May 29, 1986 -- Le Magie Continue opened Montréal * May 28, 1987 -- Le Cirque Réinventé opened Montréal * May 29, 2001 -- Alegría opened Sydney, Australia * May 31, 1996 -- Saltimbanco opened Stuggart * May 31, 2001 -- Quidam opened Hamburg * May xx, 2001 -- Dralion opened Toronto, Canada ======================================================================= BIRTHDAY WISHES! ======================================================================= * May 01, 1962 -- Camita Lorador (Statue/Quidam) * May 02, 1968 -- Chris Lashua (German Wheel/Quidam) * May 08, 1976 -- Jinny Jacinto (Contortion/Nouvelle Expérience) * May 21, 1956 -- Rodrigue Proteau (Character/Varekai) * May 22, 1932 -- Brian Dewhurst (Clown/Mystère) * May 27, 1975 -- Stella Umeh (Triple Trapeze/Varekai) * May 29, 1977 -- Krystian Sawicki (Le Titan/La Nouba) * May 30, 1985 -- Irina Koliktsionova (Body Skating/Varekai) * May 31, 1962 -- Sun Hongli (Tightrope/Saltimbanco) ======================================================================= CIRQUE TV ======================================================================= At press time, Cirque du Soleil shows were not scheduled to perform on Bravo or Starz during the month of May. For further information on when Cirque du Soleil will appear on TV, check www.bravotv.com, and www.starzencore.com. These schedules are subject to change. ======================================================================= LE SPECTACLE, PART ONE: "THE WORLD OF VAREKAI" (By: Ricky Russo) ======================================================================= The world of Varekai is a mysterious, lush realm that exists deep within a forest - any forest - at the summit of a volcano. In this world an array of fantastical creatures subsist amongst an extraordinary place where anything is possible. Varekai (pronounced var-ee-kie) is a Romanic term meaning "wherever" or "it does not matter the place" and lives as a "tribute to the nomadic soul, to the spirit and art of the circus tradition, and to those who quest with infinite passion." The term is an homage not only the acrobats that push their art to the extreme, but also a reminder to the wanderers of ancient Europe: the Gypsy - the universal wanderers. "The sky lets go a solitary young man," the press release from Cirque du Soleil eludes, "and the story of Varekai begins." The solitary young man is Icarus, the fabled son of the brilliant Greek artisan Daedalus. His is a story of how excitement can cloud one's better judgment. As Greek legend tells, Daedalus crafted two magnificent pairs of wings out of feathers and wax for himself and his brash young son (Icarus). Taking to the skies in a flurry of excitement, Icarus does not heed his father's warnings and strays too close to the sun, melting his wings. But, unlike the Icarus of fabled tale (in which Icarus plummets to his death) the Icarus of Cirque du Soleil falls into a fantastical world of good and evil where he must redeem himself. This fantastical world exists on one of the most unique stage structures I have ever seen for a Cirque du Soleil performance, and we can thank Stéphane Roy for creating such an engaging scene. In the background, 20-foot poles jet into the sky, simulating the forest Icarus falls into. The poles themselves appear bamboo- like but are metallic in nature, and can sway to the winds of change or of the weight of the occasional performer who climbs them. And climb them they do - using strips of a sticky substance that runs the entire length of them. The poles are but one part of the a structure that will instantly capture your attention upon entering the big top, no matter which door you come through. The stage is cross-sectioned with a catwalk hanging high above the forest floor, accessible only by a single staircase, winding around the forest trees. The stage itself consists of many movable parts, two round areas that are used for the Russian Swing, a risible platform, and three small holes to allow characters to dive below ground. (Believe me, the space under that stage is not all that big!) "On this day at the edge of time, in this place of pure and undiluted possibility, begins an inspired incantation of life rediscovered and to a newly found wonder in the mysteries of the world and the mind." Varekai is certainly an uplifting, colorful extravaganza that shatters the meaning of the word spectacle. Let us now share with you those amazing performances that brought us to our feet, mouths agape, hands applauding loudly, and our minds exploding with emotions never before felt. ======================================================================= LE SPECTACLE, PART TWO: "THE WANDERERS OF CIRQUE" (By: Ricky Russo) ======================================================================= There are eleven (11) different performances (acts) by the troupe of Varekai. Each an extension of the world brought to us by Dominique Champagne and the other creators. The full show order (as premiered) is as follows: Opening, Flying of Icarus (Aerial Net), Icarian Games, Spinning Meteors (Water Meteors), Clowns (Magic Act 1 and John with Balloon), Aerial Straps, Clowns (Magic Act, Part 2), Georgian Dance, Intermission, Humming Bees (Opening of Act 2), Body Skating, Solo on Crutches, Clowns (Lounge Singer), Acrobatic Pas de Deux, Triple Trapeze, Clowns (John w/Lightbulb), Handbalancing on Canes and the Russian Swing. These acts are performed by an international cast of 50 plus artists representing counties including Canada, Georgia, Moldavia, Brazil, Russian, Romania, Sweden, the UK, Italy, China, Ukraine, and Spain. Flying of Icarus: The story of Cirque's Icarus is a rich one, filled with the essence of freedom. Icarus, played by Anton Chelnokov (Tchelnokov) from Russia - who is the same young (now all grown up) who was previously in Saltimbanco as a third of the Adagio Trio (the child in white). His drama takes flight as he descends into a populated forest full of curious creatures "costumed as mutant birds, insects or exotic hybrid species." Icarus is ensnared by a net, stripped of the wings that gave him flight, and is hoisted high above the forest floor. His struggle for freedom within the flexible cage touches on emotions harbored in us all. The right to freedom is an unsupressable human quality and is one that Anton Chelnokov plays upon well as he triumphs over his imprisonment. In escaping his harsh encapturement, Icarus flies once again across the heavens in celebration. But, as