======================================================================= Fascination! Newsletter Issue #11 - July 2002 "Live to Cirque; Cirque to Live" ======================================================================= Bonjour et bienvenue! Our eleventh issue is bursting at the seams with information related to Varekai's continued evolution, the new Alegría DVD, and the further chronicles of "The Grand Tour" in Denver! But, before we begin, an observation made by Barry Fink from the Las Vegas Sun. He said, "[Cirque is] similar to an abstract painting, you don't question, you merely enjoy." That's Cirque du Soleil, and that's Fascination! ============ Contents: ============ * Cirque Buzz: News, Rumours & Sightings * The Itinerary: Tour/Show Information * Historie: This Month in Cirque History * Anniversarie: Birthday Wishes to Cirque Alumni * Le Spectacle: "The Art and Evolution of Varekai" (By: Wayne Leung) * From the Boutique: "Alegría Comes Home!" - "Extra Special Extras" (By: Paul Roberts) - "Technical Notes" (By: Ricky Russo) * The Cirque Connection: "Teatro Zinzani" (By: Keith Johnson) * Behind the Curtain: "Alegría, Obstructed" (By: Ricky Russo) * Le Spectateur: "Clownin' Around" (By: Ricky Russo) * Special Engagement: "Le Grand Tour: Alegría" (By: Ricky Russo) * Beyond the Bigtop: "Varekai Programme Revisited" (By: Keith Johnson) * Parting Quote * Next Issue * Subscription Information * Copyright & Disclaimer ----------------------------------------------------------------------- ======================================================================= CIRQUE BUZZ: NEWS, RUMOURS & SIGHTINGS ======================================================================= Four Flowers, One Desert: ------------------------- Using the words "a partnership based on creativity and innovation," Cirque du Soleil in their June 13th press release, confirming earlier rumors that they were not only developing one, but two new shows for Las Vegas, Nevada, in partnership with MGM-Mirage. The "Fascination! Newsletter" touched on these rumors in issues past; they were rumored to be working on a "Cabaret" style show, which we believed would be housed at the New York, New York Hotel-Casino. Exciting new official details have been released about this project - confirming the Cabaret show, as well as another new show to set up shop at the MGM Grand. The first project, at New York, New York is set to open in 2003 under the direction of Philippe Decouflé, with Andrew Watson serving as Director of Creation. While the theme and disciplines therein are still in development, the show is said to be "sensual, exotic and provocative;" containing elements of dance, acrobatics and, of course, humor. This show will take the place of "Michael Flatley's Lord of the Dance" currently showcased at the hotel. The Second project, for the MGM Grand, will replace "EFX Alive!" currently starring Rick Springfield, and will reopen in 2004 - Cirque du Soleil's 20th Anniversary year. Robert Le Page is set as director with Guy Caron (Le Magie Continue, Dralion) serving a Director of Creation. This show is set to "shake the spectator's perception of space, conception of the law of gravity, and comprehension of the world in three dimensions." These project build upon the relationship between Cirque du Soleil and MGM-Mirage, which started back in 1992 with a special presentation of "Nouvelle Experience" on the grounds of the Mirage hotel-casino. Other projects with this Las Vegas-based company include: Mystère in 1993 (at Treasure Island), "O" in 1998 (at Bellagio), and a special engagement of Alegría from 1999-2000 (at Beau Rivage, in Biloxi, Mississippi). "MGM Mirage has an excellent grasp of the creative strengths and energy that drive Cirque du Soleil," said Guy Laliberté, CEO and Founder of Cirque du Soleil in a recent press release. "We have always held fast our dream of reinventing other forms of entertainment." And it certainly looks as if Cirque du Soleil will continue to "Re- invent the Circus" in the desert of Las Vegas, and worldwide, as their expanded partnership with MGM Mirage will globalize their efforts even more. (Source: Cirque du Soleil) A Fire Burns Within: -------------------- On June 10, 2002, Cirque du Soleil announced the official title of its 13-part series set to air in North America on Bravo (in the United States), ARTV (Canada), and the Global Television Network (Canada) - "Fire Within". This production, which has been in development for over a year, will air in late 2002 in Canada and early 2003 for US audiences. It is a day-to-day peek into the lives of Cirque artists, and administrative staff as they come together to work, play, laugh, love, cry and dream. "Fire Within" is set to chronicle the behind-the-scenes elements of the creation of Varekai, Cirque du Soleil's newest touring production. This new series is produced by Galafilm is being produced by Galafilm (an independent film company based in Montréal) and Créations Musica (a subsidiary of Cirque du Soleil Images) in association with the Global Television Network, ArTV, and Bravo USA. (Source: Cirque du Soleil) Cirque Burglarized!: ------------------- Dralion, currently set up in Portland, Oregon, is facing a crisis of its own this month - a thief. Between Saturday June 15th and Sunday June 16th, approximately $11,000 in items were stolen from the Big Top, nestled beneath the Marquam Bridge. A list of 12 "one-of-a-kind" items have been reported stolen. Among them, a headdress featuring the "Dralion" dragon/lion logo, a Chinese Lantern, Fans, Knee Hoops, Unitards, and a cloak made of white feathers (the same cloak worn by the lead female singer). Cirque du Soleil is currently working on a contingency plan for recovery of the items - using temporary pieces so there is no spectator impact. "You just can't reproduce it overnight," said Magdalena Vandeberg (Dralion publicist) in an interview for a Portland newspaper. As an example, they'll need approximately 6 months to re-create the cloak. (Source: Joseph Rose, the Oregonian) A Longer Life? -------------- According to our source at the "Meet the Performers" night in San Diego (which we reported on last issue), the Tour Manager reported that he had just been informed the "new touring lifespan" of a Cirque show had been expanded to 12 years. We haven't had confirmation of that yet, and we'll certainly see as Saltimbanco enters it's 10th year, but it just might mean more opportunities for Cirque fans to see shows! Alegría DVD Problems Reported: ------------------------------ When fans began receiving their long-awaited Alegría DVDs this past month, there was much happiness, until the DVDs were opened and played. It has been posted to the Cirque Club (www.cirqueclub.com) discussion board that the Alegría DVD is not up to standards set with other recent releases - like Dralion and Quidam. reported problems include the inability to pause or fast-forward during playback (which in itself is a big hindrance) and the audio is said to be "worse than the VHS copy." Further review of the Alegría DVD is in our "From the Boutique" column this month. Varekai performer's real-life Icarean fall: ------------------------------------------- Varekai's theme of Icarus falling hit a little too close for comfort for one performer. During one of that show's final performances in Montreal, Romech Mourtazov, a performer in one of the most brazenly spectacular Cirque numbers, the Russian Swings, overshot the outstretched screen that was supposed to catch him, hit the side of the big top and fell from a height of approximately 7 meters (21 feet). The crowd looked on, horrified, but miraculously Romech only suffered a badly bruised heel. According to the director of Cirque's training program Bernard Petiot, "The performers are well-developed, well-trained and well-controlled. We always consider the angles in every movement, and it was a slight angle change in Mourtazov's flight that made the difference." Varekai is one of the few Cirque du Soleil productions which does not employ any safety wires or nets, however the performers are very highly trained and all necessary precautions are taken to ensure their safety. Cirque du Soleil has, fortunately, never had a fatality in its 18-year history. We are happy to report