======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) T h e U n o f f i c i a l C i r q u e d u S o l e i l N e w s l e t t e r ------------------------------------------------------------ http://www.CirqueFascination.com ------------------------------------------------------------ ======================================================================= VOLUME 14, NUMBER 12 December 2014 ISSUE #131 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. We've come to the end of another year here at Fascination and while we'd normally be settling in for some time with family and friends, for Cirque du Soleil they're still hard at work. Case in point: the announcements just keep on coming! Last month we were introduced to three new and interesting concepts: "Allavita", a unique show concept by Cirque's Events and Projects team to be presented during the Universal Expo in Milan next year. Saban Brands and Cirque finally unveiled their first collaborative effort since joining forces last year - a TV co-production called "Luna Petunia", a pre-school series inspired by the Cirque. And then came "Creactive", a partnership with Club Med to dream up the ultimate circus-inspired playground in Punta Cana, featuring unique activities inspired by the wondrous and unexpected world of Cirque du Soleil. This on top of earlier news that Cirque and Director James Cameron were working to bring his film/world AVATAR to arenas world-wide. Well, we have one more to add to that - and it's a doozy. On November 12th, Cirque and partner Grupo Vidanta announced plans for a first-of-its-kind immersive experience in Nuevo Vallarta... A CIRQUE DU SOLEIL THEME PARK! The park, which is still in development, looks to include a water park, a nature center, and various outdoor venues for Cirque-branded performances. (Could we see ZED, ZAIA, or IRIS return here?) The Park announcement came on the eve of the launch of JOYÀ, the intimate and immersive theatrical and culinary experience developed by Cirque and Grupo Vidanta for the Riviera Maya. I almost hate to ask what's next! But what's next appears to be perforance changes to some of Cirque's veteran shows in Las Vegas. According to the press in Las Vegas, Zumanity is getting a massive overhaul come January 3rd: all of its dance cast has been rumored to have been given pink slips. Only the buxom Botero Sisters, Eddie (the host), the sex straps solo act, and the comedy duo will remain with the show. And over at LOVE, the show's "Soundscape" is under review. Giles Martin, the son of Beatles producer George Martin, is being re- recruited to update the music of the show. Whether or not this update will include "Girls" and "Fool on the Hill", which were released as special edition tracks on iTunes when the LOVE CD was released there, is as yet unknown. Cirque also appears to be changing up many of its resident shows schedules. At present time, Mystère, "O", La Nouba and Zarkana will retain their current performance schedules (show times, days, and dark dates will remain the same in 2015 as seen in 2014); however, there are changes afoot for Zumanity, KÀ, LOVE, Criss Angel BELIEVE, and Michael Jackson ONE. o) ZUMANITY at NY-NY: 2014: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:30pm and 10:00pm 2015: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm o) KÀ at MGM GRAND: 2014: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2015: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm o) THE BEATLES LOVE: 2014: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2015: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm o) CRISS ANGEL BELIEVE: 2014: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 10:00pm 2015: Wednesday through Sunday, Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm o) MICHAEL JACKSON ONE: 2014: Saturday through Wednesday, Dark: Thursday/Friday Two Shows Nightly: 7:00pm and 10:00pm 2015: Friday through Tuesday, Dark: Wednesday/Thursday Schedule: 7:00pm & 9:30pm on Fr, Sa, Mo & Tu 4:30pm & 7:00pm on Sunday Dark Dates for 2015 and Added Performances have also been included in this issue - see the Itinéraire section of this issue for further detailed information on these changes. Also inside this month we have the first part of a conversation with Fabrice Lemire, Varekai's current Artistic Director. He was tasked with converting and adapting the show from the Grand Chapiteau into the Arena version we see today. He fantastically takes us through the process he went through to keep Varekai on the road. Next, although many of us weren't at JOYÀ's premiere (in fact none of us from Fascination could make the journey), thanks to Cirque du Soleil we catch a glimpse of what makes the show tick in "An Inside Look at JOYÀ, The Pearl in a Mangrove Jungle", which collects a couple of their Press Room documents (and other releases) for your reading pleasure. There's also a small preview of the 30th Anniversary Concert planned for the second-half of December - if you're in Montreal be sure to catch it! And in cooperation and in partnership with The Chapiteau, we proudly present The Chapiteau-Fascination Magazine, a graphical fanzine for hardcore Cirque fans to keep up with the latest and greatest from the Cirque du Soleil fandom! Don’t miss all the Cirque du Soleil news from the month of October - in a graphical format - as well as our exclusive features: KÀ at 10: The Original Creator’s Notebook and The Chapiteau’s interview with Lindsey Bruck-Ayotte, Amaluna’s Uneven Bars Captain! Visit http://www.CirqueFanzine.com/ to read or download our second issue now! As always we've got the latest news items posted to Fascination! Web, the posts made to CirqueClub's pages and Cirque's Facebook links, and, of course, updates to Cirque's tour schedule. So, let's get started! Join us on the web at: < www.cirquefascination.com > Realy Simple Syndication (RSS) Feed (News Only): < http://www.cirquefascination.com/?feed=rss2 > - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Outreach -- Updates from Cirque's Social Widgets * Club Cirque -- This Month at CirqueClub & Casting * Networking -- Posts on Facebook, G+, & YouTube o) Fascination! Features *) "Inside JOYÀ, The Pearl in the Mangrove Jungle" By: Cirque du Soleil Press Room Materials *) "Evolution: The Transfer of Varekai from Big Top to Arena (As explained by Fabrice Lemire, Varekai Artistic Director)" - Part 1 of 2 By: Keith Johnson - Seattle, Washington (USA) *) "Preview: Cirque du Soleil 30th anniversary concert" By: Cirque du Soleil Press Room Materials o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= Criss Angel to Attempt Another Deadly Escape {Nov.05.2014} ----------------------------------------------------- The last time “Mindfreak” magician Criss Angel attempted an impossible straightjacket escape suspended 75 feet in the air with a 50-pound weight hung around his neck, he was seriously injured. MMA Hall of Famer Randy Couture even trained him to prevent Criss from falling unconscious. Ten thousand spectators in Times Square watched in horror as he re-created the Houdini Death Escape suspended upside down from the noose. Although he is the only person to ever be successful in the escape, Criss paid a huge price ripping his right bicep off the bone and with shoulder tears in two places on his right shoulder. It took doctors hours of surgery and seven screw anchors to repair the damage. Criss was forced into seven months of physical therapy, and his Cirque du Soleil show “Believe” at the Luxor was temporarily halted. Now he’s going to attempt it again. Next Tuesday, Nov. 11, on Veterans Day, he will perform the premiere of his new stage production “Mindfreak Live!” at Foxwoods casino, as we reported last week, in Connecticut where his former Luxor boss, Felix Rappaport, is now COO. { SOURCE: Las Vegas Sun | http://goo.gl/bYvoFD } Preview KURIOS Soundtrack on SoundCloud! {Nov.05.2014} ----------------------------------------------------- Preview KURIOS Soundtrack on SoundCloud! LINK /// < http://goo.gl/TAuULP > { SOURCE: Soundcloud } VIDEO /// Behind-the-Scenes of “Life is Beautiful” Festival Performance {Nov.12.2014} ----------------------------------------------------- The Beatles LOVE by Cirque du Soleil performed with members of The Las Vegas Philharmonic at Life is Beautiful. Members of The Las Vegas Philharmonic performed a 40-minute tribute to The Beatles, playing original scores adapted specifically for Life is Beautiful under the guidance of The Beatles LOVE Music Director Giles Martin. The set included a captivating performance from LOVE featuring more than 50 dancers and aerialists from its resident production at The Mirage in Las Vegas. Here’s an inside look at how Giles Martin, and the Las Vegas Philharmonic collaborated to create this one-of-a-kind showcase. VIDEO /// < http://youtu.be/RoK0DJWJIoM > { SOURCE: Cirque du Soleil } Cirque du Soleil “Animated” Entertainment Park Coming to Mexico in 2018 {Nov.12.2014} ----------------------------------------------------- Cirque du Soleil, a leading entertainment company, and Grupo Vidanta, a leading developer of world-class resorts and tourism infrastructure in Mexico, today announced plans to construct and operate a first-of-its-kind immersive theme park experience in Nuevo Vallarta. The entertainment experience, which is still in development, may include water park and nature park elements and will feature an outdoor evening show accommodating as many as 3,000 to 5,000 spectators. Each experience within the entertainment park will be animated by Cirque du Soleil artists and follow a common storyline. “Grupo Vidanta is offering us an amazing sandbox in which we can unleash our creativity,” said Guy Laliberté, founder of Cirque du Soleil. “Both our groups strive for perfection. Grupo Vidanta is passionate and cares for the environment. We set ourselves the challenge of creating something unlike anything the world has seen before.” The announcement comes on the eve of the launch of JOYÀ, an intimate and immersive theatrical and culinary experience developed by Cirque du Soleil and Grupo Vidanta that premieres in Riviera Maya November 21, 2014. Although not yet debuted, tickets for JOYÀ are nearly sold out through the end of 2014. Development of the Nuevo Vallarta project aims to reimagine the theme park experience in the same way JOYÀ will redefine theatrical and culinary entertainment. “We have been