he touches the ground he finds himself face to face with a beautiful young creature (Olga Pikhienko), who is as inquisitive about him as he is about her. Unable to communicate, they begin to mime each other, and then... fall in love. "Ten other acts follow," Robert Melnbardis reports for Yahoo! News, "as Chelnokov wanders awe-struck through a shimmering kaleidoscope of scenes." The spectacle has begun! Icarian Games: Icarian Games is not only an energetic performance but an audience pleaser as well. The discipline is a variety in the genre commonly referred to as antipode. Antipodes (the plural form) are persons dwelling at opposite points on the globe. But, in the case of the Icarian Games, the antipodist is the porter, or the artist lying upon his back in a specially created incline chair. His job is to be a prop used only for tossing and juggling the voltigeur (flyer) with his feet - unbelievable! The three brothers that make up the team known as the Rampin Bros. - Javier Santos Leal ("Javi"), Pedro Santos Leal, and Ramon Santos Leal ("Moncho"), from Spain) come from a seven-generation family known as the Santos-Rampin, which explains how easy they make this art look. Their energetic performance brings down the house and their exciting choreography will raise the heart beat. Spinning Meteor: In every Cirque du Soleil show there is a nod, a hint if you will, to the Chinese Circus. In Varekai, the Spinning Meteor (here, referred to as the "Water Meteors") makes a triumphant comeback after first being featured in the 1986 show "Le Magie Continue". Unlike "Magie's" performance, the Spinning Meteor's here are performed by 3 cute Chinese boys (Bin He, Junping Yang, and Siguang Li). Janice Kennedy in the Ottawa Citizen put it best: "Three young boys toss spinning meteors into the skies, twirling about with elegant energy as they catch them, over and over"! Aerial Straps: The second of three aerial acts is a spectacle called the Aerial Straps. Performed by Kevin and Andrew Atherton (from the United Kingdom), they fly on the scene as one. But just as soon as they catch your eye, they become two angels flying amongst the stars. Their performance blends the skills needed for a Tissu, with the demanding arts of the Banquine. You'll be amazed as this brotherly duo soars from one end of the big top to the other, then returning virtually to the same spot from which they left. Or, launching away from one another and meeting in mid air! The Aerial Straps is a powerful and yet very elegant performance. The two brothers also make a re-appearance later in the show as guardian angels for the - as yet - unredeemed Icarus. Georgian Dance: One of the most energetic dances on earth is the Georgian dance. Known for their quick twists, spins and leaps, the dance is performed by three male dancers: Temur Koridze, Badri Esatia, and Khvicha Tetvadze (all from Georgia). One of the highlights of the performance is during the clashing swords element. The house lights dim as the stage became aflame, highlighted by the sparks of the crashing swords. A shocking and wonderful way to end the first half of the show. Intermission: Normally I wouldn't say much about an intermission for a Cirque show. Quidam's is as spooky as it is thought provoking with the Generics giving up their souls (in red balloons). Varekai ends on a more positive and upbeat note, thankfully. The energy from the Georgian dance continues right on through the next 20 minutes. People get up, visit with one another and while they are away, the stage is set up for the second half of the show. The lights then lower, with the sound of dripping water still ringing in our ears (which has been playing throughout the entire intermission). Once again the big top fills with the buzzing of bees - filling with an array of them, arranged in an optical display that is simple, elegant and beautiful. Words fail when it comes to their explanation. But, while the display of light and music continue overhead, the stage is being set below for the opening act - Body Skating. Body Skating: The second act is opened by a colorful and very playful act known as Body Skating. An array of acrobats virtually "skate" across this smooth blue surface performing an energetic and playful show of strength, timing and fun! Their costumes mirror their lighthearted nature in colors of red, green, yellow, blue, purple and a curious mixture of all. These acrobats will have you smiling in no time! Solo on Crutches: The show takes a darker turn with the Solo on Crutches performance by Vladimir Ignatenkov (Russia). Flanked by ominous creatures from the forest, he shows Icarus, and himself, that he can stand on two legs despite all that has kept him down. He is helped though by the guardians of Varekai. This act is simple and yet difficult at the same time; Ignatenkov twirls about the stage, feet far from the ground. Acrobatic Pas de Deux: The Solo on Crutches performance gives way to the duo of Oleg Ouchakov (Russia) and Tatiana Gousarova (Ukrane). Their act is "an acrobatic slow dance with lifts, twists and mid-air spins and catches." Romance is the key to this act that is a "testimony to the danger of movements." Their quick movements and quick drops to the stage floor flutter hearts and keep us on the edge of our seat. Not to mention her flaming red hair! Both artists were previously seen in the Banquine act in Quidam. Triple Trapeze: The final traditional aerial act of Varekai is the Triple Trapeze. This apparatus is a wide, static (non moving) trapeze suspended from the ceiling by four ropes. Four spidery-dressed females (alternating performances by: Stellah Umeh, Zoe Voctproa Tedstill, Raquel Karro and Susanna Defraia Scalas, Helen Ball, and Cinthia Beranek), spin, gyrate and roll with their amazing grace and attention to detail. Handbalancing on Canes: Olga Pikhienko, another Quidam alum, performs a beautiful handbalancing act dressed in an angelistic white sequined costume. Her body sparkles as she contorts herself upon one, two, and even three canes as they're moved about on stage. Her performance is similar to what was seen in Quidam during her tenure only here is much more sensual instead of sexual. Russing Swing: The absolute show-stopping act for Varekai is its closing performance. The Russian Swing has previously been featured in two Cirque du Soleil shows: Saltimbanco (its debut) and in the Las Vegas extravaganza "O". Each time the apparatus has made an