that Romech is well on his way to a speedy recovery and is expected to rejoin the Varekai cast shortly after the Quebec City premiere. (Source: Bill Brownstein, The Montreal Gazette) Mooooooooooooookie: ------------------- Clowns have been a mainstay of Cirque du Soleil presentations since the very beginning. They make us laugh, cry... and sometimes make us mad when they take our popcorn and throw it all over the place! Regardless of how we feel about Cirque du Soleil clowns (good, bad or indifferent) they will forever remain a part of the overall staging of a show. For Varekai, Cirque du Soleil employed one of its alums - John Gilkey; and a duo from Canada and Brazil respectively - Mooky Cornish and Claudio Adalberto Carniero. Their segments have been blasted in the press for being humorless, unfeeling, flat and "the weakest part of Varekai." Fans alike have also made their feelings known in various chat rooms, fan sites and discussion boards. But in all the current negativity surrounding this duo, there's one truth that seems to be overlooked: Cirque hired them. Guy Laliberte accepted and approved them. And if he didn't think they were funny, they would not be part of the finished product. Let's take a look at one of the members of the Varekai duo: Mooky. Mooky Cornish's (real name Kathleen Cornish), is the former lead clown for the Green Fools' Great Western Canadian Bricks & Earth Circus, and while this is her first job with Cirque du Soleil, she has been famously connected with the enigmatic troupe for many years - famous for turning them down! Her relationship with Cirque du Soleil began in 1994 when she spotted a billboard for the Cirque in New Mexico. "So I got on a train the next day," Cornish says in an interview with Lori Montgomery, On Stage writer for the Calgary News & Entertainment Weekly (December 20, 2001). "I went to Montreal." But when Cirque didn't offer her a job right away, she took a position as an apprentice. Over the years, Cirque du Soleil offered Mooky lesser parts in its established productions, all of which she turned down. "I was in no position to take them," she said. She was even offered a part for Mystère, which she also turned down. "The truth is, I didn't want to go and do someone else's part. I didn't want to live in Las Vegas." And now she doesn't have too. The waiting as finally paid off with the ultimate role in Varekai. Mooky Cornish has signed on with the troupe for three years, performing in roughly half of the planned North American tour. (Source: Lori Montgomery, FFWD) This Month In Cirque Club ------------------------- Cirque Club (www.cirqueclub.com) has four new articles in it's members-Only section this month, and there are also two very interesting ones in Cirque's general Press Release section. The two Press Releases discuss the new Cirque TV series in conjunction with Bravo TV USA, and the two new shows in Las Vegas in conjunction with MGM Mirage Resorts. Cirque Club's articles discuss Grand Chapiteau raisings in Portland for Dralion and in Detroit for Quidam. There's also an article on Alegria's premier night in Denver. Finally, and most interestingly, is a quote from an "O" performer about what she thinks about as she is performing. Catch these and more at CirqueClub, Cirque du Soleil's official fan club. Saltimbanco re-filmed? ---------------------- In an unprecedented move, Bravo, the arts and film network in the United States, has announced that it will film for future airing, Cirque du Soleil's oldest currently touring show - Saltimbanco. Bravo is the official network of Cirque du Soleil and currently owns the broadcast rights to its repertoire of shows: from We Reinvent the Circus, Nouvelle Experience, Saltimbanco (1994), Quidam, Dralion and recently Alegria. It is rumored the filming will take place at the Royal Albert Hall in London, where Saltimbanco plays from January 10-26, 2003. It is unclear whether the Royal Albert Hall performance will be the "final" curtain for Saltimbanco, the "final" curtain previously fell there in 1998. (Source: Yahoo! Business News) Why Milk: --------- Have you seen the Cirque contortionists in that neat "Got Milk" print-ad? Two of the ladies from "O" are pictured, one balanced perfectly atop the other, all atop a table - with their milk moustaches of course. Did you know there's also a video? You can find it on the www.whymilk.com website (which also has a write-up of Cirque off their main page, click on the ad image to go there). From the main page, click on "Free Milk Stuff", then click on "Videos." It's available in four(!) formats: 28K, 56K and Broadband in Windows Media, and Broadband in Quicktime. The 3:00 long video (with a very faint soundtrack) documents the photo shoot, with the contortionists putting on their wigs and sipping that milk! They do a number of poses for the camera, including some with three ladies. There are no performer names given and no interviews, just coverage of the photo session. It would be nice if the Milk Moustache Campaign offered posters of the various ads, but we didn't find any on the site. Thanks go to "Jane L" on the Yahoogroups Cirque list for the initial sighting. Journey of Man, still earning: ------------------------------ In spite of the IMAX film's release for home viewing in October of last year, the Cirque du Soleil/Sony Classics film is still earning dollars at the box office. Playing now for 766 days (that's a little over 2 years), Journey of Man has managed to earn $13,357,443 total. For an Imax movie, that isn't too shabby! Find out if Journey of Man is playing near you at: (Source: Variety) "Fascination!" Adds Seventh Writer: ----------------------------------- You never can have too much talent, and the "Fascination! Newsletter" wishes to extend a warm welcome to Wayne Leung, our newest writer! Hi! My name is Wayne Leung, I'm 21 years old and I live in Ottawa, Canada - Canada's capital). I speak English, French and conversational Cantonese Chinese. Growing up in Canada I watched many Cirque du Soleil television specials on the CBC, but it wasn't until I saw Saltimbanco (when it played Ottawa in 1998) that I became a devoted fan. Since then I've seen Dralion and Varekai live in Montreal, and own nearly all of Cirque's DVDs and CDs. I had a brief stint as a professional actor and singer as a child/teen but I'm currently working on an Engineering degree. Since I'm now immersed in a highly technical background I'm looking forward to writing for Fascination! as an outlet for my artistic side, and hope to write intelligent and insightful articles for our readers. Happy reading! ======================================================================= THE ITINERARTY: TOUR/SHOW INFORMATION ======================================================================= [Touring Shows] Alegría: * Denver, Colorado: 6/12/02 - 8/04/02 * Minneapolis/St-Paul, Minnesota: 8/21/02 - 9/8/02 * Mexico City, Mexico: 10/10/02 - 11/10/02 Dralion: * Portland, Oregon: 6/12/02 - 7/21/02 * Seattle, Washington: 8/1/02 - 8/25/02 * Sacramento, California: 10/4/02 - 10/20/02 * Phoenix, Arizona: Fall 2002 Quidam: * Detroit, Michigan: 6/20/02 - 7/14/02 * Boston, Massachusetts: 7/25/02 - 8/18/02 * Cleveland, Ohio: 9/26/02 - 10/13/02 * Tampa/St. Petersburg, Florida: Fall 2002 Saltimbanco: * Vienna, Austria: 7/10/02 - 8/04/02 * Brussels, Belgium: 9/4/02 - 10/06/02 * Madrid, Spain: 10/31/02 - 12/01/02 * London, England: 1/10/03 - 1/26/03 Varekai: * Québec City, Canada: 6/27/02 - 7/21/02 * Toronto, Canada: 8/1/02 - 9/08/02 * Philadelphia, Pennsylvania: 9/19/02 - 10/6/02 * San Francisco Bay, California: 11/7/02 - 12/8/02 * San Jose, California: 1/16/03 - 2/9/03 * Other Confirmed/Rumored Stops: - Chicago, Atlanta, Miami, Jersey City Boston, Houston and Dallas. [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: - 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: - 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: - August 12th through 13th - October 14th through 15th - December 4th through 19th ======================================================================= HISTORIE: THIS MONTH IN CIRQUE HISTORY ======================================================================= * July 05, 1984 -- 1984 Tour opened Rimouski, Canada * July 05, 1985 -- 1985 Tour opened