dreaming together with Cirque du Soleil to create new categories of entertainment for Mexico and the world for more than five years,” said Grupo Vidanta founder Daniel Chávez Morán. “The demand we’ve seen for JOYÀ before even launching makes us confident future projects will be met with success. When guests see what we are able to build in Nuevo Vallarta, they will know we are now in the position to build our dreams.” The entertainment park will create thousands of new jobs in the Mexican state of Nayarit and was imagined to encourage tourism visitation to the region. Construction is expected to be complete in 2018. CHECK OUT IMAGES HERE: LINK /// < http://www.cirquefascination.com/?p=5189 > { SOURCE: Cirque du Soleil | http://goo.gl/YjeQd6 } VIDEO /// The Costumes of JOYÀ {Nov.13.2014} ----------------------------------------------------- James Lavoie, costume designer of JOYÀ, invites you to learn about how costumes go from design to reality. VIDEO /// < http://youtu.be/vpBSctXqDSA > JOYÀ – A thrilling, whimsical show in which joy, courage and friendship conquer all! { SOURCE: Cirque du Soleil } New Casino + Cirque for Ibiza Gran Hotel? {Nov.14.2014} ----------------------------------------------------- Voted 6th best hotel in the World back in 2011 by Trivago travel and hotel website, Ibiza Gran Hotel is once again in the headlines as negotiations continue for a new, ‘advanced’ casino to be added to the existing hotel premises. Plans include moving the location of the current main casino building to a new, purpose built space that will be linked by a corridor to the hotel itself. Ambitious plans for the brand new casino include incorporation of a restaurant and high-tech performance space along with refurbishment, redecoration and a new zone for slot-machines. The project is the result of a collaboration between the hotel and casino owners, along with acclaimed restauranteurs and brothers Albert y Ferran Adrià, widely said to have revolutionised the World of international cuisine and Ibiza resident and owner of Cirque du Soleil, Mr Guy Laliberté. The Ibiza Gran Hotel is already a consistently popular resting- pad for visiting celebrities. Famous for its superb location with stunning views of the World Heritage sites of Dalt Vila and Ibiza Cathedral, the hotel is also distinguished by its wonderful light and cool, modern design featuring tasteful works of art. Add its fine restaurant and lush spa facilities and it’s easy to understand the hotel’s enduring popularity with some of the island’s most distinguished visitors. This new development sets to catapult the hotel into a much higher league. The original casino offered a wide range of games including Black-Jack, American Roulette, Punto Banco and different kinds of Poker spread across the main casino and private gaming rooms. This project of expansion, described by some as ‘an adult-style theme park’ and expected to attract around a thousand visitors everyday, is reported to be costing around 2 million euros and will no doubt considerably raise the bar of Ibiza’s World-class entertainment portfolio. The combination of accomplished, international performers such as Cirque du Soleil along with the high-end cuisine of the Adriá brothers in a state-of-the-art casino is a completely new concept for the island. Work began last at the end of October and the expected date for completion is mid-April 2015. { SOURCE: Ibiza Spotlight | http://goo.gl/gVfcSE } More on the Cirque Theme Park from ScreamScape {Nov.14.2014} ----------------------------------------------------- ScreamScape, the self-proclaimed ultimate guide to theme parks, has a few new tidbits on the Cirque du Soleil “Animated Entertainment” Park announced on Wednesday, including a few new pieces of artwork: The design work on the beautiful looking Cirque du Soleil theme park planned for Mexico is actually from The Goddard Group who was great enough to send me an updated piece of concept artwork showing off the birds-eye view of the park. A few more details about the park have also been posted on The Goddard Group’s Facebook page, where they did indeed confirm that there will be rides at the park. “While there will be rides, every single one will be a new creative experience never seen at any other park. And while we can’t get into too much detail at this point, we can say that the “star” attractions here are completely new experiences that don’t yet exist in the world.” CHECK OUT SOME IMAGES HERE: LINK /// < http://www.cirquefascination.com/?p=5202 > { SOURCE: ScreamScape | http://goo.gl/jGh29Q } VIDEO /// Cirque du Soleil & Grupo Vidanta Talk Theme Park in Mexico {Nov.16.2014} ----------------------------------------------------- Cirque du Soleil & Grupo Vidanta Talk Theme Park in Mexico VIDEO /// < http://youtu.be/XlTumFS2ImI > { SOURCE: Golden Sun | http://youtu.be/XlTumFS2ImI } ZUMANITY/LOVE in for huge changes? {Nov.24.2014} ----------------------------------------------------- According to Robin Leach, Zumanity is in for massive changes come January 3rd... First is the shocking and surprising news that Cirque du Soleil has decided that its adult “Zumanity” at New York-New York will undergo major changes starting Jan. 3 when all of its dance cast has been told to pack up their dancing shoes. I’m reliably told that the only cast members staying on will be the buxom Botero Sisters, the MC host, the sex straps solo act and the comedy duo who always remind me of a British seaside postcard act. The massive pink slip is for definite. # # # And this from an August 22nd article from The Las Vegas Sun mentions both Zumanity and LOVE… Changes are in the offing for Cirque, specifically centering on two productions — including the one showcased at McCarran. “Love” is undergoing a widespread visual and audio refreshing by the time the show celebrates its 10th anniversary in the summer of 2016. Due for an overhaul, too, is “Zumanity” at New York-New York. That production’s makeover happens sooner than that of “Love,” by mid-2015. “For us, it’s business as usual as we area always looking to evolve the shows,” says Calum Pearson, Cirque’s vice president of resident shows. “We had this happen with ‘Mystere,’ when it reached the 20-year mark, and the show (“Zed”) was closing in Tokyo. We saw a chance then to (make) “Mystere” fresher and more current.” For Cirque shows, the key phrase is these are art pieces as opposed to museum pieces. They live as performance art, not paintings. “Zumanity” has become a focal point in Cirque’s growth in Las Vegas, as this spring it passed its 10th anniversary. But that show will go dark early next year for an overhaul that will change scenes, the use of personnel, costumes and choreography. The show will likely use a two-host format (sound familiar?) and move into the audience more seamlessly than it does already and further emphasize the production’s adult comedy. Once deemed (correctly) as one of the city’s edgiest productions, Cirque’s adult sensibility is today relatively commonplace as other shows — especially “Absinthe” — have seized upon the adult, raunchy, ribald quality that “Zumanity” once owned among production shows. Though Cirque officials would never state that a rival show has surpassed one of its productions in any creative capacity, “Absinthe” has helped change the standards of Las Vegas audiences for what is genuinely risqué on a Strip stage. “’Zumanity’ had great shock value, originally, but we’ve seen that what was shocking 10 years ago is not shocking now,” Pearson says. “We have to ask is that really the right concept? We’re looking at new, vibrant choreography, more flexibility with our costumes, more interactivity with the audience, and we want to bring them onstage more. And this has all evolved naturally over time.” Pearson says a “young and very relevant” choreographer will be under contract, soon, to help remake the show. The process is still in its infancy, as Cirque founder Guy Laliberte has not even seen an initial concept of the changes. But they are moving forward, no question. “Ten years is a long time for any show to be onstage,” Pearson says. “And you have to look at evolving when you have been onstage that long.” The work in “Love” starts with the ears rather than they eyes, as that show’s “soundscape” is due for review. The brilliant audio knitting of Giles Martin has created the musical playground for the Cirque artists, but once more that work is now familiar to repeat customers and also Beatles fans who purchased the original release. The son of Beatles producer George Martin, Giles Martin is being recruited to update the music of the show (whether that process will be easier or more challenging the second time around will be fascinating to know), as he has been given access to every sound from the band — even conversations, throat clearing and the breaking of drinking glasses — throughout its recording history. “The important thing to know is the essence of why we created ‘Love’ is as strong as it was when we started,” says Pearson of a show that opened in June 2006. “We will continue to evoke the nostalgia that music creates. We just have a tough time fitting all that music and all those hits into one 90-minute show.” Fans have said “Love” would do well to drop more of the band’s earlier rock ‘n’ roll songs into the show, or at least present them more prevalently. “I Saw Her Standing There” and “She Loves You” could fall in line seamlessly in the early stretch where “I Want to Hold Your Hand” is rolled out. Full-scale versions of such off-beat tracks as “Rain” and “Hey Bulldog” would rock that theater, which remains a wonder of audio technology with its 6,000 speakers built into the structure and theater seats. Such unsolicited advice from fans of The Beatles, and of Cirque, is always part of the process. “We like knowing the standards of our audiences, what they expect out of Cirque, and those expectations are all very high,” Pearson says. “We definitely are keeping the intent and essence of what we do in place. But if you want to look at our process, right now the priority are changes to ‘Zumanity,’ and then we’ll rally around ‘Love.’” { SOURCE: LV Sun | http://goo.gl/TJj7ZW & http://goo.gl/IKrI4W } KÀ Battle Scene Returns! {Nov.25.2014} ----------------------------------------------------- Cirque du Soleil is reinstating the climactic “Ka” battle scene that’s been missing since a performer