appearance in a Cirque show, its spectacle is compounded. For Varekai, the Russian swing is taken beyond the next level. Here acrobats are hurled high into the air where they are caught by (and landing upon) the wrists of their partners, who are situated on a multi-staged platform. The set is also flanked by two canvas sheets that stretch from floor to ceiling. "Ooooo's" and "Aaaaahs" punctuate the air when an acrobat flings across and lands in one! This act produced its own standing ovation. The first I've ever seen for a single act - ever - for Cirque du Soleil. It was that good. Closure: The show ends on the high note of the Russian Swing performance. Icarus is redeemed and finds himself among friends (and even marries one of the characters, played by Olga Pikhienko). The standing ovation continues right through the dancing finale, which (by the way) is not set in stone. In fact, Varekai is without an ending at this time. Remember, it is a show in progress and will continue to be that way until Toronto. Even so, that knowledge doesn't take away the fact that the set was awesome, the costumes colorful and the acrobatics out of this world. ======================================================================= CIRQUE MUSIQUE: "'WHEREVER' IS MONTREAL" (By: Paul Roberts) ======================================================================= I have been a fan of Cirque du Soleil since my first experience of "Mystère" in 1996. Back then, I had no inkling of what I would witness in April, 2002: a premiere of a new show. At the time the tickets were purchased, the new show had a rumored title of "ROM" and the tickets simply said "Cirque du Soleil 2002." On April 2, however, "Varekai" (meaning "wherever" in the old gypsies' Romany language) became known during an on-line press conference that included samples of a few acts. Even with the small samplings, it would be my first Cirque du Soleil performances where I was not already familiar with the music. Old Montreal's Jacques Cartier Pier provided the home for the new blue/yellow-swirled Grand Chapiteau, and if that site wasn't enough a quick turn exposed an impressive view of Montreal's modern skyline. Old European charm mixed with New World fascination. Inside the souvenir tent, the patrons were transfixed to TV screens that showed scenes from all Cirque du Soleil shows. I stood and watched the whole looping video as eager shoppers around me gobbled up insignia clothing, CDs/videos, Stella Atrois beer, and of course popcorn. Upon purchasing the Creators' Notebook (a limited edition souvenir program) I discovered that the "Varekai" band consists of two vocalists, two keyboardists, two percussionists, one violinist, and one woodwind player. A line-up on par with other Cirque du Soleil shows. And...as I entered the main tent, I stopped dead in my tracks at the first glimpse of the "Varekai" set. The crisscrossing stairway to the stars above and a myriad of silver poles revealed a stunning sight. As with all Cirque du Soleil shows, a pre-show takes place with the usual clown-seating antics, but several cast-creatures lurk into the audience, climb the stairway, and sway on the mighty poles. The show begins as a parade of musicians walk through and serenade the crowd with a beautiful waltz titled "Gitans," a song that is included in the Creators' Notebook's CD-ROM. The famous John Gilkey then comes onstage and captures noises that he places into a contraption where he mixes them up with various knobs, squeeze boxes, and cranks. After a troublesome buzzing firefly makes the introduction, the cast enters with a frenzied dance number reminiscent of a Greek wedding reception that ends with the falling of Icarus. He ascends in a net and performs an aerial ballet to a slow classical-influenced song featuring singer Zara Tellander's articulate "la la las." Her voice has a strong tonal quality that is signature for Cirque du Soleil singers. When Icarus lands once again, he discovers a beautiful green-winged creature. They move closer to share a feather of passion, but just as they are about to embrace a commotion interrupts their trance, and a conglomerate of acrobats run onto the stage to perform an act called Icarian Games. This act of human foot-juggling is accompanied by another song found on the limited-edition CD that is titled, "Icariens." The song evolves into several time signatures to provide an augmenting backbone for the acrobatic movements. Three young Asian boys come out next to perform an exciting act with Spinning Meteors. I felt happy to see Cirque du Soleil integrate this act back into a show as I had first seen this dangerous juggling in the "la Magie Continue" video. Unexpectedly, the accompanied song has a salsa-like feel that features Zara and male vocalist, Mathieu Lavoie (the original singer for "Quidam"), harmonizing as they dance in place at the rear of the stage. Two clowns, Mooky Cornish and Claudio Carneiro, next make a brief appearance-the spotlight goes out-and John Gilkey returns with another contraption: a hot air balloon that is one of Cirque du Soleil's most stunning illusions. Mr. Gilkey gleefully pulls the balloon's rope as it floats with colorful projections of rainbows, faces, and birds. My favorite song of the show accompanies the next act-the Aerial Straps-that features an ebbing-scale melody line sung by Zara. The song includes some interesting electronic percussion and heavily synthesized keyboard work by Brigitte Poudrier and Michel Cyr. Woodwind player Wayne Hankin provides various trills on the flute that enhances the flight of the twin Atherton brothers. As with "Gitans," "Icariens," the opening "Greek Dance" number, and the Acrobatic Pas de Deux song, the Aerial Straps song can be heard on Cirque du Soleil's website's Cirque Club section. The clowns return to perform a pseudo magic act that includes a poor, unsuspecting audience member, who is not - I repeat - not a plant. All I can say is the act ends with a bang. To end the first part of the show, Cirque du Soleil revealed an act called the Georgian Dance. Three men romp and spin around on their knees, their toes, and other appendages that would make a whirling dervish dizzy. It ends with a spark-flying sword fight while in the background, a heavily-cloaked, dark character sways back and forth with flames shooting from its arms. I actually had a nightmare about this-one of Cirque du Soleil's creepiest-ever-characters. After intermission, "Varekai" provides