Québec [Vieux-Port de Québec] * July 05, 1986 -- Le Magie Continue opened Québec, Canada * July 05, 1990 -- Nouvelle Expérience opened Seattle, Washington * July 06, 2000 -- Saltimbanco 2000 opened Seattle, Washington * July 07, 1987 -- Le Cirque Réinventé opened Québec, Canada * July 10, 2002 -- Saltimbanco opened Vienna, Italy * July 11, 1990 -- Le Cirque Réinventé opened Montréal, Canada * July 12, 1984 -- 1984 Tour opened Saint-Jean-Port-Joli, Canada * July 12, 1994 -- Alegría opened San Francisco, California * July 14, 1992 -- Fascination opened Osaka, Japan * July 14, 1992 -- Saltimbanco opened San Francisco, California * July 19, 1984 -- 1984 Tour opened Baie-Saint-Paul, Canada * July 21, 1995 -- Saltimbanco opened Berlin, Germany * July 21, 1999 -- Saltimbanco opened Adelaide, Australia * July 23, 1988 -- Le Cirque Réinventé opened Toronto * July 24, 1992 -- Fascination opened Sapporo, Japan * July 25, 1984 -- 1984 Tour opened Québec, Canada * July 25, 2002 -- Quidam opened Boston, Massachusetts * July 26, 1985 -- 1985 Tour opened Toronto [Harbour Front] * July 26, 1991 -- Nouvelle Expérience opened Toronto, Canada * July 26, 1995 -- Alegría opened Chicago, Illinois * July 26, 1996 -- Saltimbanco opened Anvers, Belgium * July 26, 2001 -- Quidam opened Copenhagen, Denmark * July 28, 1993 -- Saltimbanco opened Chicago, Illinois * July 31, 1990 -- Le Cirque Réinventé opened in London, England ======================================================================= ANNIVERSAIRE: BIRTHDAY WISHES TO CIRQUE ALUMNI! ======================================================================= * July 06, 1963 -- Toumany Kouyaté (Singer/"O") * July 10, 1959 -- Pierre Dubé (Taïko Drummer/Mystère) * July 22, 1982 -- Alexi Anikine (Russian Swings/Varekai) * July 25, 1991 -- Bin He (Water Meteors/Varekai) * July 26, 1974 -- Karyne Steben (Duo Trapeze/Former Saltimbanco, "O") * July 26, 1974 -- Sarah Steben (Duo Trapeze/Former Saltimbanco, "O") ======================================================================= LE SPECTACLE: "THE ART AND EVOLUTION OF VAREKAI" (By: Wayne Leung) ======================================================================= Alright, I have a confession. I'm absolutely hooked on Cirque du Soleil's newest show, Varekai. Ever since the first time I saw it (a week after the premiere), I knew right away that I needed to see it again. So, see it again I did; three more times throughout the hometown Montreal run. Doing so gave me a unique opportunity to explore the art and evolution of this breathtaking new production. Those of you who are veterans of live Cirque du Soleil shows already know that you can't even get close to seeing all there is to see when you see a show only once. Add that to the fact that Cirque productions are always in flux. They always try new things to keep the show fresh. This is especially true during the first six months or so after a premiere, when the show is still in its "creation" stage. So, what has changed in Varekai since Fascination! last checked in with the show in the May 2002 issue? Firstly, the order of the acts has been rearranged so that the Triple Trapeze is performed in the first half of the show, in the slot where Aerial Straps used to be performed. The spider goddess characters perform the act immediately after they tear hand-balancer Olga Pikhienko's character away from Icarus and ensnare her in their cage. The Triple Trapeze is immediately followed by the finale of the first half, the super-high energy Georgian Dance. The succession of these acts develops the show's crisis theme and makes it all the more potent, adding a degree of dramatic tension and energy that caries through intermission. In the second half, the Aerial Straps now immediately follows the Solo on Crutches. The juxtaposition of these two symbolically significant numbers, makes the show much more of a complete journey representing catharsis, healing and redemption for Icarus. The change gives the show much more dramatic weight and intensity. The new order also does wonders for the fluidity of the show and allows the acts to flow together even better than before. The energy of the two halves is also more even, the second half originally being very "heavy" compared to the first. Who would have thought making this one change would have made such a difference? Another notable change comes in the form of an absence; Tatiana Gousarova and Oleg Ouchakov (veterans of Quidam's Banquine act) did not perform the Acrobatic Pas de Deux the last few times I saw the show. There is a rumour that Tatiana is injured; if this is the case, then all of us at Fascination! wish her a speedy recovery. Instead of the Pas de Deux, there is a replacement act. Characters hidden in the darkened forest at the back of the set toss glowing orbs into the air, a harbinger of the act to follow. A young man bursts onto the stage to perform a unique, high-energy solo juggling/ manipulation number. The juggler is dressed in a "jester" costume (the same costume worn by the porters in Icarian Games, but with a blue and fluorescent green/yellow colour scheme). The music for the act is up tempo with a South American/Brazilian influence. The juggler begins with regular juggling pins, then switches to manipulation and juggling of soccer balls. He then juggles ping-pong balls with his mouth, spitting them and catching them in rapid succession. As a finale he takes straw hats worn by the Water Meteor boys (who act as characters/assistants during the act) and throws four of them like Frisbees, but so that they return to him like boomerangs. He continues to juggle the hats making, a dramatic dive to catch the last one. This is definitely a high-calibre act and a real crowd pleaser, he got some of the most enthusiastic applause. The first time I saw Varekai I was blown away by its "wow" factor. Upon each subsequent viewing the show retained that power to impress but I was increasingly dazzled by the theatricality and drama at the heart of the show. Another advantage to seeing a Cirque show multiple times is being able to delve deeper into the art and symbolism of the show and to search for the meaning behind each of the acts. One thing I particularly enjoy about Varekai is that it has a strong underlying narrative that threads through the numbers. Each act then becomes an allegory advancing the storyline even more so than in past Cirque shows which were more loosely themed. It's similar to Quidam in that respect, but Varekai is more fantastic rather than surreal like Quidam. Of course, there is still plenty of room for artistic interpretation. I'm always enraptured by my favourite acts; Flight of Icarus (Aerial contortion in net), Icarian Games (foot juggling), Aerial Straps, Hand-balancing and the Russian Swings, but I've also started to appreciate acts that I overlooked the first time. For example, when I first saw Varekai I thought the Solo on Crutches was lame (pun intended). It isn't particularly acrobatic, it's more performance art and interpretive dance, very avant-garde. However, when I saw it again, it moved me deeply. Taken within the context of the show its symbolism is so powerful. The performer urges Icarus to rise, to find the power within himself to overcome the storms that bedevil him. At one point the crutch dancer mimics Icarus' fall from the opening of the show and, as he lies lifeless, is surrounded by masked demon-like characters who close around ready to consume him. He then swipes them away with his crutch and springs upright in a testament to the strength of the human spirit. The Triple Trapeze performed by four artists on a stationary trapeze also was not one of my favourite acts upon first viewing. I was expecting something more along the lines of Cirque's past trapeze numbers, like Duo Trapeze from Saltimbanco or Synchro Trapeze from Alegría. However, when I viewed it a second time, it really struck me as something unique and breathtaking. The performers are like an exquisitely beautiful, living, shape-shifting aerial sculpture. With Varekai, Cirque du Soleil provides us with many achingly beautiful moments and potent images. Every detail is meticulously crafted to form the big picture; the set a striking mechanical masterpiece, the unbelievable costumes stunningly exotic