fell to her death in June of last year. The news media has been invited to a Wednesday afternoon demonstration of the sequence featuring performers suspended from wires and moving on a vertical wall, as though the audience is viewing it from above. Cirque officials did not say whether the sequence would be back in the show that same evening. Sarah Guyard-Guillot, 31, fell 94 feet during a June 30, 2013, performance. The Nevada Occupational Safety and Health Administration later determined the wire rope she was suspended from was cut during a “rapid ascent,” after it came free from the sheave/pulley and scraped against a shear point. “Ka” reopened without the battle scene in mid-July of last year, almost three weeks after the accident. Cirque and the MGM Grand later were cited for nine safety and record-keeping violations, but none that required any change to the battle scene. Still, Cirque kept it out of the show, replacing it with a film almost a year ago. A Cirque spokeswoman said last year the additional delay was more to take advantage of “available technical possibilities” that didn’t exist when “Ka” opened in 2004, but wouldn’t involve “artistic change nor safety change.” { SOURCE: Las Vegas Review-Journal | http://goo.gl/R190y5 } Cirque at Macy’s 88th Thanksgiving Day Parade! {Nov.28.2014} ----------------------------------------------------- Miss out on seeing Cirque du Soleil at the 88th Macy’s Thanksgiving Parade? No problem! Check out the album of pictures Cirque posted on their Facebook page! It was a Macy's Parade to remember. Our Dreamseeker float was a HUGE hit. Literally! LINK /// < http://goo.gl/psNhqB > { SOURCE: Cirque du Soleil } Introducing: “Backstage Cirque du Soleil” The 30th Anniversary Book {Nov.30.2014} ----------------------------------------------------- As Cirque du Soleil celebrates its 30th anniversary, the company opens the doors to a world usually reserved for the initiated. Since its inception in 1984 in Quebec, Cirque du Soleil has captured international audiences with its vibrant and imaginative performances. Taking readers behind the scenes, Backstage Cirque du Soleil allows them to discover this world from a new perspective. Backstage Cirque du Soleil is the fruit of a collaboration between Cirque du Soleil and the photographer Veronique Vial, who, through her unique lens, has examined the world behind the curtains for more than twenty years. With their touching humanity, Vial’s photographs invite the reader into an intimate universe distilled to the most essential element of the beloved performances: behind each character, there is an artist. This luxurious and whimsical volume is complete with a note from Cirque du Soleil founder Guy Laliberte and captivates readers with an unparalleled behind-the-scenes experience. ISBN: 9781614282983 14 x 17 in – 35.5 x 42 cm 152 pages Photographs by Veronique Vial Preface by Guy Laliberte Veronique Vial was born in France and has lived in California since 1989. She is known for her celebrity portraits and numerous publications, including A Day in the Life of Hollywood. She received an American Photographic Artist (APA) award and a World Press Award in 1998 and has exhibited her work across the United States and France, at the International Festival of Photojournalism in Perpignan, among other places. Pre-order the special edition of the book today for $695.00! LINK /// < http://goo.gl/KXKPIv > Check out these fantastic images from the book here! LINK /// < http://www.cirquefascination.com/?p=5228 > { SOURCE: Assouline } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem & Kurios} o) ARENA - In Stadium-like venues {Quidam, Dralion & Varekai} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, Zarkana, MJ ONE & JOYÀ} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna: Miami, FL -- Dec 11, 2014 to Jan 25, 2015 Houston, TX -- Feb 12, 2015 to Mar 22, 2015 Madrid, ES -- May 6, 2015 to Jun 21, 2015 Brussels, BE -- Sep 10, 2015 to Oct 25, 2015 Corteo: San Jose, CR -- Jan 22, 2015 to Feb 15, 2015 Bogota, CO -- Mar 19, 2015 to Apr 12, 2015 Koozå: Düsseldorf, DE -- Nov 6, 2014 to Dec 14, 2014 London, UK -- Jan 7, 2015 to Feb 8, 2015 Bern, CH -- Mar 1, 2015 to Mar 15, 2015 Kurios: San Francisco, CA -- Nov 14, 2014 to Jan 18, 2015 Seattle, WA -- Jan 29, 2015 to Mar 22, 2015 Denver, CO -- Apr 9, 2015 to May 3, 2015 Calgary, AB -- Jun 12, 2015 to Jul 5, 2015 Chicago, IL -- Aug 6, 2015 to Sep 20, 2015 Ovo: Nagoya, JP -- Nov 20, 2014 to Feb 1, 2015 Fukuoka, JP -- Feb 21, 2015 to Apr 5, 2015 Sendai, JP -- Apr 23, 2015 to Jun 7, 2015 Totem: Syndey, AU -- Oct 28, 2014 to Jan 11, 2015 Melbourne, AU -- Jan 21, 2015 to Mar 15, 2015 Brisbane, AU -- Apr 10, 2015 to May 17, 2015 Adelaide, AU -- Jun 11, 2015 to Jul 5, 2015 Perth, AU -- Jul 31, 2015 to Aug 16, 2015 ----------------------------------- ARENA - In Stadium-Like Venues ------------------------------------ Quidam: Paris, FR -- Dec 2, 2014 to Dec 7, 2014 Lille, FR -- Dec 10, 2014 to Dec 14, 2014 Lisbon, PT -- Dec 18, 2014 to Dec 28, 2014 Santa Cruz de Tenerife, ES -- Jan 3, 2015 to Jan 11, 2015 Bucharest, RO -- Jan 29, 2015 to Feb 1, 2015 Bratislava, SK -- Feb 5, 2015 to Feb 8, 2015 Budapest, HU -- Feb 13, 2015 to Feb 15, 2015 Copenhagen, DK -- Feb 18, 2015 to Feb 22, 2015 Rotterdam, NL -- Feb 27, 2015 to Mar 1, 2015 Oslo, NO -- Mar 5, 2015 to Mar 7, 2015 Helsinki, FI -- Mar 11, 2015 to Mar 15, 2015 Vilnius, LT -- Mar 19, 2015 to Mar 21, 2015 Minsk, BY -- Mar 26, 2015 to Mar 29, 2015 Moscow, RU -- Apr 16, 2015 to Apr 26, 2015 St. Petersburg, RU -- May 13, 2015 to May 24, 2015 Tel Aviv, IL -- Jul 2, 2015 to Jul 16, 2015 Dralion: Kearney, NE -- Dec 3, 2014 to Dec 7, 2014 Regina, SK -- Dec 10, 2014 to Dec 14, 2014 Lethbridge, AB -- Dec 17, 2014 to Dec 21, 2014 Kamloops, BC -- Dec 24, 2014 to Dec 28, 2014 Prince George, BC -- Dec 31, 2014 to Jan 4, 2015 Fairbanks, AK -- Jan 8, 2015 to Jan 11, 2015 Anchorage, AK -- Jan 14, 2015 to Jan 18, 2015 ** Closing, Anchorage, AK - Jan 18, 2015 ** Varekai: Sioux Falls, SD -- Dec 11, 2014 to Dec 14, 2014 Milwaukee, WI -- Dec 18, 2014 to Dec 21, 2014 Minneapolis, MN -- Dec 25, 2014 to Dec 28, 2014 Colorado Springs, CO -- Dec 31, 2014 to Jan 4, 2015 St. Louis, MO -- Jan 7, 2015 to Jan 11, 2015 Wichita, KS -- Jan 14, 2015 to Jan 18, 2015 Tulsa, OK -- Jan 21, 2015 to Jan 25, 2015 Oklahoma City, OK -- Jan 28, 2015 to Feb 1, 2015 San Antonio, TX -- Feb 4, 2015 to Feb 8, 2015 Rio Rancho, NM -- Feb 11, 2015 to Feb 15, 2015 Phoenix, AZ -- Feb 18, 2015 to Feb 22, 2015 San Diego, CA -- Feb 25, 2015 to Mar 1, 2015 El Paso, TX -- Mar 18, 2015 to Mar 22, 2015 Fresno, CA -- Mar 25, 2015 to Mar 29, 2015 Bakersfiled, CA -- Apr 1, 2015 to Apr 5, 2015 Sacramento, CA -- Apr 9, 2015 to Apr 12, 2015 Stockton, CA -- Apr 15, 2015 to Apr 19, 2015 Berlin, DE -- Oct 8, 2015 to Oct 11, 2015 Leipzig, DE -- Oct 14, 2015 to Oct 18, 2015 Stuttgart, DE -- Oct 21, 2015 to Oct 25, 2015 Mannheim, DE -- Oct 28, 2015 to Nov 1, 2015 Vienna, AT -- Nov 4, 2015 to Nov 8, 2015 Dortmund, DE -- Nov 11, 2015 to Nov 15, 2015 Cologne, DE -- Nov 19, 2015 to Nov 22, 2015 Innsbruck, AT -- Nov 25, 2015 to Nov 29, 2015 Munich, DE -- Dec 2, 2015 to Dec 6, 2015 Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016 Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016 Hanover, DE -- Feb 24, 2016 to Feb 28, 2016 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2015 Dark Dates: o January 8 - 23 o February 1 o March 25 - 27 o May 14 - 22 o July 15 o September 10 - 18 o November 11 Added performances in 2015: o April 2 o December 31 (only 7 pm performance) "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2015 Dark Dates: o February 1 o March 8 and 20 o April 13 - 21 o June 14 o August 3 - 11 o October 11 o November 30 - December 15 Added performances in 2015: o March 17 and 31 o December 29 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 2014 Dark Dates: o November 2 - 5 o December 7 - 9 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Tuesday through Saturday, Dark Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm (Only 7:00pm on the following days in 2015: January 20, May 8, May 15, May 19, May 20, and December 31) 2015 Dark Dates: o January 4 - 19 o March 7 and 20 o April 12 - 20 o June 16 o August 16 - 31 o October 31 o December 6 - 14 Added performance in 2015: o December 27 KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm (Only 7 pm performances on May 9, 16 and June 21) 2015 Dark Dates: o January 5 and 8 - 23 o February 1 o March 7 o April 15 - 17 o May 30 - June 5 o August 5 o September17 - 25 o November 18 Added performances in 2015: o January 1 - 2 o April 3 LOVE: Location: Mirage, Las Vegas (USA) Performs: Thursday through Monday, Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm (Only 7:00p.m. performances on May 15-16, June 19-21, December 31) (Only 4:30p.m. & 7:00p.m. performances on July 4) 2015 Dark Dates: o January 5 o February 1 - 2 o March 15 – 21 o May 28 o July 28 – August 5 o September 15 – 17 o October 20 – 22 o December 1 – 16 Added performances in 2014: o June 9 o December 30 CRISS ANGEL BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm 2015 Show Schedule: o Wednesday: 7:00pm & 9:30pm (only 7:00pm on January 7, February 4 - 25, September 30) o Thursday: 7:00pm & 9:30pm (only 7:00pm on January 8-29, December 31) o Friday: 7:00pm & 9:30pm (only 7:00pm on January 9–30, February 6, February 20 – 27, March 6 – 13, May 1 – 22, June 5, June 19, September 11–25, October 2–9, October 23–30, December 4 11, December 25) o Saturday: 7:00pm & 9:30pm (only 7:00pm on May 2–16, June 20, July 4, October 31) o Sunday: 7:00pm & 9:30pm (only 7:00pm on February 8–22, March 1–15, April 26, May 24, June 7, June 21, September 13–27, October 4–25, November 1–8, November 22–29, December 6–13) 2015 Dark Dates: o January 1 o January 12 – 27 o February 1- 3 o March 20 o April 13 – 21 o May 25 – June 2 o June 22 – 30 o August 31 – September 8 o November 9 – 17 o December 14 – 22 Added Performances in 2015: o December 29 ZARKANA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2015 Dark Dates: o January 6 o January 18 – February 2 o March 7 o May 10 -18 o July 14 o September 6 - 14 o November 10 Added Performances in 2015: o March 30 o December 28 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Two Shows Nightly - Dark: Wednesday/Thursday Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday 4:30pm & 7:00pm on Sunday (Only 7:00pm on January 12, 19, & 26, February 9, 16, & 23) (Only 4:30pm & 7:00pm performances on July 4) 2015 Dark Dates: o January 28 - February 5 o April 14 - 16 o June 3 – 18 o August 11 o October 14 – 22 o December 15 Added performances in 2015: o January 1 o March 26 o August 19 o November 25 o December 30 JOYÀ: Location: Riviera Maya, Mexico Performs: Tuesday through Saturday, Dark: Sunday/Monday One/Two Shows Nightly: 9:00pm (Weekdays) 7:00pm & 10:15pm (Fri, Sat & Holidays) Prices: o) VIP Show Dinner & Champagne [RED] — $MXN 2,970.00 o) Show Dinner and Champagne [BLUE] — $MXN 2,178.00 o) Show and Champagne [GREEN] — $MXN 1,452.00 o) Show Only [ORANGE] — $MXN $1,056 o) High Stools (Show Only) [PURPLE] — $MXN 858.000 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ AMALUNA ]--- {Nov.01} Amaluna's Crystal Goddess looked amazing today at Atlantic Station! Did you see her, Atlanta?! LINK /// < http://goo.gl/jZuwdd > {Nov.24} Artist Angie Swan wishes good luck to colleagues who will be performing at Macy's Thanksgiving Day Parade! LINK /// < http://www.youtube.com/watch?v=i14fic9d4PM > {Nov.27} Happy Thanksgiving! We are celebrating with two shows today. And, of course, turkey! A HUGE thank you to our amazing kitchen team for the home-cooked love! LINK /// < http://goo.gl/vWCZBm > ---[ CIRQUE DU SOLEIL ]--- {Nov.26} Take a look at how we are getting ready for the 88th Macy's Parade! Are you as excited as we are? LINK /// < https://www.youtube.com/watch?v=hsU8HtRoj_0 > {Nov.27} We are happy to announce that Larissa Robinson is our winner for "Fly with Cirque du Soleil to the Macy's Thanksgiving Day Parade Sweepstake". Congratulations! LINK /// < http://goo.gl/e5giP8 > ---[ DRALION ]--- {Nov.02} Today at the Essar Centre in Sault Ste Marie, we have met our oldest known fan - 102 years old! It is not every day we meet four generations of a loving family. We are proud to have entertained them all this afternoon. LINK /// < http://goo.gl/pknpRi > {Nov.06} Did you know the Trampo Wall act was added in Dralion by Cirque du Soleil in 2005? Here is a photo of the team who performed the very last shows in Big Top and a photo of the past and current team for the Arena tour! LINK /// < http://goo.gl/5BRegh > {Nov.09} Photos taken by our Artistic Director moments before the Kabuki drop (curtain in front of the wall) and once it is down! LINK /// < http://goo.gl/TOjbf4 > {Nov.13} We had a great visit at the Children's Discovery Museum, Normal, IL yesterday. Thank you to the staff at the Museum for welcoming us. The CDM would like to thank the artists and management of Dralion for giving us a sneak peek of the production today. Also, thank you to our wonderful CDM members and guests for being a great audience and asking such insightful questions. LINK /// < http://goo.gl/L529kx > LINK /// < http://goo.gl/8gZWML > LINK /// < http://goo.gl/2OHhkb > {Nov.13} This milestone cake is from celebrating 7 years and 2500 shows of our legendary production! Dralion will perform its 5000th show in December! LINK /// < http://goo.gl/Mx7lJC > {Nov.19} Time for Diabolo training! How many spins can you count in this video? LINK /// < http://goo.gl/heOb2n > {Nov.20} Here's a photo of our Costume workshop team when they went to China in 2010 to make sure all Dralion Troupe costumes would be ready for the Premiere in Trenton, New Jersey! It took them 7 days! Can you imagine? LINK /// < http://goo.gl/zK8AN5 > {Nov.23} Dralion crew is hard at work in Cedar Rapids. LINK /// < http://goo.gl/GdMh7h > {Nov.24} Artist Tara Pandeya wishes good luck to colleagues who will perform at the Macy’s Parade! LINK /// < http://www.youtube.com/watch?v=q2cuBhvYLBA > {Nov.27} Dralion in front of its biggest audience at the Coliseum of Puerto Rico in 2011. Over 9,000 people gathered to witness the magic of this legendary production! We have so much to be thankful for! LINK /// < http://goo.gl/3hna31 > {Nov.28} Bonjour Dralion fans! The adventure of Dralion will be coming to an end in January 2015 in Alaska. We have beautiful stories to share from our cast and crew! In the coming weeks, we will be sharing memories with you. Anyone you would like to hear from, please let us know! We would also like to read or see your memories. Use this hashtag to share your words for our cast and crew: #GoodbyeDralion LINK /// < http://goo.gl/1C1QaH > {Nov.30} Dralion this Wednesday at the Viaero Event Center in Kearney and we decided to try our hockey skills. Do you think we have a chance to make the Tri-City Storm team or should we stick to what we do? LINK /// < http://goo.gl/9DbSEp > ---[ JOYA ]--- {Nov.08} We are so excited to begin preview performances tonight! LINK /// < http://goo.gl/aFgPLm > {Nov.13} From sketch to reality: watch the costumes of JOYÀ come to life. LINK /// < http://goo.gl/sqDIvk > {Nov.18} Human performance: the choreography of JOYÀ takes shape. LINK /// < http://goo.gl/sqDIvk > {Nov.21} Today is the day! Only hours until the world premiere of JOYÀ! Are you as excited as we are? LINK /// < http://goo.gl/uvVmLI > LINK /// < http://goo.gl/k0JJ0N > LINK /// < http://goo.gl/i9AxiP > ---[ KA ]--- {Nov.11} Seventy specialists worked more than 35,000 hours to produce the first full set of KÀ costumes. Can you imagine how many hours are spent doing laundry? LINK /// < http://goo.gl/4mH2MV > {Nov.26} Are you ready? Because we’re born ready. LINK /// < http://goo.gl/EsHC71 > ---[ KOOZA ]--- {Nov.03} The artists are back to work and already having fun in the artistic tent in between trainings! LINK /// < http://goo.gl/lqkR1b > {Nov.10} Take a look backstage with WDR LINK /// < http://goo.gl/cbvxrF > {Nov.14} Hoops Artist, Irina Akimova, and Trickster, Joey Arrigo, pose in the iconic Albert Square. LINK /// < http://goo.gl/JIV4zp > ---[ KURIOS ]--- {Nov.06} Bonjour KURIOS fans! We just released our new single “You Must be Joking” Will you be joining us at the Album Launch on Dec 10th San Francisco? LINK /// < http://www.youtube.com/watch?v=Hd2z6kSy6NU > {Nov.13} Can Cirque du Soleil top itself with 'Kurios'? Check out Karen d’Souza’s feature from today’s Bay Area News Group newspapers and find out. LINK /// < http://goo.gl/latIlV > {Nov.18} Stark Insider had a lot of fun visiting us Behind the Scenes. Have a look at their piece: LINK /// < https://www.youtube.com/watch?v=DGPlwD1-wmk > {Nov.19} Early morning with KTVU Channel 2 LINK /// < http://goo.gl/cIsSPj > {Nov.20} Kit Chatham, our drummer, is showing us how to perform a part that he plays in “Fearsome Flight” from the Rola Bola act. Check it out! LINK /// < http://www.youtube.com/watch?v=5GSIQCByGqU > {Nov.24} Artist Ryan Murray from KURIOS by Cirque du Soleil wishes good luck to colleagues who will be performing at Macy's Thanksgiving Day Parade! LINK /// < http://www.youtube.com/watch?v=hl1t2yamQzU > {Nov.27} Giving thanks to each and everyone of you! We feel the gratitude every night. Thank you KURIOS fans! May your day be filled with laughter and love. LINK /// < http://goo.gl/4GL3sn > {Nov.28} Michael Levin (our cellist) and Paul Lazar (our violinist) are showing us how to perform a part of the single “Fearsome Flight” from the Rola Bola act. Don't miss your chance to meet the band at the Album Launch on Dec 10 in San Francisco! See you there! LINK /// < http://www.youtube.com/watch?v=EFwaHpTvu0w > ---[ LA NOUBA ]--- {Nov.04} We’ve got a few tricks up our sleeves. Ready to see them? LINK /// < http://goo.gl/ZfVsf5 > {Nov.11} A total of 1,250 theatrical lighting instruments including six follow spots, 150 color scrollers, and 38 moving lights are capable of delivering over a half-million watts of light on stage. LINK /// < http://goo.gl/nzDnrM > {Nov.19} The showroom seats were modeled after old-fashioned auditorium chairs. Constructed out of steel and wood and covered in red velvet, they were designed to create a familiar atmosphere for the audience. LINK /// < http://goo.gl/wCNzRi > {Nov.27} The front-of-house sound booth provides the ability to automate mixes and dynamic changes, as well as the placement and movement of the sound image throughout the showroom. LINK /// < http://goo.gl/RMbNnp > ---[ MJ ONE ]--- {Nov.18} Want to learn more about the magic behind our moves? Hear it first from the artists' point-of-view! LINK /// < http://www.youtube.com/watch?v=vij2f1C92Rg > ---[ OVO ]--- {Nov.02} Sayonara Osaka! You guys were fantastic but it's time for us to say goodbye. We will keep wonderful souvenirs of our time here. Nagoya... you guys are next! See you on November 20th!!! LINK /// < http://goo.gl/pBIYaG > {Nov.03} Oh no! Master Flipo has taken control of the tear down. Are we gonna make it to Nagoya? LINK /// < http://goo.gl/nS4AG3 > LINK /// < http://goo.gl/6MuvjX > {Nov.16} After 2 weeks off, OVO is back!!! We moved to Nagoya where we will Premiere this Thursday. The artists are already at work and they are getting ready for opening night! LINK /// < http://goo.gl/yLm2E4 > LINK /// < http://goo.gl/ppXkjY > {Nov.20} Nagoya!!! OVO is here! We Premiere tonight and we will be in town until February 1, 2015. Last night, the Foreigner, the Ladybug, Master Filpo, Mr Ogura and LiLico officially welcomed the crowd during a special ceremony. We hope to see you soon! LINK /// < http://goo.gl/asLZme > LINK /// < http://goo.gl/Cxm5J8 > {Nov.22} Welcome to OVO! When you arrive at the Nagoya Dome, you will be greeted by a giant egg and our 3 main characters. Make sure you snap a picture! LINK /// < http://goo.gl/rqqvoO > ---[ QUIDAM ]--- {Nov.05} Interviews and trainings prep for Quidam premiere in Firenze. LINK /// < http://goo.gl/p92c8n > {Nov.09} Sometimes, even the fiercest of acrobats needs a nap... LINK /// < http://goo.gl/R46kez > {Nov.14} Practicing new tricks and getting ready for opening night. LINK /// < http://goo.gl/FZmaOU > {Nov.16} The cutest fan made the cutest pendant for our Zoé to wear. LINK /// < http://goo.gl/FRIQFq > {Nov.19} How was your day? Ours was busy with shoe painting, rope climbing, light fixing and interviewing. LINK /// < http://goo.gl/qrdxtH > {Nov.29} Quidam hosted a Cirque du Monde event this morning, 45 enthusiastic teenagers took part in workshops on Cirque make-up, juggling, tumbling, skipping, aerial hoop and basic acro. LINK /// < http://goo.gl/6uvlPI > LINK /// < http://goo.gl/IvT0Q2 > ---[ THE BEATLES LOVE ]--- {Nov.12} The Beatles LOVE Music Director, Giles Martin, and the Las Vegas Philharmonic give us a