yet another sight that is like nothing I have ever seen before. After Mr. Hankin walks through the audience playing an archaic-looking bagpipe (watch out for that hole, Wayne-thud: "It's part of the show."), thousands of green fireflies swirl and dance above the stage to the show's opening theme waltz. The illusion is simple, but oh so chilling. When the stage lights illuminate, a group of colorful critters drift across the stage to perform the Body Surfing act, which is sort of an "underwater" Banquine performance. The Body Surfing act features rumba music that fits perfectly to the act's Caribbean-like feel, as the performers glide on the stage as if they were floating in the sea's coral reef. Body Surfing segues into a performance art-like segment called Solo on Crutches. Representing healing for Icarus, Vladimir Ignatenkov twirls and glides on a pair of crutches while enticing Icarus to stand on his feet. The music includes an interesting accompaniment of electronic drones that are backed-up with Gregorian chants. Violinist, Stéphane Allard, also provides some chilling riffs to complement the spell-binding melody. Clown Claudio Carneiro returns to perform a funny lip-syncing skit to Jacques Brel's' "Ne Me Quitte Pas" as he tries to follow a reluctant spot light that forces him to run to all parts of the tent. The spotlight next shines brightly for Tatiana Gousarova and Oleg Ouchakov when they participate in the beautiful Acrobatic Pas de Deux. Tatiana and Oleg are dressed for a night out on the town in a serene mini-rendition of the Banquine act they had performed for years in "Quidam." They leave to arousing cheers as a rumble and fog surfaces from above. Then, descending from the ceiling, a new spin on a standard circus act is introduced: the Triple Trapeze, which includes ex-"Mystère" and Canadian Olympic gymnast, Stella Umeh. Four gymnasts careen across each others' bodies while hanging from three attached trapeze perches. The trapeze remains stationary, as the girls provide the exhilarating movement. The funniest bit in the show has John changing Rodrigue Proteau's light bulb. 'Nuff said. Without the need for any introduction, the next act features one of Cirque du Soleil's most famous performers, Olga Pikhienko, who also played the green-winged creature earlier in the show. She performs a hand-balancing act that is similar to the one in "Quidam." Instead of wearing a black leather outfit, however, Olga's costume covers most of her body in a white leotard swathed in shiny sequins while cast members reposition the balancing throughout the stage. Up to this point the mood seems to be dreamy, almost missing the usual high energy. It is all a set up for what is about to take place. Icarus finds his true love and a wedding commences followed by one of the most intense acts Cirque du Soleil has ever presented: a new version of the Russian Swing. The "music" mostly consists of Mr. Bannerman and percussionist Rafik Samman pounding frantically to keep up with the acrobats' energy. Paul, who is a veteran of the hyped-up-marching-band show BLAST!, proves that the show's needed stamina comes in handy also for "Varekai." The drums provide another value: to keep one's heart beating during this heart-stopping act. To sum up the experience, our friend Cedric said, "That was the first time I felt like I might actually see a Cirque performer die." Especially Maxim "Mad Max" Levantsevich. Halfway through the act, the audience could sit no longer and a standing ovation commenced that lasted until the ending "Greek Dance" revisited and the cast curtain call. Never had I experienced a standing ovation coming before The End. The group I met in Montreal serendipitously saw the show three nights in a row and by the second night, I had already found myself singing right along like I always do with the more familiar shows. On the third night, the group witnessed a magical, unrehearsed feat. The cast returned for an emotional third curtain call as the audience's explosive cheers, whistles, and feet stomping exhibited pride for their multi-cultured ambassadors of the world. It took three days for the adrenaline to leave my body, but I know I will not soon forget this once-in-a-lifetime event. Merci to the people of Montreal and to Cirque du Soleil. ======================================================================= BEHIND THE CURTAIN: "THE IMAGINATIONS THAT POWER VAREKAI" (By: Jen Waldman) ======================================================================= With Cirque du Soleil's new show "Varekai," even more new names join the creative team. Some names are familiar from earlier shows, such as Guy Laliberte (President and CEO of Cirque du Soleil, called the "guide" for Varekai) and Violaine Corradi, who composed the excellent music of "Dralion." But many names are new to the creative team, or at least lesser-known. Here is a brief look at those who make up the creative team of Varekai--an introduction to the new names, and a refresher on those whose work we already know and love. Guy Laliberte (Guide)--A fire-eater and stiltwalker, Guy Laliberte created Cirque du Soleil in 1984. Though he is no longer an artistic director, he has guided every Cirque du Soleil show since the beginning, and continues to look for new ways to "reinvent" Cirque du Soleil. Dominic Champagne (Director)-- Mr Champagne is a playwright and director located in Montreal. His plays have been performed around the world with his company, Théâtre Il Va Sans Dire. His solo writing efforts include "La Repetition" and "L'Asile." "Varekai" marks his first collaboration with Cirque du Soleil, though in his youth he performed as a "circus boy" in Greece. Andrew Watson (Director of Creation)--Anyone familiar with "Le Cirque Reinvente" has seen Mr Watson, who performed on the Aerial Cradle with his flying partner, Jaqueline Williams. The duo started out at Gerry Cottle's Circus in London, and later joined Cirque du Soleil. Mr Watson has stayed with the Cirque du Soleil holding various positions on Cirque shows including Saltimbanco, Alegria, and Quidam. Stephane Roy (Set Designer) -- Mr. Roy studied at the National Theatre School (as did Dominic Champagne). He has designed sets for the dance troupe La La La Human Steps and for shows at Espace Go and other theatres. Mr. Roy was the set designer for "Dralion." Eiko Ishioka (Costume Designer), the first woman to win the Japan Advertising Artists Club Prize, studied at