while also sensually accentuating the performers' physique, the eclectic and original music simply entrancing. This show ventures into the realm of high art which can be admired again and again. Every time I see it, there's more to discover, more to analyze and more to appreciate. I loved it to begin with and it just keeps growing on me. So what else am I to do but see it yet again! Temptation got the best of me and I have already purchased tickets for the end of the Toronto run this summer. I'm anxious to see what additional changes there will be to explore and what new art there will be for me to discover in this ever-changing magical world called Varekai. ======================================================================= FROM THE BOUTIQUE: "ALEGRIA COMES HOME!" (By: Paul Roberts and Ricky Russo) ======================================================================= Since it's debut in November 2001 on Bravo, the Arts and Film network in the United States, fans of Alegría have waited (some not so patiently) for the eventual release on VHS and DVD. The first week of June 2002, fans were rewarded with what we agree is a special release indeed. "The Alegría DVD: Extra Special Extras" (By: Paul Roberts) --------------------------------------- After seeing the Bravo broadcast of Alegría I looked forward to its release on DVD. When CirqueClub sent a pre-sale offer email, I jumped on it immediately. After a couple months of anticipation, the DVD arrived in early June. What I looked forward most to seeing were the advertised extras. On the main menu screen-along with the main show are the standard performance selections and subtitle language selections, but no audio selection. There is also a Music Promo, a 58-second advertisement for the Cirque du Soleil soundtracks. While the promo flashes lightning- fast highlights from most of the shows with the album covers swimming across the screen, a three partial-song collage is played that consists of Dralion's "Bamboo", Alegría's "Irna", and ends with the haunting "O" theme. The Special Features part of the DVD consists of four extra sections: A Look Behind the Scenes, A Different Perspective, Meet the Artists, and Multi-Angle Performances. In the "A Look Behind the Scenes" extra there are two videos, The first is 13-minute video "Filming Alegría: A Featurette" which includes interviews with the filming crew, such as Rocky Oldman (Producer), Peter Wagg (Executive Producer), Nick Morris (Director), Patrick Woodroffe (Lighting Designer), and old friend, Luc Lafortune, who was brought back to help mesh the video lighting with his originally-designed stage lighting. The interviews cover how difficult it is to capture Cirque du Soleil's live magic on video. Personally, I think they did a wonderful job. There are so many people that never get to experience Alegría live, but the video unveils an enchanting "next best thing" experience. The second video is my favorite extra: the 45-minute "A Journey to Alegría: A Special" produced by Nine Network Australia and hosted by Australian gymnast, Jamie Durie. Jamie actually auditioned for Cirque du Soleil in 1997, but never reveals how it went. His interviews with several Alegría artists are an interesting blend of knowledge and humor, especially when some of the artists "train" him on their specialties. Mr. Durie's interviews include Guy Laliberté (Founding President, of course), who explains how Cirque du Soleil is more like theatre than a circus; Ria Martens (Artistic Coordinator), who trains him on fast track flips; Ana Shelper (Dual Trapeze), who shows him several trapeze positions and discusses her early trapeze days; Chimed Ulziibayar (Contortion), who lies on the floor with her feet next to her ears as they talk about being flexible and what goes through her mind while she is contorting (Jamie dares not to attempt the position she is in); Kristina Ivanova (Nymph), who stretches with Jamie as she reveals what it like being in a traveling circus family; Francesca Gagnon (White Singer), who sings the Hoops Act song acappella that segues into the live version of the song, and to the next interview: Elena Lev. Elena Lev, who is one of Cirque du Soleil's most famous performers, has even performed with Aerosmith on stage. She talks with Jamie during her somewhat disturbing warm-up exercises that include bends and swivels as her body makes crackling noises that rival the sound of an army of crickets. Jamie ends the interview with a playful attempt to get a date with the Russian star. Some of the best interviews are in randomly interspersed scenes with Ebon Grayman (Monsieur Fleur). These two guys hit it off remarkably. With their senses of humor the banter is hysterical, especially when Jamie watches Ebon transform from an everyday man to the circus fool. Fleur's potbelly is perfect fodder for a beer joke. Ebon also demonstrates a nice tissu act that he is developing (probably not for Alegría, however) and allows Jamie to attempt the excruciating exercise. I give Jamie a 9.5 for the effort. Another funny interview is with Strongman, Ginaud Dupuis, who lifts up a heavy log before Jamie challenges him to an arm wrestling match. Ginaud responds with "Where's the money?" Mr. Durie also covers the schooling for children of performers and the child performer, Batmunkh Batjargal, who plays Little Tamir. Batmunkh tells Jamie that his favorite part of the show is his role as an Old Bird during Ginaud's Strongman act. I hope that someday Jamie Durie's dream of joining Cirque du Soleil comes true, as his endearing personality exhibits what could be a great asset for an acrobatic character. The extra titled "A Different Perspective" is a wonderful montage of video and music. It is kind of a music video of Alegría highlights, featuring live portions of the songs "Taruka", "Irna", and the title track "Alegría." The five-minute video includes unused scenes from the main event and would be a great promotional piece or even a music video for a cable channel like VH-1. The "Meet the Artists" segment is a unique personal touch where each and every performer introduces themselves while in street clothes then morph into their stage outfit to explain their role and how long they have been in the show. Some of the performers have limited use of the English language which makes the interview even more intriguing. The best interview is saved for last: Eve Montpetit, who plays the Black Singer. She explains that she used to sometimes play the White Singer, but she became innocent and naïve and happy. "I prefer to haunt you," she says with a slight smirk. The Multi-Angle Performances feature allows four different camera angles from parts of two acts: the Fast Track and the Aerial High Bar. On the left side of the screen the angles are shown in small video boxes so that the person viewing can choose which angle is preferred. The multi-angle selections are not attainable during the main video as they are in the Dralion DVD. Many of Cirque du Soleil's past DVD's only included a limited amount of extras, which were usually just trailers for "Quidam" and "Dralion." On the Alegría DVD, however, we are blessed with some extra special extras that can be enjoyed over and over again! "The Alegría DVD: Technical Notes" (By: Ricky Russo) ---------------------------------- An uproar occurred when the Alegría DVD was released - it was reported by a few fans that the DVD's sound was not mixed in Dolby Digital 5.1 Surround Sound, but 2.0 Stereo, which caused considerable loss in sound and (to them) overall enjoyment. That, on top of another defect relating to the capability of pausing the performance set off a fire that has yet to be quenched. To review the DVD I used my home computer with a standard (no model) DVD-ROM device, InterVideo's WinDVD (which is a software based DVD controller), and Altec Lansing ADA-305 speakers. First, let's tackle the problem with sound. For those who do not know, Dolby Digital is a multi-channel digital audio format with a sample rate of 48 kHz at up to 24bits (bitrates between 64kbps and 448kbps). For a 5.1 mix, the bitrate is around 384kpbs, which means more of the ambiance sounds can be heard and those with home theater systems can be completely surrounded by the performance. Unfortunately I do not