behind-the-scenes look at how they strung together a live musical piece and a Beatles LOVE performance for the Life is Beautiful Festival. LINK /// < http://goo.gl/gq8jT4 > ---[ TOTEM ]--- {Nov.02} The cast and crew is enjoying a day off in beautiful Sydney, like admiring the skyline from the BridgeClimb Sydney! LINK /// < http://goo.gl/8MWzk9 > {Nov.05} Did you catch our Hoop Dancers Shandien Larance & Eric Hernandez and singer Christian Laveau performing on MORNINGS earlier this week? Watch it here: LINK /// < http://cirk.me/1v5L5pB > LINK /// < http://goo.gl/s6d7Nz > {Nov.18} We are in full photo-shoot mode all around Sydney today - more details coming soon. LINK /// < http://goo.gl/1iqeOu > {Nov.21} Umi applies his Green Frog make-up on the terrace next to the Artistic Tent, we love Sydney weather! LINK /// < http://goo.gl/lYyrFG > {Nov.24} Melbourne! Watch out if you walk in front of the Clocktower at Southern Cross station, our TOTEM characters are watching you ;) LINK /// < http://cirk.me/133mHme > LINK /// < http://goo.gl/OgSJs3 > {Nov.25} TOTEM characters exploring Sydney! (12 photos) - Daily Telegraph took characters of TOTEM outside the Big Top to visit iconic Sydney locations! LINK /// < http://goo.gl/ihqAph1 > ---[ VAREKAI ]--- {Nov.05} Just a regular training day at Varekai! LINK /// < http://goo.gl/keqevi > LINK /// < http://goo.gl/aBNlhw > {Nov.09} Did you know that our aerial strap performers represent bird- like creatures who serve as protectors or gods of the forest? Their act is strong and powerful but if you look closely at the movements, you can detect some break dancing influences! For more information on the inspirations and influences during creation, be sure to check out our DVD collection of Fire Within available at our merchandise stands! LINK /// < http://goo.gl/83SSAe > LINK /// < http://goo.gl/yt4j9G > {Nov.12} At the CW-27 WGNT studios in Hampton this morning LIVE! Check us out at 8:40am for a sneak peak performance! Varekai will be at Hampton Coliseum through Sunday! LINK /// < http://goo.gl/03UrJQ > {Nov.19} Varekai was proud to support the Winn-Dixie SAINTsational Fall Festival benefiting Second Harvest Food Bank of Greater New Orleans & Acadiana! Check out some of our pics with some Saints Players! LINK /// < http://goo.gl/1o9UQB > {Nov.24} "He offered us a chance to float away. But she refused. I'm not yet ready, she said." Did you know that Varekai uses 50 pound tanks of Helium per week for the giant Balloon? LINK /// < http://goo.gl/DYHscS > {Nov.27} Kerren McKeeman from Varekai wishes good luck to colleagues performing at Macys Parade today! LINK /// < https://www.youtube.com/watch?v=MKj5Lm3Uv8I > {Nov.29} "No fall can break the soul, Stand up. And never give up." LINK /// < http://goo.gl/SfZsUQ > ---[ ZARKANA ]--- {Nov.09} Today we celebrate the terrific twos! It's our 2nd year anniversary at the Aria Resort and Casino. We hope you can come and celebrate with us! LINK /// < http://goo.gl/lOLRIX > {Nov.10} The Art of Defying Gravity: A moment worth slowing time for. LINK /// < http://goo.gl/tcFZhT > {Nov.25} Original Costume Sketches by Alan Hranitelj - The overall visual aesthetic of Zarkana's costumes – 250 in all – is a modern take on the look of the 1920s, the 1930s and the Art Deco movement. These references provided a departure point for his far-ranging and resolutely modernist approach to the look of the show’s characters. LINK /// < http://goo.gl/75enMv > ======================================================================= FASCINATION! FEATURES ======================================================================= o) "An Inside Look at JOYÀ, The Pearl in a Mangrove Jungle" By: Cirque du Soleil Press Room Materials o) "Evolution: The Transfer of Varekai from Big Top to Arena (As explained by Fabrice Lemire, Varekai Artistic Director) By: Keith Johnson - Seattle, Washington (USA) o) "Preview: Cirque du Soleil 30th anniversary concert" By: Cirque du Soleil Press Room Materials ---------------------------------------------------------- "An Inside Look at JOYÀ, The Pearl in a Mangrove Jungle" By: Cirque du Soleil Press Room Materials ---------------------------------------------------------- Cirque du Soleil and Grupo Vidanta present the world premiere of JOYÀ in Riviera Maya, directed by Martin Genest and Richard Dagenais. This first-of-its-kind intimate culinary and theatrical experience will be performed in the custom-designed, 600-seat Cirque du Soleil Theater near The Grand Mayan resort! THE SHOW -------- An engaging, immersive, multisensory experience in which joy, courage and friendship conquer all! Behind the veil of the lush Mayan jungle exists a world of crystal-clear water pools, coral rocks, and rich flora and fauna – an oasis within an oasis. A wooden walkway leads to a theater perched above a massive lagoon cascading in a majestic waterfall. This is the world of JOYÀ: a unique entertainment and culinary experience by Cirque du Soleil. Inspired by the fabulous migratory journey of the monarch butterfly in which life is passed from one generation to the next to ensure the survival of the species, JOYÀ follows the adventures of a rebellious teenage girl whisked away to a mysterious jungle in her grandfather’s fantastical world. Surrounded by a strange band of half-human, half- animal masters inspired by ancient Mayan iconography, the aging naturalist yearns to pass on to his granddaughter his relentless quest for the meaning of life. Inhabited by entrancing characters that work hand-in-hand to perpetuate the love of life, JOYÀ abounds in subtle allusions to the history and culture of Mexico, from the migration of the monarch butterflies to the asteroid believed to have caused the extinction of the dinosaurs to artists such as Diego Rivera and Frida Kahlo, and with mariachis, masked wrestlers, pirate legends, and the rhythms and sounds of Mexico. CREATIVE TEAM ------------- The creative team of JOYÀ consists of 12 creators under the artistic guidance of Guy Laliberté (Guide) and Jean-François Bouchard (Creative Guide): Martin Genest Stage Director Richard Dagenais Director of Creation Guillaume Lord Set and Props Designer James Lavoie Costume Designer Bob & Bill Composers and Musical Directors Harold Rhéaume Choreographer Jacques Boucher Sound Designer Jean Laurin Lighting Designer Philippe Aubertin Acrobatic Performance Designer Pierre Masse Acrobatic Equipment and Rigging Designer Nathalie Gagné Makeup Designer THEATRE AND SITE ---------------- An oasis within an oasis – The Cirque du Soleil Theatre is perched above a massive lagoon overlooking the Mayan jungle on the Vidanta Riviera Maya property. It is an oasis within an oasis. When guests step onto the gently sloped wooden walkway that winds them from the site entrance all the way to the Cirque du Soleil Theatre entrance 11 meters above, they gradually escape to another universe – a world of lush vegetation, waterfalls, and rich flora and fauna, far away from the hustle and bustle of the city. When he imagined the theatre and site layout for JOYÀ, Grupo Vidanta architect Arturo Hernandez based his designs on three guiding principles: have the utmost respect for the jungle environment, conceal the theater among the mangroves, and play with sinuous lines and organic shapes. A large cenote in the jungle – Abundant in the Yucatán Peninsula of Mexico, cenotes (pronounced say-no-tays) are naturally occurring sinkholes resulting from the collapse of limestone bedrock that expose groundwater underneath. The Maya believed these pools were sacred gateways to the afterlife, their openings representing sacred portals to a mythical underworld, a place of awe. The architecture and esthetics of the JOYÀ site reflect and celebrate the Maya’s reverential respect for nature and are inspired by the natural beauty of the surrounding jungle, which sits atop an intricate underground labyrinth of rivers and cenotes. In fact, the entire JOYÀ site concept is meant to give the impression one is stepping into a large cenote among the mangroves, complete with crystal-clear water pools, coral rocks, and a magnificent waterfall. A deep respect for the environment – Construction in this ecologically rich part of Mexico is subject to stringent environmental controls and restrictions; it is prohibited, for example, to build anything above the 12-meter tree line of the lush, low-lying jungle that is not made of natural materials. During construction of the JOYÀ site, trees, rare plants and animals were all displaced. To better preserve the natural habitat, a wooden walkway leading to the theatre was deliberately built above ground, allowing animals to pass freely underneath. The leaning palm tree – At the end of the wooden walkway, the Cirque du Soleil Theatre evokes a palm tree leaning forward, like a giant flower gently brushing the water. The structure resembles a palapa (a Spanish word meaning “pulpous leaf”), a type of open-sided dwelling with a thatched roof made of dried palm leaves very common on Mexican beaches. Stepping inside the theatre is, once again, like walking into a cenote: with its high ceiling and organic feel, the volume seems to live and breathe. SET DESIGN ---------- The Naturalium – The theatre suggests a naturalium, a great library and a place of knowledge whose architecture blends with the natural environment. As Mexico is home to one of the largest universities in the world, a country in which the transfer of knowledge dates back to the ancient Mayan civilization, the naturalium is filled with old books collected over time by Zelig, an aging naturalist, and his assistants, the Masters. Certain parts of the set also evoke a vivarium (the plant world) and a terrarium (the mineral world). To illustrate the idea of the transmission of knowledge, set designer Guillaume Lord decided to integrate two gigantic books upstage. High up above, the technical grid is hidden away behind a gigantic mechanism that represents a time machine created on the same scale as the books. Blurred timeline – As Zelig’s naturalium is a place where knowledge has been collected over time, there is no set time period per se, but rather a collection of time periods: we see a radio from the 1920s, Renaissance patterns on the floor, clocks from the Victorian era, a preindustrial staircase, a large contemporary mural, etc. A versatile space – Throughout the show, the space undergoes a series of