Tokyo National University of Fine Arts and Music. She worked with Francis Ford Coppola for "Bram Stoker's Dracula" and "Apocalypse Now" and in 1983 published her first book, "Eiko by Eiko." Recently, she designed the costumes for Wagner's "Ring Cycle" at the Netherlands National Opera. "Varekai" marks her Cirque du Soleil debut. Violaine Corradi (Composer)--"Dralion" was Ms Corradi's composing debut with Cirque du Soleil. She has composed the music for the IMAX films "Great North" and "Bears" and her solo work "Passages." Ms Corradi also worked on the CD "Nova's Dream." Michael Montanaro (Choreographer) is a first-time choreographer with Cirque. He teaches at Concordia University but took one year off to work on Varekai. Mr. Montanaro came to Cirque with no background in choreographing acrobatics but has come up with some inventive ideas, including a piece for a performer on crutches developed with... Bill Shannon (Choreographer)--"The CrutchMaster" is a recognized performer on both the hip-hop dance scene and the disabled artist scene. He has put together street performances exploring the public's discomfort with disability and the disabled. He was the Pennsylvania Developmental Disability Council Fellow in 1997 and one of Dance Magazine's "25 to Watch" in 2001. Mr. Shannon is making his Cirque debut, and his choreography should be an intriguing addition to "Varekai." Jaque Paquin (Rigging Designer) was hired by Cirque du Soleil in 1990 and held many posts while designing the aerial mechanics for "Saltimbanco," (for which he was also Technical Director) "O", and "Dralion." Nol van Guchten (Lighting Designer) has been with Cirque since 1994 and became the Assistant Lighting designer in 1996. This is his first time as Lighting Designer for a Cirque tour. Francois Bergeron (Sound Designer) designed sound for many Cirque shows beginning with "Nouvelle Experience." Other recent projects include the Sound design for "Templo del Fuego" at Universal Studios (Spain). He is based in Los Angeles and sometimes leads seminars in Sound Design. Francis Laporte (Projection Designer) works in Digital Video Production and designed the overture to "Dralion." He has broken many of the standard barriers in multimedia projection and promises to break more. Expect to see his work featured prominently in "Varekai." Cal McCrystal (Clown Acts Designer--duos) trained at the Royal Scottish Academy of Music and Drama. He is a director and actor, and has directed several plays for the Cambridge University Footlights Dramatic Club, well-known for comedy and clowning. "Varekai" is Mr. McCrystal's first time on the Cirque's Creative team. Nathalie Gagné (Make-Up Designer)--Ms Gagne has been on the creative teams for "Quidam," "O" and "Dralion" and has designed new makeup for "Alegria" and "Saltimbanco." She has also done makeup for several Canadian films and television shows. Andre Simard (Aerial Acts Designer)-- Mr. Simard has taught at L'Ecole National du Cirque for many years and has designed aerial acts for Cirque du Soleil dating back to "Nouvelle Experience." He is the former coach for the National Gymnastics Team and has his own studio, "Les gens d'R." If you've seen a recent Cirque du Soleil show, chances are you've seen Mr. Simard's work. The Creative Team for "Varekai" is an unusual and delightful mix of old and new, and should prove once again that Cirque can reinvent itself over and over. As long as Cirque du Soleil is made up of risk- takers like these, Cirque will keep changing and introducing new elements to "circus." Based on the creative team alone, "Varekai" looks like it will be a wonderful, wildly different Cirque du Soleil show. ======================================================================= SPECIAL ENGAGEMENT: "LE GRAND TOUR: VAREKAI" (By: Ricky Russo) ======================================================================= The month of April was met with much anticipation on my part. A brand new Cirque du Soleil show was set to debut and for the first time I would be part of the festivities - seeing the show debut in Montréal, Cirque's home. Many factors had to fall into place for such a trip to occur: finances, time, and reason. Why reason? Because everything must have a reason and I needed to convince myself that going to Montréal to see a show at its earliest beginnings was a good thing to do. Going out of the country would take some planning (as I live in the US), a lot of money and certainly time that I may or may not have. It was a decision I was weighing up until the creation of the Fascination! Newsletter. Thanks to the creation of the newsletter the possibility of going to Montréal came into focus. Not only could I go to satisfy personal curiosity, but I could also go in the capacity of the newsletter - to cover the show as completely as possible. That realization led me to talk with Paul Roberts, a Senior Writer for the newsletter. He and I crafted a trip for two, almost mirroring a trip that we were about to take to Miami, Florida for Quidam. As the weeks melted away, more people came on board. Those were torrid weeks of worry and concern as some who committed found they could no longer go, while others teetered on the brink of insanity (going, not going, and going again). All in all, there were a group of seven of us. Some from the newsletter (Myself, Paul Roberts and Keith Johnson, who came very much at the last minute) with the rest made up of various friends of each party. We staggered into Montréal's Dorval airport on Wednesday (the 24th) and Thursday the 25th with our eyes wide, our pockets full of Canadian currency and our minds bracing for the experience. The trip was an enormous success from all standpoints. Montréal was a gracious city, beautiful and majestic. Getting around was no trouble at all on their Mètro system (underground subway) once you understand where you're going (there are no signs in English due to Quebec language laws). The people too were very friendly, even if they couldn't always understand English or we French! (It took me the longest time to figure out what PFK was - Poulet Frit Kentucky or Kentucky Fried Chicken!) Friendly people but hellish weather - it was definitely something to be reckoned with. Going from a sunny cloudless sky with a temperature of 13 degrees Celsius (about 55 degrees Farenheight) on Wednesday to a rainy, cold, and miserable day on Thursday. On Friday, the winds picked up at a rate of 35 km per hour, blowing