have the equipment to answer whether the 5.1 mix is intact, as my equipment downmixes the 5.1 channel audio (which in itself is a AC3 encoded soundtrack) to Dolby Surround Stereo. With my already limited sound capabilities in mind, I found no problems with the sound. However, fan contact with Toby Alington, the person in charge of Sound for the DVD, has advised that any persons having trouble with the sound should remove "any DRC (Dynamic Range Control) or compression- type settings. [...] And, make sure any LFE synthesis is switched off." Second, I also examined the problem with pause/fast-forward and other controls. I was puzzled by the suggestion that any disc would have these features disabled. When I received my DVD I quickly put the disc in to determine if this particular problem was true. Thankfully no, I did not have any problems pausing the performance at any time, switching to another chapter, fast-forwarding or rewinding. While Cirque du Soleil has acknowledged that there seems to be a problem with the video control features on the disc, I found that not to be the case with my DVD. This may mean that this problem may only be experienced on certain DVD systems. If you have a "defective" disc, please contact Cirque du Soleil customer service (contact@cirquedusoleil.com) for further information and/or instructions on receiving a replacement. Besides the nifty extras Paul reviews, there were two other items that caught my interest. The first is the language feature of the disc (accessible by selecting "Languages" from the main menu). "Languages", a deceiving title, provides the viewer with seven different selections for subtitling: Chinese, English, French, German, Japanese, Spanish and None. While only the first minute of the DVD is actually subtitled, a very interesting thing happens when you select another language: some of the menu's actually change! I found this out by changing the language from None to Japanese and lo-and-behold the "A Look Behind the Scenes" menu under "Special Features" was in Japanese! (nice touch guys!) And both Behind the Scenes featurettes are subtitled in whatever language you choose! The other noticeable oddity comes from the disc itself. Printed upon the face of the disc is the phrase: "Requires DVD-ROM on your PC with Windows 95 or higher to access DVD-ROM features. It will not work on CD-ROM drive and it may not work on a Macintosh computer." It's interesting to note that there are no features on the disc that would warrant a DVD-ROM. From moving chapter selections ("Performance Selections" from the main menu) to the simple yet colorful packaging to the wonderful extras - Cirque du Soleil along with Richmond Studios has put together a very nice package indeed. The only complaint (and notable missing piece) is the documentary: "The Truth of Illusion", about Alegría's original creation. If you're thinking about purchasing a Cirque du Soleil show on DVD - Alegría is definitely the one! ======================================================================= THE CIRQUE CONNECTION: "TEATRO ZINZANI" (By: Keith Johnson) ======================================================================= Likely due to Cirque du Soleil's success in the United States, the last few years have seen several new opportunities open up for circus and "cirque" performers. Sea World's "Cirque de la Mer" and "Cheval Theater" are just a few we've discussed here, both having a Cirque connection. Now we have another to report on. "Teatro ZinZanni" (www.zinzanni.org) is a performance/dinner theater/improv concept founded in Seattle in 1998. The idea was to create an intimate evening of comedic entertainment revolving around the service of a 5-course gourmet meal. Over the of 3-plus hours the performance takes place in an intimate 300-seat Spiegeltent (a circular, dark wood and mirror tent, one of many that toured Europe in the early 1900's offering evenings of dance and cabaret). Debuting with it's first production, "Love, Chaos & Dinner," it originally ran in Seattle. for 14 sold-out months before moving to San Francisco where it still plays (and where the wonderfully droll Eugeniy Voronin, a veteran of the Seattle show, still holds court as the Maitre d'Hotel). A new production, "Dinner & Dreams" has just debuted in Seattle and it's another fabulously fun, if pricey ($100.00) evening of food and frolic. The most magical aspect of ZinZanni is the interaction between performers and audience. The cast roams through the tent talking with, playing pranks on, and involving the diners in the show. Since the tent seats only 300 people, it's almost certain that at some point during the evening you'll have interplay with a performer (bet you can't say that about a Cirque show!). The show is loosely themed around the remembrances of Mabel Dean, hilariously played by Kevin Kent, a ZinZanni veteran. His gift for improvisation is marvelous, and his antics kept us in stitches whenever he appeared. We haven't laughed that hard in quite a while. The performance segments feature various acrobatic and comic acts, including two stationary trapeze acts - one contortion, the other comic duo - a female hand-balancer, a tap-dancing duo, and a Mexican- American singer who claims to be the love child of Charo and Elvis(!). So where's the Cirque connection? In the form of Soizick Hebert and Johnny Filion, the Canadian comic duo "Les Voila." Cirque fans will recognize them as the musical clowns from the "Dralion" video. Having separated from Cirque, they performed in the San Francisco production of ZinZanni, and moved for this new production where they play the bumbling cooks who "just don't spend enough time in the kitchen." Some of the material they do here is familiar to Cirque fans - the drum solo/silk juggling routine and the ukulele/bass tune (you could tell the Cirque fans in the audience (us), we cheered first time out ). But that's not the only Cirque connection; the show also features Andrea Conway, who created the role of "Baroque" in "Saltimbanco." Our experience the night we attended was wonderfully pleasant. The delicious food, good wine, and laugh-out-loud-funny show kept us entertained the whole night. But as a loyal Cirque fan I had also come prepared (or so I thought). I brought along our Dralion DVD and after the show asked our waiter if Les Voila would sign it for us. When he returned he proceeded to show us where the disk was signed. "That's Johnny, that's Soizick, and Viktor from the show was here so he signed it too." This had me totally flummoxed. "Viktor, what Viktor? You mean VIKTOR KEE?! Viktor Kee is HERE?!?" Sure enough, along with the signatures of Les Voila was "From Juggler Viktor K." right on the DVD disk itself! Turns out Viktor was traveling up from San Diego, where Dralion had just closed, visiting his friends Les Voila before the show opened in Portland (Seattle is only 4 hours drive from Portland). Any Cirque or circus fan, or anyone looking for a delicious evening of entertainment, and who happens to be in or headed toward Seattle or the Bay Area should consider either of Teatro ZinZanni's productions. They are unique, intimate, and special. But book ahead; as I type this (early June) the Seattle show is sold out until September! ======================================================================= BEHIND THE CURTAIN: "ALEGRIA, OBSTRUCTED" (By: Ricky Russo) ======================================================================= ("Le Grand Tour: Alegría", Partie Une) "I'm sorry, we only have obstructed view seats available..." Words that haunt even the least devoted of Cirque fans - obstructed view. And yet, that's what I was faced with during our first attempt at seeing Alegría over the weekend in Denver, Colorado. The ticket attendant, who had a nifty new Alegría shirt on, was patiently awaiting our decision. It was Saturday, June 22nd, and I had just come from the new Disney movie "Lilo & Stitch" with my two friends - Cedric Pansky (who joined us in Montréal and is responsible for introducing me to Cirque in 1999) and Maya Abrams (a mutual friend of ours, and quite a surprise for the weekend). We rushed down to the Pepsi Center parking lot (where Alegría was set up) with a desire to see the show. It didn't matter that we already had tickets for the 