transformations based on the narrative. Large scrims are used to separate the stage from the audience in order to suggest an underwater world. Hordes of pirates emerge from a large book and take the stage – and the audience – by storm. The naturalium is turned into a jungle when a giant vine descends onto the stage around an 8.5-meter-tall flower. A huge mural in the style of Mexican fresco painter Diego Rivera appears on stage to represent the inner world of Zelig’s granddaughter, Joyà. SUBTLE ALLUSIONS TO MEXICAN HISTORY AND CULTURE ----------------------------------------------- When imagining JOYÀ, show writer and director Martin Genest wanted to make a series of subtle allusions to the history and culture of Mexico, far from the usual clichés and stereotypes. Migration of the monarch butterflies – One allusion, which represents a unique connection between Canada and Mexico, involves the migration of the monarch butterfly. Each year, when autumn arrives, millions of these butterflies make the long, 5,000-km journey from southern Canada to central Mexico where they hibernate for the winter. Only monarchs born in late summer or early fall undertake the round-trip migration. By the time the migration begins anew the following winter, several generations will have lived and died during the summer, and it is the grandchildren of the previous year’s travelers that will set out on the long journey south. The asteroid – It is said that the impact of a huge asteroid that fell in the Yucatán Peninsula, Mexico, 66 million years ago caused the mass extinction of the dinosaurs. It is an echo of this asteroid that wreaks havoc in the naturalium at the top of the show and brings in Joyà, Zelig’s granddaughter. The dinosaur puppet that trots on stage also refers to this cataclysmic event. The transmission of knowledge – In a nod to the fact that Mexico is home to one of the largest universities in the world and has a large anthropology museum, the show is set in a naturalium and a library. Mexican art – In addition to the reference to Diego Rivera, the vines, giant flower and jungle are an oblique reference to artist Frida Kahlo. There are many other allusions including masked wrestlers, mariachis, pirate legends (famous pirates took refuge on Isla Mujeres – the Island of Women – in the 17th and 18th centuries), cucaracha marionettes, horror films (in reference to master of horror Guillermo del Toro), and even the underwater sculptures of Jason deCaires Taylor. COSTUMES -------- Mixing time periods – The time dimension of the show is meant to feel like a familiar past, but it is a past that corresponds to our future. For costume designer James Lavoie, it was important to show an evolution from the past to the future as Zelig passes on his mission to his granddaughter. Zelig, the aging naturalist, is a mix of Don Quixote, Charles Darwin, Faust, Leonardo Da Vinci and other great men all brought together into a lovable character. He runs the naturalium and has made it his life’s mission to collect all the knowledge of the world. His costume refers to a past mixed in with contemporary and even futurist elements. Lavoie imagined what Zelig would be writing and drawing in his book of knowledge. The prints on his rich, multi-layered costume are inspired by scientific and naturalist drawings of different periods, from pre- Victorian to contemporary. A closer look reveals faded images of plants taken from old botanical volumes.Clear patterns emerge – The prints on the costumes of the Masters are based on their specific areas of specialty: o) The prints on the Entomologist’s costume are inspired by old drawings of insects. o) The Master of Time features sundial and meridian images. o) The pleating on the side of the Archivist’s dress evokes the edge of a book. o) The Alchemist features invented alchemy symbols based on the Fibonacci spiral, which recalls the longhorn ram head he is wearing. When looking at the five Masters, one can wonder if these characters are animals in weird costumes or humans whose heads have been taken over by animals wearing beaded amulets straight out of the Mayan codices (bark cloth folding books from the Maya civilization). Perhaps they are Zelig’s masked assistants, or a combination of all of these. Material wonders – The best combinations of technology (such as laser cutting and printing) and hands-on, artisanal techniques (such as hand painting on textile fabric, sewing and lace) were sought out to support the artistic intention of the designs. o) To create the Master of Water character, the coral effect on the hand-balancing artist’s costume gives the impression that her body has gradually been taken over by sea whips and other types of coral. It is the result of a long and arduous process of hand sewing pieces of fabric to create textures that could well be found in the natural world. o) Sublimation on neoprene was used for the hood that Joyà wears, which recalls a cloak from the Victorian era with a slightly futurist look. o) The fabric used for the costumes of the creatures of the night is dipped in black silicone to create a stunning shine as if the costume had been dipped in darkness. o) Some of the rich, textured costumes of JOYÀ speak to our organic, essential relationship with the natural world to which we are deeply connected. They contain the idea of oneness between humans and nature. MUSIC ----- To create the music of JOYÀ, composers Bob & Bill used a cinematic approach to support the adventure-based narrative. The mood varies from festive, dance and Latintinged beats to percussion-based Mayan sonorities, soothing underwater sounds and driving rhythms during the pirate sword fighting scenes.The music of JOYÀ, which mixes classic and contemporary sounds, is acoustic, warm and melodic. The trumpet – a staple instrument in Mexican jazz and Mariachi ensembles – is omnipresent, as are the acoustic guitar and percussion instruments. Some of Bob & Bill’s catchy melodies have become the musical signature of the show. After the performance, some of the spectators are bound to hum or whistle these uplifting melodies as they step back out onto the wooden walkway into the Mayan jungle. AN UNPRECEDENTED GASTRONOMIC EXPERIENCE --------------------------------------- World-class international cuisine featuring exquisite products from the Mexican terroir – One hour before the performance, comfortably seated in the breathtaking Cirque du Soleil theatre under the intricate chandeliers, 194 patrons wishing to connect all of their five senses and to take in the full JOYÀ experience get to enjoy a world-class, three-course dinner complete with a bottle of champagne. This fine dining experience features internationally inspired cuisine showcasing the finest products and flavors of the Mexican terroir that take nature’s bounty to new levels. Blending inspiration with audacity – For Grupo Vidanta Executive Corporate Chef Alexis Bostelmann, creativity was a driving force when the time came to put together the highly inventive bill of fare, starting with the edible menu that patrons can break into pieces and enjoy in a tasty dip, or the nature-filled “breadbasket” sculpture in the form of a plant containing different breads and crackers with savory herbs and seeds. Presented in pieces of stoneware and earthenware in keeping with the show’s theme, the unusual pairings that make up the JOYÀ culinary experience blend inspiration with audacity. With every mouthwatering bite of bright, intense flavors, the textures somersaulting against each other as they hit the palate, guests get to experience creative culinary dishes reinterpreted with local colors and ingredients cooked with supreme precision. An hour in culinary delights – After tasting several mouth-watering appetizers (Natura) that are not food so much as meditations on anticipation, diners get to choose among a number of tantalizing dishes for the main course (Arto), each one bound to hit them in some primal spots. In the spirit of the Alchemist character in JOYÀ, they also get to experience the “dragon breath” effect – a molecular cuisine creation that causes smoke to billow out the guest’s mouth when he or she breathes out. The meal is rounded off with a stunning array of exquisite desserts (Scienco) presented inside a book. The JOYÀ gastronomic experience sets the stage, as it were, for diners to experience the performance collectively in the spirit of the Mayan greeting “In Lak’ech Ala K’in” (which means “I am you and you are me”), which speaks of unity and oneness. ------------------------------------------------------------ "Evolution: The Transfer of Varekai from Big Top to Arena (As explained by Fabrice Lemire, Varekai Artistic Director)" By: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------------ Adapting a product for use in a different venue or way is a cost- effective way to get additional value out of product development costs. Thought of in an extreme case an example would be local police with equipment originally designed for the battlefield. Or filming a show to be able to sell to cable TV, video-on-demand, or on DVD/Blu- Ray. It’s not like you’re creating a sequel – it’s not a new product or show created with the same parts, characters or artists. It’s more like making arena football from NFL football; the player types desired, goals, and many of the rules are the same, merely adapted to fit a different venue. Cirque du Soleil has brilliantly opened many lucrative new markets to its shows worldwide by adapting shows that have played in Grand Chapiteaus (with all the infrastructure that entails) to now play in Arenas. While there are many places you might be able to set a Big Top, there are many, many more that have basketball/hockey rink-sized Arenas. You can’t always set up a Big Top where you might like, especially in Europe. But nearly every city of some size has an Arena. So in order to reach those smaller markets, Cirque thought smaller and quicker. Playing in arenas means no Grand Chapiteau to set up and tear down, and reduces the number of trucks needed from 60 containers to around 18 trucks. Nor do they need their power supply and environmental units. And Arena shows can play for one week in a town profitably, unlike Grand Chapiteau shows which need 4-6 weeks in a city to make money. But you just can’t take a show and insert it, unchanged, into an arena. It’s much more involved