everything about. On Friday, the temperature was about 6 degrees C and clear skies - making for a cold night! But nothing could surpass the surprise waiting for us on Sunday morning - SNOW! Lots and lots of it to be exact! It was as if a blizzard blew in from the north it was so bad. Two of us decided to venture out in the snow and came back looking more like snowmen than Cirque fans. In spite of the weather, Varekai was and is a huge it for Cirque du Soleil. All of us loved the show. In fact, we loved it so much that some of us saw it three times! (We had guaranteed tickets for the showing on April 25th, but we decided to wait in standby for the show on April 26th and again on April 27th!). I recommend standby for anyone who needs a ticket to a sold out show. Your chances of grabbing a good seat are very good. That first night in stand-by was my first and a bit exciting as Paul Roberts procured two tickets very quickly from a gentleman who was looking to sell. Unfortunately, that left us with a quandary: purchasing two more tickets! It all depended on how many people didn't show up for will call (and boy were we a sight to see hoping the masses of people walking down the pier wouldn't pick up their tickets!) Thankfully, two became available and we were in again - that was so sweet! Probably sweeter than the first showing. The third night, however, was an adventure that none of us want to repeat. On Friday, Paul, myself and Cedric (a friend of mine) stood in line for an hour and a half with no success. The show started and tickets were scarce available. By the time Paul and I got to the window (you could buy two and two tickets only per person), they closed up shop and advised there were no more tickets to be had. Oh no! Seeing the show without Cedric was not an option so we proceeded to sell the tickets to a couple waiting nearby. But, as the sale was about to close, more seats became available and Paul snapped those tickets back so quickly, I thought his arm was hooked up to a bungee chord. While we missed the beginning of the show (and came in during the first act), it was still a wonderful sweet moment to be once again under the big top. Through the coming weeks and months, the Fascination! Newsletter will continue to explore Varekai from every angle possible. Remember, Montréal is but the first stop in a North American tour scheduled to last until 2005-2006, so there is no doubt we will see the show again! For myself, the month of April begins a series of events that will take me on a whirlwind tour of Cirque shows, from their most recent (Varekai) to the eldest touring show (Saltimbanco). In the end, I will see all 8 currently running Cirque du Soleil shows within the span of 1 year (actually, in less time). The itinerary is tight; The cost overwhelming. But this journey is something I must undertake. It is a journey that I *want* to undertake, no one is forcing me. Am I doing this to prove that I am the ultimate fan? The answer to that is a resounding no. We're all big fans in our own way and express that fandom in just as many ways. For myself, I'm taking my fandom to a whole new level. I may not be the first, nor the last person to undertake such an event, but for me in my, taking a trip of this magnitude seems right. The time is right. Finances are in order. I am young and want to experience the world... and I invite you to come along with me! The Fascination! Newsletter will follow, with it all unfolding right here as I complete my journey, one show at a time! So, what's next now that Varekai has been experienced? Well, at the end of May I will be traveling to the deserts of Nevada to take in the oasis known as Las Vegas. It holds two gems in the Cirque du Soleil portfolio: Mystère (1993) and "O" (1998). These are two shows I've seen in the past but leapt at the chance to see again. For Mystère, I'm seated in almost front row: Section 103, Row B, Seat 13 (the 7:30pm performance on 5/24) - the exact same seat I had the last time I saw the show. For "O" I'm in the "splash zone" in Section 104, Row A, Seat 18 (the 7:00pm performance on 5/27). The excitement is definitely in the air and I can't wait to go! The rest of the itinerary is shaping up but is not quite complete. After Las Vegas, I will be traveling to Denver to see Alegría as it makes its triumphant return to US soil (June 23rd at 6:00pm), Dralion next in Seattle (as well as a very special event I'll elude to more as the time is right), Quidam and La Nouba in Florida, and finishing up with Saltimbanco (which I have never seen live) in London. And, let's not forget Journey of Man, which currently plays at the Science Center, in Orlando, Florida. Ambitious? Yes... but well worth it! So, stay tuned for further installments of: Richasi's Le Grand Tour. ======================================================================= FROM THE BOUTIQUE: "WHEN A PROGRAM IS NOT A PROGRAM" (By: Keith Johnson) ======================================================================= The merchandising department at Cirque Du Soleil must have been in a quandary - they had a visual identity for Varekai (a winged "puppet man" who looks to be "falling" through a yellow background, with the shows title in red above it) but that was about it, the show was still in flux as deadlines drew near. So there was a paucity of Varekai merchandise available for the Montreal performances; a poster and magnet (with a 3-D puppet image emblazoned on it) were about the only things we found. Oh, and something called a "Cirque Du Soleil - Varekai - Creator's Notebook" selling for 14.00$ Canadian. What makes this booklet interesting, besides the look and feel of a book documenting a show whose own look and feel was still in flux, is the inclusion of a "bonus sampler CD-ROM" of audio and video excerpts and interviews about the show. Now this should be interesting! The cover is striking, showing a section of the stage with its' 20- foot "forest poles" and catwalk reaching to the heavens. Opening the first 5 3/4 inch wide by 9 5/8 inch high panel reveals the second cover panel, part of the Icarus storyline with the word "Falling" superimposed on it. And the cover opens yet again, revealing the word "freedom". In total there are 28 full-color pages, with an 8-panel fold-out cover. 