8:00 evening show on Sunday, we were that anxious to see the show. The only problem, we didn't want our view of it obstructed. What to do? "How much are the tickets again?" I asked the attendant at the box office. "Forty-five dollars," she patiently replied. Fans have complained about obstructed view seats before. Saying terrible things such as: "How dare Cirque sell such crappy seats" and "I can't believe Cirque would stoop so low". But would it be worth it? Would it be worth the experience to a fan? "We'll take them," I said to Cedric, who whipped out his Credit Card and graciously treated us to the show. That decision set me off on an unplanned experience that I wish to share with all Cirque fans who may have wondered what seeing a show partially obstructed was like. To give you a feel for where I was seated - the ticket I was sold was in Section 201, Row H, Seat 16, which is on the left side of the Bigtop, on the aisle between the lower and upper sections. My two friends sat directly behind me in 201-I-15 and 201-J-16. We were right in front of a pole. As I sat down I began to wonder if the lower ticket price would make up for the fact that a big pole was right in front of me, but I tried to make the most of it. This was the aisle after all, and perhaps a few character interactions to look forward to, right? The lights dimmed, the music came up and "Alegría!" was proclaimed from all points. The musicians trampled by, led by the white faced, red dressed Fleur and the show began... and I forgot all about the pole (Well... almost). Believe it or not, taking an obstructed view seat was an excellent idea - for two reasons. First, having seen the show before (in Biloxi), it provided a unique perspective I had yet to experience. And if there's one thing about this Grand Tour, it's to experience everything possible. Secondly, I really wanted to see the show! And if there's one thing I learned from Varekai in Montréal it's that "standby" is a wonderful thing. Something to be exploited, er, I mean explored. Only a few times did I find myself really hating the pole. Most of the time, the action was out front where everyone could see no matter where they sat. There were times, however, that I wished the pole was gone. The FastTrack performance was blocked by half. I could only see one Bronx group performing their twists, flips and turns, but not the other because the landing pad was directly in front of the pole! The Russian Bar and High Bar numbers were also hindered for the same reason. Even the Syncro Trapeze had some of its maneuvers hidden. Probably the worst effect of the pole came in the first clown act, that I aptly name "Bird on a Wire." I couldn't even see what they were doing! For the most part, choosing the obstructed seats was a great idea: it gave me a new perspective and a new experience. And even though the pole was a big thorn in the side, the ambiance and energy of the show was the same - and that's all we wanted to experience anyway. First- time viewers of Cirque du Soleil shows should NOT take any kind of obstructed seats, but if you're a veteran fan who wants to see the show again, and only has the option of choosing obstructed seats, ask yourself this: You can sit outside, or be inside where the music, the energy, and the fun are. The answer will come to you! ======================================================================= LE SPECTATEUR: "CLOWNIN' AROUND" (By: Ricky Russo) ======================================================================= ("Le Grand Tour: Alegría", Partie Deux) One thing I tell people about a Cirque show is that you never know what to expect. Anything can happen under the bigtop - anything - and sometimes it takes a keen eye and quick mind to recognize even the smallest "out of place" occurrence. My friends and I had such an experience at our second viewing of Alegría in Denver, the following Sunday evening. The evening was turning out quite well for us. Cedric, Maya and I had just come from a café called Paris, sipping on a couple of cold drinks (non-alcoholic, of course), when we arrived at the big top. With only 15 minutes to spare before showtime, we were cutting it close! People were rushing about trying to find their seats and here were three fans lazily walking to the white Grand Chapiteau who knew exactly where they were going (and seated). Quite frankly, we were excited about this performance due to our choice seats - Section 200, Row H, seats 14, 16 and 17. It was dead center, unobstructed, and right in front of the sound booth. You'll notice I said 14, 16 and 17. Unfortunately, one of the problems with Maya's ticket was that it was not purchased with Cedric's and mine, which I had done weeks ago when they went on sale. Maya was somewhat of a surprise and since I did not know she'd be with us, I never got her a ticket. Hers was purchased at the big top the previous night, which caused us to be separated. As luck would have it, we were able to procure a seat for her in the same section and row we were located (200-H-16,17), only two seats to our left. Eventually, Cedric and I got our first peek inside the tent and we noticed the tufty haired clown (Yuri Medvedev) sitting in our seats! (Actually, mine: 201-H-16). We wondered, "What is he doing there?" But, neither of us could see very well. "C'mon people!" I yelped, trying to move the masses along. We knew if we could get past this shuffling crowd, we could interact with the clown - show him our seat tickets and "throw him out" as it were. Unfortunately, just as there was a break in the line, Yuri left... and our hearts sank: What a missed opportunity! With that disappointment, Cedric and I wandered down to our row, took the seats formerly occupied by the clown and waited for the show to begin. I took my seat next to the guy the clown was bugging without saying a word to him, or interacting in anyway. We'd be asking him to switch seats in a moment and I'd rather not say something wrong. Soon thereafter Maya joined us (she was looking through the store real quick) and we were whole again. "Do you mind switching seats with me?" Maya asked the strange man. At first he looked confused (and there was an usher nearby shaking her head "no"), but when Maya told him she was with us (who were sitting right beside him), he agreed. "Great! A better view of the show!" It was then this stranger became less strange, and more familiar. I hadn't paid much attention to him up until that time. Sure the clowns were giving him the once over (apparently) before we got there, but there wasn't anything overly special about him. When he spoke, however, his Russian accent caught my attention. That, and the fact that the ushers seemed to be swarming around him like they were protecting some lost puppy. When he sat back down next to my friend Maya, I began to see this stranger in a new light indeed. I recognized his face and his disheveled blond hair. I turned to Cedric then and whispered to him: "That's Valery; Valery Kleft!" and pointed with my thumb. I had to explain to him who Valery Kleft was - previously a clown for Alegría at Beau Rivage and currently a clown for "O" at Bellagio, Las Vegas. When he understood that his face lit up with glee. Yes, we were sitting next to a Cirque clown! Before we could really say anything to him the show started with the parade of musicians that so personifies Alegría. From then through the first act I was trying to think of a way to diplomatically approach Valery. It occurred to me he was there with family (perhaps his parents?) and so I didn't want to bother him. My mind was reeling so quickly that before I knew it, the FastTrack performance was in full swing. It was then I came up with an interesting and playful solution. "As soon as we break for intermission, I'm going to buy one of those Cirque clown noses," I said to Cedric. "No, two of them - one for me and one to present to Valery!" "Ooooh, yeah!" he agreed, just as Tamir marched past us. As he did so, Valery reached out and kicked him in the rear! I was so shocked I couldn't even laugh. Tamir turned quickly, a scowl present upon his face. I've never seen a performer kicked like that and I wasn't sure what he was going to do. But, Tamir recognized him immediately, squinted his eyes and pointed. In