17 pages are dedicated to the show, the rest to credits, photos and ads. The entirety of the book is carefully bi-lingual French/English. The imagery, with pictures by Jean-Francois Gratton and Al Seib, Art Direction by Pierre Desmarais, and Graphic Design by Michel Dalpe, consists mostly of pictures from rehearsals (performers not in costume), computer designed imagery and artists renderings. The text, with lines on the topics of memory, ritual, chaos & disorder, metamorphosis, and death and rebirth, to name a few, speak to wandering, evolution and change. Some selected lines: * "Our quest is riddled with ordeals, pitfalls, and mysteries." * "Wandering is a comfortable way to live one's life." * "To wander is human. We are on a quest for meaning, happiness, truth, and freedom." Quotes such as these are sprinkled throughout the imagery of the book. Most all the performers are shown, though they aren't labeled with their specific acts as in other programs I've seen, and in general are not in their show costumes. The extensive credits pages (long because they need to be in both French and English) thank all the major contributors, with special generic group "Thank You's" to the costume, set, prop, and special effects people. In addition to the traditional black turtleneck performer "head shots," the book has full-page ads for sponsors American Electric Power and Desjardins (a Canadian insurance provider), the charity Oxfam, the L'Ecole Nationale de Cirque (Canadian National Circus School, whom Cirque du Soleil patrons and is also Montreal-based), and a general Cirque du Soleil ad. Finally, there is a panel on which the CD-ROM rests, which also promotes the "Inspirational New Soundtrack available September, 2002." (Which is funny considering the soundtrack hasn't been recorded yet). It's here the program features it's only image of the "puppet man", in its depiction of the album cover. There isn't much about the "Icarus" storyline here, no real representation of the Aerial Strap act by the English Atherton brothers, and only one picture (in negative image) of John Gilkey, who has a prominent role in the show. Overall, this is an interesting concept for a Cirque "program". What makes it most interesting for Cirque collectors is the likelihood that, as the show "settles down," this "Creator's Notebook" will be replaced with a more-traditional "Program" for it's North American Tour. So this has more of a "collectible" taste to it from our perspective. And then there's that "Bonus Sampler CD.... The CD contains both color video and audio excerpts, for both PC and MAC, and requires Macromedia and QuickTime 5 (which is included if needed). All pages except the main menu page have a "back" button. The video interface has a volume control, pause button, time bar, and fast forward and fast rewind buttons. There are two sections - French and English (of course). The most interesting thing about the CD is that the interviewees speak French on the French side and English on the English side, in effect giving unique answers each time. We can only assume they are giving the same answer in French as they are in English. (If a bi- lingual fan would check and confirm this, we would be most appreciative.) For this review, we'll be looking at the English side. From bottom to top, the CD's sections are: --Visual Identity - A static shot of the Varekai poster. It would be nice to have the ability to make this into a screen saver without having to go to a lot of trouble. Of course, if would be nice to have other Cirque images available as Screen Savers, oh Cirque Club?? --Act Preview Aerial Straps (video length :40 seconds) - The Atherton brothers rehearsing their act in the Cirque headquarters rehearsal hall. The music, "Straps", features an ethereal female vocal. --Act Preview Icarian Games (:40) - Also taped in the rehearsal hall, the Russian and Ukraine body-flippers almost miss, showing camaraderie at the end. The music used here is different from the music clip of "Icarians" described below. --Violaine Corradi, Composer interview (1:13) - She discusses the simplicity of the melody lines and how they imprint on the "soul of the audience." She also mentions her desire for the music to not be melded to any one culture. --Andrew Watson, Director of Creation interview (1:02) - Discusses getting the creative team together, and his efforts to "create a different way of creating." --Dominic Champagne, Director interview (1:00) - Explains how they wanted to start at the end of the Icarus myth, with Icarus "falling inside a family of survivors, like circus performers are." --Guy Laliberte, Guide-President and Chief Executive Officer-Founder (whew, got enough positions there Guy?) (1:52) - He explains how Dominic comes from a theater background, the differing rhythms between theater and Cirque, and how Dominic and Andrew interfaced. --Music Excerpts ("Exclusive Excerpts Selected by Violaine Corradi") - Here is where the interface lacks. These are not accessible from a standard CD player, having been encoded as QuickTime files. You can only click to start them; no pause, no volume controls. In order to manipulate them further, you'd have to do it in another player. Both clips are in stereo. --"Gitans" (1:59) - This is the music that starts Varekai, a slow march featuring violin, tuba sounds, and tambourine. It's much more "filled out" here than in performance. --"Icariens" (5:54) - This is played during the Icarian Games body- flipping act and, as with "Gitans", is fully orchestrated. It is heavy with drums, percussion and chanting. A nice, long piece, it ends very suddenly. It would be nice to have a performer interview here, but this might go against the Cirque philosophy of not "featuring" performers (though a John Gilkey interview would have been fun). The interviews that are featured could have been longer, but taken in total this is a novel extension of a standard program book. One wonders whether these interviews will appear on some "making of" video later. Overall this is a good program, given that by press time there was probably not much to work with. The "bonus" CD is something I'd love to see continued (and given my completist tendencies, expanded upon). But in it's short 15 minutes of programming, it gives a good sampler of the show and the impetus behind it. ======================================================================= LE SPECTATEUR: "A NOUVELLE LAS VEGAS EXPERIENCE" (By: Mimi Roscioli-Greco) ======================================================================= When I originally sat down to write this article, my plan was to write a concise, day-by-day travelogue. I then realized that chances are this would not be what my reading audience, a group of devoted Cirque du Soleil fans, are interested in hearing about. They aren't interested in hearing all of the sordid details, like what time the plane took off, etc. They want important information that can be used in the future. They want to know the hotspots of the 24-hour city. They want to know about my personal encounter with Cirque du Soleil. Most of all, they are interested in the experience. When: March 29, 2002, a warm Friday evening. Where: The bustling Treasure Island Resort and Casino. What: A 7:30pm performance of Mystère. When my family and I headed to Treasure Island, I was ecstatic to find a Cirque du Soleil boutique. Trés cool! I stayed there for a good hour while my parents ventured elsewhere to get some Starbucks before the show. I parked myself in front of a CD listening station for quite a bit of time and eventually a nice couple came over by me and asked if they could share the other set of headphones. Sure why not, I figured. As we were listening to the Nouvelle Experience soundtrack I noticed that the woman made a little bit of a face so I changed it to O and told her that it's music was absolutely phenomenal. "Oh I saw this last night," she said, her enthusiasm growing. I told her that I had tickets for the 10:30pm Sunday performance and she really got into talking about the show. We talked a little more and I found out that they were visiting from France! We never exchanged names but it was a pleasant encounter nonetheless. When we were seated inside the theater, I was absolutely amazed by the architecture. While I was expecting the show to be really good, I never figured that the theater itself would be nice looking as well! About fifteen minutes before the show, Brian le Petit, Brian Dewhurst's character, came out to begin the pre-show. I couldn't believe it! Brian Dewhurst was standing right before my very eyes. Unbelievable! I must say that he really put on a good pre-show, too. He began "seating" people. Well, actually no one really made it to their seat. He sort of gave up halfway along. He also included several other antics in his performance. Next, a puppet-toting Nicky Dewhurst came out and the show began. "And now, ladies and gentlemen, sit back, relax and enjoy... MYSTERE!!!!" The lights dimmed, Taïko drummers dropped from the ceiling, fog rolled onto the stage, and the show began. While the entire show was absolutely phenomenal, I think I enjoyed watching Nicky and Brian most of all. They clearly showed a special father - son chemistry on stage. Other highlights of the show included the opening number, the taiko drums, and the bungees. The show also included a good deal of modern dancing, which made me very happy. When set against the music to "Kalimando", a pas de deux dance moved me to tears. The whole show went by so fast, I could hardly believe it. In a way, it was almost sad to see the artists bid farewell. Fast forward 48 hours to March 31, 2002: Easter Sunday. Time for the most anticipated show of the entire trip: a 10:30pm performance of O! The minute I entered the theater, the smell of chlorine hit me and I couldn't help noticing that it was slightly more humid than normal. The temperature, however, was still very comfortable. I watched as the theater quickly filled. Sure enough, a sold out performance. At exactly 10:30, the clowns came out for the pre-show. How adorable! A leak had sprung in the theater and the comic duo was determined to stop it. Soon after, Guifa came out and was lured behind the red curtain by Eugen, an old, hunched-over theater manager. Peeking out once more, Eugen instructed Guifa to read all of the theater rules (no smoking, flash photography, etc...). Guifa flew into the air and the red curtain was whipped away by a gust of wind, revealing to the audience the mysterious world of O. The rest of the show flew by and totally surpassed my expectations. While I thoroughly enjoyed every moment of the performance, there were a few acts that definitely stuck out to me. The Russian swing is a pendulum type of apparatus that looks very similar to a playground swing, hence the name. When swung by two riding artists, it has the capability of catapulting an artist thirty feet into the air, sending them plunging into the water. Secondly, La Barge, the Banquine acrobat troupe, performs. Director Franco Dragone, who has always practiced a multidimensional mode of staging (or having several things going on stage at once), also blocked synchronized swimmers into this portion of the show. Cerceaux is a aerial hoop act. The hoops continually raise and lower, causing the performers to sometime skid the surface of the water. When set to the beautiful "Svecounia", it is absolutely incredible. Perhaps the most interesting and pivotal scene of O was the finale. Eugen, who made a complete transition from the dark to the light, appeared serenading a beautiful young girl on the piano. As Eugen continued to play he, the girl and the piano slowly disappeared into the water. Being a sensitive type, this bold image struck a chord with me and I couldn't help but get teary-eyed. Meanwhile, in the background, all of the artists gathered together in one big group, simply watching, waiting. A large wicker basket from a hot air balloon dropped into the water. In the blink of an eye, the red curtain was drawn from the basket by a gust of wind and blown back into it's original position, once again hiding the world of O. {To read more about Mimi's wonderful trip to Las Vegas, including what she liked, disliked, found to be "hot" and "not so hot", visit her website at: http://seoul-du-le-cirque.cjb.net/} ======================================================================= PARTING QUOTE ======================================================================= "Brotherhood: The way to take part in something greater than one's self" - Varekai ======================================================================= NEXT ISSUE... ======================================================================= Our coverage of Varekai isn't over yet - in fact, it's just beginning! Our next issue will explore the musings of John Gilkey and Varekai's two clowns: Mooky Cornish and Claudio Adalberto Carniero. We'll also take a peek into Dralion and many other exciting areas related to Cirque du Soleil! 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 9a: August 01, 2002}