turn, Valery pointed at us as the culprits (with Maya getting the full brunt of the accusation). And Maya, as quick as she is, pointed right back. By then Tamir gave up, turned around, and walked off. Now I could laugh! Before I knew it I was covered in "snow" and the first act had ended with Yuri's version of Slava's SnowShow (Slava was the original clown in Alegría who performed a unique and heartwrenching clown act). When the lights came up, Cedric and I immediately turned our attention to Valery, who had already gotten up. It appeared he was being led backstage. With him gone, the only thing left for us to do was browse the store, buy our noses and hope for the best. You know, one of the things I said when I got really involved with Cirque du Soleil was that I'd never buy one of those cheap red clown noses, and there I was walking around the merchandise tent with one firmly planted on my nose... making a complete fool of myself. But boy was it fun! Everyone was looking at me - some of them pointing, some laughing, some embarrassed for me ("Why?!"), but all seemed to enjoy the antics. The best thing about it was that I had an Alegría shirt on, I was silent, and milling about the crowd - I was just part of the show! Cedric even got into the performance before the start of the second act, with his own red clown nose. What a sight we must have been making our way back into the big top with red clown noses on! In any case, we returned to our seats with Maya in tow, and plunked ourselves down in hopes Valery would come by before the lights dimmed. If we could get his attention for any period of time, I'd point to the clown nose on my face, point to him, and extend my hand out with the second clown nose in it - for him! Sure enough, Valery returned with his guests, sitting down next to us just as the lights dimmed (rats, another missed opportunity). The singer in white strutted her way around the audience, stood right next to us (with our clown noses on), looked down in a surprised fashion at Valery, and extended her hand to dance. As she did so, Valery quickly fumbled with something around his neck (no doubt a special VIP ID) and tried to stuff it underneath his shirt before... "Oh my god, she's taking him up on stage!" I whispered to myself. Valery Kleft looked like a giant amongst the smaller company of performers, but he took to the dance well. In true Cirque clown fashion, he put on a pair of dark sunglasses, wrapped his arms around the singer, and the two danced the number away. Even the strong man didn't seem inclined to take him away. When Valery returned to his seat next to us, Maya reached over and whispered in his ear: "I think you know her," she said. To which he answered: "Oh yeah!" By the time the show ended (with a few more character interactions - one of which was an "Old Bird" who'd come to dust off his head), we still had not gained Valery's attention. Do you know what? By that time we didn't care. The show was excellent, our fun had been had, and we had such a great time "clowning around" with the patrons leaving the show we didn't give it a second thought. One of the leaving VIP members even asked us if we were in the show! (how's that for recognition - Cirque here I come!) In a way, we were part of the show. And we came away from Alegría with another unique memory that will endure, even if we didn't get a chance to say hi to our clown neighbor! Viva L'Alegria! ======================================================================= SPECIAL ENGAGEMENT: "LE GRAND TOUR: ALEGRIA" (By: Ricky Russo) ======================================================================= ("Le Grand Tour: Alegría", Partie Trois) I decided to take a different approach with the Grand Tour's publication this month. Each of the items you've read thus far is part of a greater whole that I now wish to sum up. I can't convey enough how much of a success the Denver leg of the Grand Tour was. I can't say enough how excited I was to be in Denver watching Alegría, how much fun I really had, or how much I hated coming home. And, there's still far, far more to divulge. So, sit back, relax and enjoy a few observations about the show, the Grand Chapiteau, the merchandise therein and Denver itself. The Grand Tour is many things. It is a fulfillment of a dream, sure, but it is also a creature of sequence, cycle and mood. As each trip comes and goes, a little notch is placed on the score card of life - another cycle complete in the "Grand" scheme. Sometimes the grandness overshadows even the littlest, and most interesting coincidences and events about this undertaking. For instance, this trip took me to Denver, Colorado from June 21st (Friday) through June 24th (Monday). But what you may not realize is that this trip began on the Summer Solstice, one of the longest days of the year. That got me thinking... that morning sunrays were shining down upon Stonehenge, creeping up on a stone called "the Heel Stone", creating the illusion that the sun (the Soleil!) is balancing on that stone. It's amazing that whomever created Stonehenge knew of such things and made such an observation. As I flew above the skies Orlando to Dallas/Ft. Worth, I couldn't help but reflect upon that. While the 21st of June was the beginning of a new adventure, another one was just ending for me. June 21st was also the end of another set of days that I honor. June 11th through 21st is a "week" that I honor each year, and have since 1991. See, one of my first dreams (and I've had many) was to be an astronaut. While that dream has yet to come true, I had a chance to live it out 1989 and again in 1991 at a place called Space Camp in Huntsville, Alabama. It is a place where kids learn how to fly the Space Shuttle, to live in Space, and how to (for all intensive purposes) be an astronaut. From June 11-16, 1989 and June 16-21, 1991, I lived out my dream... just like I'm doing now only, instead of becoming an Astronaut, I'm fulfilling a desire to see the world (one step at a time) and every Cirque show out there. So it is with an interesting notion that I should be flying about the country on this special day. What can I tell you about Denver? Contrary to popular belief (and mine as well) the place is not currently burning down, has burnt down, or is in any danger of burning down. The fires did, however, place a shroud over the Rocky Mountains so I never really got to see them in their splendor. But, that's okay, there was another "snow" covered mountain I wanted to see: the white Grand Chapiteau of Cirque du Soleil, perched within the parking lot of the Pepsi Center - Downtown Denver. Ever since I saw a picture of this amazing big top on a Saltimbanco programme some time ago, I wanted to see it. Who wouldn't? It's the granddaddy of all Cirque bigtops. It seats (quite comfortably, I might add) 2500 people, is climate controlled, and really cool! (No pun intended) Probably one of the first things that caught my attention was the merchandise tent. Unlike the Blue and Yellow bigtops I have experienced thus far, with their dual and separate merchandise tents, the Alegría bigtop surprised me with their set up. Did you know they are actually joined? The concession stands are set up where the normal merchandise shelves would be and in the middle (which in the normal Blue and Yellow big tops would be unused, and courted off space) exists the merchandise! This whole setup covers Doors #1 and #2. So when you exit at Intermission you step right into the gift shop! At either end of the gift shop are two concession stands, a set of chairs and round tables, and video screens previewing all the creations of Cirque du Soleil. Over these concessions is a unique structure I had never seen before - flying birds. Fashioned out of what appears to be steel, and painted white to match the tent, is a metal wheel that spins with birds depicted in various modes of flight. It was an interesting item to find in the middle of popcorn, cotton candy, M&Ms and Coca-Cola. The merchandise they had was also top notch. A brand new Alegría logo shirt was available (in all sizes) for $25.00. The "raised" logo magnet was also available for $5.00. A new North American Tour Programme (which is the same as the last printed Asia-Pacific Tour Programme) was available for $11.19. Even the Alegría DVD was available for $29.00. Interesting items abounded: like a beautiful lantern fashioned out of metal (quite heavy in fact) that is a "tea light candle". It looks exactly like the round lanterns hung throughout the bigtop. Each is hand-made and not available on their website. The price, however, was not noted. Many agree that Alegría is Cirque du Soleil's signature show. Once can't help but think that Cirque "admits" to it themselves as a show they hold quite dear. It comes as no surprise that the performance is top notch, a cut above the best. While I was immersed in the power struggle that is Alegría, I made a few observations: * Francesca Gagnon sings! That's right, she's still in the show. I couldn't believe it myself. We reported a rumor back in our second issue (October 2001) that Francesca Gagnon left the show and was replaced by Nathalie Noelle, but that rumor was never substantiated. So, when I heard her wonderful voice fill the inside of the bigtop, I was completely overjoyed! She sang for our first Alegría outing (the obstructed one) and hearing her voice made me forget all about that pole. Of course, getting a wink from her as she strutted by didn't hurt either. Let me tell you, that gown she wears is huge. No matter how big the isle is between the 100 and 200 sections, she still had a time of it getting through there - I got a lap full of dress! * Batmunkh Batjargal (Bachka) has grown! He plays the Little Tamir character... and he's not so little anymore! While I knew this from watching him perform on the DVD, seeing him in the flesh made quite an impression on just how much he's grown since I last saw him, a year and a half ago at the Beau Rivage in Biloxi. He's playing an Old Bird now as well during the Strong Man number and is quite good at it. Consequently, he didn't perform in the Russian Bar act like he normally does (with the single flip with another performer). I'm not sure why, but both shows I attended did not have this performance by Bachka. * The Flying Man! (Alexandr Dobrynin) - What can be said about this amazing act that wouldn't be an understatement? This guy is simply amazing! While the pole severely hurt my perception of his act, hearing Francesca sing the wonderful song that accompanies this performance made up for it. By the second night (when we were dead center), watching him jump out at us was simply amazing. Which is why the Flying Man is one of my most favorite acts in Alegría (an oddity, considering I don't like many "aerial" acts). * Those feisty Old Birds! I knew the Old Birds were supposed to be mean- spirited, but were they supposed to fight with the ushers too? The first performance we attended, one of the Old Birds actually was pushing ushers out of the way - and got into a heated "discussion" with one. I guess the poor usher didn't get out of the way fast enough. That'll teach him, eh? * Manipulation! Ever since Elena Lev left Alegría, I had wondered whether or not the new Manipulation act would be as good. And you know what? It really is just as exciting! Taking cues from Elena Lev's corner, this new young woman bends and contorts while using a hoola hoop just like Elena Lev did. And, she even does it while fluttering a yellow ribbon! How's that for talent? She even uses Elena's old costume described as: "that sexy skin-tight gold bodysuit Elena wore on her first tour and in Alegría Le Film..." Unfortunately, the time must come when the lights brighten, the show ends and you must go home. From the squeaking of the Russian Bar performer's shoes as they ran out on stage to the way the Fire Dance guy lit his torches (by tongue!), Alegría was an amazing show. Whatever bad karma that shrouded my previous perception of the show (thanks largely to my not-so-great Biloxi experience) has been totally washed away now. Alegría, for me, is so powerful, so full of greatness, I'm not sure how to express the feeling. All I could do was stand up and clap and clap and clap - through four curtain calls (both shows!). And now? All I can do is listen to the music and relive one of the best experiences I've had. Believe it or not but next month I get a small reprieve from the demands of the Grand Tour. The month of July I spend home in Orlando recuperating from all the money spent thus far. From Airfare, hotel, travel and tickets: $2600.00 in US currency. That is more money I have spent for anything thus far and the Tour is not even half over, oh, but what I have gained! New friends and new experiences to lifetime - with the promise of more to come! "Journey of Man" continues to delight audiences at the Orlando Science Center, so I think I will take in another viewing of that wonderful performance while it can still be seen on the big screen. In August, I continue my journey in Seattle, Washington where fellow Fascination! Writer (and very good friend) Keith Johnson and I will be seeing Dralion. What excites me more about that upcoming trip is the wedding I will be partaking in - a Cirquish extravaganza. Stay Tuned! There is a Love in me Raging. Alegría! A Joyous Magical Feeling. ======================================================================= BEYOND THE BIGTOP: "VAREKAI PROGRAMME REVISITED" (By: Keith Johnson) ======================================================================= Two issues ago, in our review of the Varekai "Creator's Notebook" CD- ROM interview statements, we wondered whether the interviewees said the same things in their separately recorded French and English segments. Thanks to our new writer, Wayne Leung, we've found out! He reports that the answers are essentially the same, except for the Dominic Champagne segment, in which he talks about the show's theme. Thanks to Wayne's bi-lingual skills, we can relate this translation of Dominic's more eloquent French explanation. Firstly a transcription of what Dominic says in the English section: "We decided to give to this fall that was the reading of the Icarus myth, escaping the labyrinths, going too close to the sun and then falling. So we decided to start more or less our story at the end of the Greek myth and try to find the right context or the right environment of this fall. So little by little we came to the idea that he might be falling inside a family of survivors like circus artists are. So, then with the set designer instead of say, instead of proposing to the audience lets say, a circus context we decided to propose a dramatic context which is kind of a magical forest." And here is Dominic's explanation in French, as "loosely translated" by Wayne: "We secured ourselves around the idea of somebody's fall; fleeing a labyrinth, a civilization, in a sort of chase to the light that burns his wings. And shocked by this light he falls, dies, and is taken in by this group of people who have developed an art of living, who know how to live, who have learned to live. And [we have] our departure point: even if you think you are dead after your fall, anything is possible. We'll prove it to you and we'll take you on the voyage of your rebirth. So we open the show [with] this shock, and after that we take this vulnerable, fragile Icarus, this sort of fallen angel with broken wings, we take him by the hand and lead him on a voyage that we hope will be solid enough to allow him to take-off again and be reborn, like the butterfly is reborn from the caterpillar." Many thanks to Wayne for the translation! ======================================================================= PARTING QUOTE ======================================================================= "The potential of Las Vegas is still vast. We believe there is room for continued growth." - Guy Laliberte ======================================================================= NEXT ISSUE... ======================================================================= Our next issue is our final... for our first year (had you going there for a split second, didn't I?). We celebrate this small milestone by taking a glimpse back at our first year (September 2001 - September 2002), reviewing what we have covered thus far, and looking ahead at what you can expect from "Fascination!" in the future. That, and plenty more in our celebratory twelfth issue! 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.