than that. And that is where Fabrice Lemire comes in. We first explored the process of adapting a show from Grand Chapiteau to Arena (what Cirque calls a “transfer”) in a conversation with Mark Ward (Quidam’s “John”) in Issue 89-July, 2011 (http://goo.gl/5Qt5J7). But we wanted to go deeper. When a show very close to my and my wife’s hearts, Varekai, made the leap we got the opportunity to speak with the man who headed the transfer. Fabrice Lemire (fahb – REESE LEW-mee-air), age 44, was born in Paris, France, and received training at the Paris Opera Ballet School (http://goo.gl/KOR956) starting at age 3 and graduated from the Conservatoire National Supérieur de Musique et de Danse de Paris (http://goo.gl/Bj3DVI) at 16. By the time he was 19 he was a principle dancer. At 30 he decided to focus on choreography and directing and has choreographed and directed works for many different companies. He also served as Guest Teacher for Celine Dion’s “A New Day” show. It was here he was noticed by Cirque, who snatched him up to be Dance Master for ZAIA in Macau. In summer 2010 Mr. Lemire was plucked from ZAIA and given the challenge of transferring a show. But it wasn’t Varekai, it was Quidam, and it wasn’t why he was moved to the show originally. “This was my very first directorship for Cirque du Soleil in any position. I was going there as an assistant artistic director, but after a week on the job I was told that I was actually going to take over the show for the transfer. So what happened was pretty much the same approach that we later did for Varekai. They had me on the big top tour for almost a year so that I could really grasp the artistic element and what was going on from all aspects; all the problems we might be facing. This also allowed me some time to come up with a plan.” But performing the show in an arena wasn’t brand new to the cast and crew, as Mr. Ward explained when we talked with him. “We had done a small arena tour in the UK [Ed. For 8 weeks in Feb-April of 2009, visiting Liverpool, Belfast, Newcastle, Birmingham, Manchester, Dublin, Sheffield and Glasgow], and performed in the Royal Albert Hall [Ed. In Jan-Feb of 2009]. So we had some experience with Quidam in arenas, but [now] it was going into arenas full-time.” They plunged right into the conversion process immediately after drawing the curtain on Quidam’s big top life. As Mr. Ward continued, “We really didn’t have a break because [after the final Grand Chapiteau show in Bogotá, Columbia on Nov 21, 2010] we did a six-week arena tour in Canada at the end of [2010] [Ed. From Dec 11, 2010 – Jan 16, 2011] with the cast we had for the South America tour. We played Kingston, Montréal, Québec City and Chicoutimi. Then in January we stopped because we had a 60% new cast of artists. So we went to training in Montréal for two weeks [the last half of February 2011] where we met new members of the show. Then the whole group went to Nashville and trained there for six weeks [all of February to March 8, 2011] to get everything together. We just basically [rehearsed] the full show from beginning to end for everybody – technical, artists, and everybody – to get an idea of how it runs and put things together from top to bottom. For us it was like being in a theater built for us because they set up a stage in Nashville [at Bridgestone Arena (.com)] and we used that space every day for over a month.” The first Quidam show in its new Arena form played in Vancouver BC Canada on March 9, 2011. The experience of transferring Quidam into an Arena format brought to light many of the types of challenges that would need to be addressed with future shows. This would serve Mr. Lemire well when the time came to transfer Varekai. But before the show could be transferred it would need to be revamped to accommodate Cirque’s new lowered financial reality. “Varekai was converted to arena because we had been through every single market in the big top and it was time for Varekai to reach out to a new demographic,” Mr. Lemire explained. “But the conversion (to arena) was different from the (budget-cutting) revamp. And this was a wonderful stepping stone for Varekai, because we started with the revamp and the transfer came right after that.” The revamp process began with Mr. Lemire’s first viewing of the show. “When I take a show over, including Quidam and Varekai, I don't research or watch any video beforehand to get my first impression of the show. So when I took on Quidam and Varekai I knew nothing about those shows at all. I wait until I am watching the show with an audience and letting the show speak to me. I came in, and for the first three shows I just watched and took notes; what speaks to me in a good way or bad way. And I continue like that for three or four days. And then I evaluate what I can start with.” “That’s what allows me to make changes, [such as] when we're talking about reducing performance time. Because what spoke to me on the first day is naturally what I want to deal with first, ‘This needs to be changed, this needs to be shortened a little bit, this part needs to move a little bit faster so we can keep the focus on what's going on, etc.’ And [that’s how] we find the right rhythm.” “When I first came to the show, to me it was 25 to 30 minutes too long, and I managed to cut 25 minutes. But not just by cutting acts, [though] I cut two acts and actually replaced one. The triple trapeze which was in the big top with four girls is now in rotation, [the act is now done] with a single trapeze girl and [rotates with] a hoops act. And the water meteors act which was done by three young Chinese performers was cut because the arena format doesn’t allow any minors. I also created an act for a solo baton twirling girl; she's Japanese, she's phenomenal, she's one of the best backup acts a show could have. That act is easy to place, I can place it anywhere in the show without interfering with the flow too much.” “But what I mostly did was tighten, such as with transitions. Sometimes people would look at me like I was crazy. But instead of cutting into the next act because it was too long I [had a conversation with] the musical director Brigitte (Larochelle). I said, ‘This song is a ballad, it's a slower piece. What if we played it slightly different and made it a little bit faster? Not crazy like a sped-up record, but it could [still work].’ So we tried it, and we were able to cut a good minute or so by just playing and singing faster, so it worked. In other places I just managed to cut part of the scene.” The show today is two hours, including intermission, with each act coming in at around 41 to 42 minutes each. It was a good 2 1/2 hours long before the revamp. “Speaking just for myself and my experience with this show, I felt that the scenes themselves were telling me that the show was too long. I love when my audience leaves a show and asks for more. I'm the kind of director who doesn’t give the audience too much. And I think this is the way Varekai is now in its current shape; you want to see more.” SECOND TIME AROUND ------------------ It was two years later when the call to head another transfer would come from Montréal. Mr. Lemire joined Varekai in October-November 2012 (while the show was in Sao Paulo, Brazil) a year before the show was converted to Arena. The last Varekai show in a Grand Chapiteau was Mexico City, Mexico on November 24, 2013. 18 days later the first Varekai show in an Arena was Bossier City, Louisiana on December 13, 2013. While his experience transferring Quidam would be invaluable, the transfer of Varekai was done to a much different timetable. “The timeframe for the transfer between the two shows was extremely different. For Quidam we had over five weeks in an empty arena with no shows, just to really do the transfer. For Varekai it was a quick turnaround of 2 1/2 weeks. On Quidam I had perhaps less [influence], since I was only speaking for the Artistic side, while on Varekai I was the only director doing the transfer.” Mr. Lemire then explained the division of responsibility inside a Cirque show. “On Cirque shows we have three directors: the Artistic Director, the Technical Director, and the Company Manager. The Company Manager and the Technical Director did not accompany Varekai for the transfer; I was the only director in charge. So I became the link to take the ship with me to [do the] transfer and integrate not just new artists and artistic staff but facilitate the integration of new crew members and new heads of departments, and also a new Company Manager and Technical Director who came later when the show was ordered transferred.” “Knowing that I had done the Quidam transfer already, I [knew I] had to really prepare myself. For Varekai we had a lot of deadlines; the major deadline was the timeline of the transfer itself, the 2 1/2 weeks (Ed. From 11/25 to 12/12, 2013) in Bossier City in Louisiana (Ed. just across the Red River from Shreveport in the northwest corner of Louisiana). We were given an arena (CenturyLink Center.com) where we could take 2 1/2 weeks to restage the whole work and make all the adjustments necessary. The obstacle that we had in Bossier City was that they already had two shows planned during our stay in front of an audience (on December 13 & 14, 2013). This was actually a very tight deadline, but we knew it would be. And right after Bossier City we took the show and presented it in its new format in Montréal. So the stress level was very high. What we had to do within the last year to six months in the big top was the maximum preparation possible technically, artistically, and everything else we could. So that when we arrived in the arena in Bossier City we were ready to face other new challenges.” MAKING ADJUSTMENTS ------------------ While there were many technical challenges involved (more on those in a minute) his first major concern was the cast and crew turnover. Mr. Lemire also needed to give his personnel time to get adjusted to the new environment within the compressed time schedule. “Remember one thing: even though there was not much of a change-over with artists (we replaced maybe five or six artists out of 50), only one of the technical departments stayed on, every other department was new and coming into a new show. So there was a lot of education to do. Some of the artistic team was new, and many of the technical crew, at the same time you are educating artists. Some of [the team] had never seen the show before so they are starting from scratch. [For example] a lighting person behind the console has to anticipate a scene, he cannot just say, ‘Oh yes I'm changing to the next scene.’ It's a learning process that everybody has to quickly adjust to.” “I think artists need [time] to understand what an arena is. In the big top they’ve had the same backstage area and tunnel entrance to the stage for many years. They have their points of reference. In an arena, even though we try to re-create the same space in different venues, it's always different. So the mental adjustment for the artists was huge. They could see the backdrop, and see where backstage is, and know we cannot have full light back there because the light will leak into the front. So they had to learn to practice, to do tricks and high acrobatics, in new lighting conditions. All of this was a major adjustment for the cast.” “I also wanted to have my performers, the artists, understand the relationship that they have not just with the proximity of the audience, but also what do you do, how do you reach an audience member that is sitting in the very last row of the arena? Sometimes it's as simple as pushing their projection. Sometimes you don't want to do that, sometimes you want to create the illusion that the performer is right in front of you. And the way we would do that would be with lighting. In a movie you would do a close-up on somebody and the people in the background would be a blur. The audience's mind is really looking at the in-focus image. So how do you create that in an arena? It may mean changing the intention of the artists. Sometimes it's to not add on material because it gets too busy and the eye does not have time to register what's going on due to the distance. Sometimes it's cutting to a simple message so the intention is clear to the audience. Sometimes it's playing with lighting to create a focus, to isolate you and lead you to look at a certain scene or a certain performer on stage.” “I felt the biggest artistic challenge was for the clowns. The clowns feed off the reaction of the audience, so they are used to listening for laughter so they know when to move on to the next joke. In an arena, even though the audience may be laughing, the distance may not give you the support you need. This was major for the clowns and they felt they were not funny, that in the beginning they were not getting the reaction that they should have. And it's a major adjustment for them to continue on with the pattern of the act while feeling that they are not being appreciated. This also was a big lesson to learn, how do you continue and motivate yourself when you don't get the feedback that supports what you do?” (Next month, in Part Two of our Interview, Mr. Lemire goes into detail about the challenges involved in using new staging, lights, and sound in a new space. Don’t miss it!) ---------------------------------------------------------- "Preview: Cirque du Soleil 30th anniversary concert" By: Cirque du Soleil Press Room Materials ---------------------------------------------------------- This holiday season Cirque du Soleil would like to invite you to witness something special. As part of its 30th Anniversary, and for the first time in its history, Cirque du Soleil will present a truly unique, exclusive event celebrating its vibrant musical universe. Presented by Xerox, this ephemeral musical event will take place from December 13th to 28th, at the heart of Saint-Jean-Baptiste church in Montreal! THE INSPIRATION --------------- The idea for a concert celebrating the vibrant music of Cirque du Soleil found its creative spark during a musical summit held at the Saint-Jean-Baptiste church in 2009. When the Cirque cultivated ideas to celebrate its 30th Anniversary, the team reflected upon the strong emotions provided during the summit. "Cirque du Soleil's music is extremely rich, but it's always supporting the acrobatics. For the 30th Anniversary we wanted to offer something more; we wanted to put our music to the fore. This time our music is the star of the evening!" Over the course of three decades, twenty-odd composers wrote and arranged the music for the 35 shows created by Cirque du Soleil since 1984. Drawing their inspiration from world music, rock, jazz or contemporary sounds, the composers have added their own personal signature to each of the 35 productions. The 75-minute concert will pay tribute to the music of Cirque du Soleil and will feature a choir of 70 voices (trained by Grégory Charles) and 6 soloists accompanied by 28 musicians. The audience will hear signers Audrey Brisson-Jutras, Dominic Dagenais, Mathieu Lavoie, Anna Liani, Francine Poitras and Roxanne Potvin interpreting some of the songs that have defined the music of Cirque du Soleil shows of the past 30 years. Ste-Croix worked with Alain Vinet, a DJ, musical producer and Cirque’s in-house musical director, to create this event. Vinet has worked on several other Cirque shows, including Amaluna and Totem, in various musical roles. “He’s done a wonderful job over the years,” Ste-Croix said. “So we offered him this possibility of gathering together all the music that covers the 30 years of Cirque du Soleil and putting the whole concept of music and chorus and singers into a format of a concert which will be played live.” Although the venue was chosen for its wonderful acoustics as well as its spectacular architecture, the concert will not be recorded. Soundtracks of all the shows are already available on CD. And there won’t be any acrobatic numbers, but 40 costumed Cirque characters will be present. One musical excerpt has been chosen from each of the 35 Cirque shows produced since the company’s inception in 1984. These include a Beatles song from the Las Vegas show LOVE and a Michael Jackson number from Michael Jackson The Immortal World Tour, as well as original music composed for the shows by René Dupéré, Benoît Jutras and others. Two to four musical minutes will be allotted for each show. “We've chosen to illustrate the evolution of Cirque du Soleil through the various stages of life. Our dear Zoé will act as our guide on this jounrey, as we follow her through different stages of her life, feeling the variety of emotions that come with such a journey." Our dear Zoé will be the connection during this whole story. We will see her at different stage of her life and feel the variety of emotion that comes with such a journey.” THE CREATIVE TEAM ----------------- Guy Laliberté – Artistic Guide Jean-François Bouchard – Artistic Guide Gilles Ste-Croix – 30th Ambassador Véronique Dussault – Event Designer Alain Vinet – Musical Director Thierry ANgers – Assistant Musical Director Frédéric Chiasson – Arranger, Orchestrator & Band Leader Gregory Charles – Artistic Director Choir Claude Chaput – Pre-Concert Arranger Clara Antoun – Musical Coordinator Benoît Groulx – Music Consultant Mathieu Parisien – Sound Designer Bruno Rafie – Lighting Designer Yasmine Khalil – Executive Producer Patrice Poulin – Operations Director Denyse Ostiguy – Delegate Producer Geneviève Lussier – Production Manager Serge Poupart – Technical Director 45DEGREES Events, a company of Cirque du Soleil OUR SOLOISTS ------------ Mathieu Lavoie Originally from Mascouche, Mathieu Lavoie studied popular music at Collège Lionel-Groulx. After winning the “lauréat interprète” prize at the Festival International de la Chanson de Granby in 1995, he was recruited by Cirque du Soleil at the age of 20 for the creation of its show Quidam in 1996, and then for Varekai in 2002. He continues to work with Cirque today; with 800 performances of Quidam and 650 of Varekai in front of over 2.5 million spectators, his voice can be found on their eponymous albums as well as the DVDs of Varekai and Midnight Sun. Mathieu has taken part in numerous special events all over the world, from Kuwait to Russia to Hong Kong, and also performed on Corteo in Valencia, Spain. Nominated for a Gemini Award in 1998 for his performance at the Governor General’s Performing Arts Awards Gala, he has sung and acted in several Montreal musical reviews and productions. In 2005, Mathieu released his first solo album, Avaler le vent. In 2010, he worked with Cirque Éloize and others on seasons 2, 3 and 4 of the La Vie est un Cirque series on TV5. In 2014, he became known to the general public across Quebec as he reached the quarter-finals of La Voix (The Voice) on TVA. Anna Liani Anna Liani was born in Quebec but spent much of her childhood in northern Italy, other parts of Canada and the island of Réunion in the Indian Ocean. Raised by her grandmother and father, Anna began singing at the age of 10. Now she is an international singer and songwriter. Anna is best known for her great love song “Bello Amore,” which she wrote and sang for the Cirque du Soleil show Zumanity in Las Vegas. She has been involved in the production of various albums with Cirque du Soleil and other major projects presented in London, Italy, Montreal and Las Vegas. Her video “Mamma son tanto felice” has reached over 100,000 views on YouTube. In August 2012, Anna sang in the show Soleils de Nuits before an audience of over 65,000. The following November, she released the album Natale sulla Luna. In 2013, Anna featured on the album SKY by composer Simon Carpentier. In August 2014, Anna sang at Montreal’s Italian Week Festival, where she introduced works from her upcoming album. Roxane Potvin Growing up in Hawkesbury, a small town in eastern Ontario, Roxane was surrounded by music. As a teenager, she earned a spot in the finals of the prestigious Festival International de la Chanson de Granby. She then had the opportunity to work alongside the likes of Bruno Pelletier, Julie Masse, France D’Amour, Ginette Reno and many more as a backing vocalist. In 1997, Roxane voiced various characters in the French-language versions of Beauty and the Beast and Anastasia. Towards the end of that same year, she successfully auditioned to sing for Cirque du Soleil. In 1998, she packed her bags for Las Vegas, where she would spend the next decade gracing the magnificent stage as the lead singer in “O”. She has also occasionally worked as a vocal coach and talent scout for Cirque du Soleil on request. Having returned to Canada, Roxane’s adventure with Cirque du Soleil continues. Just listen... Dominic Dagenais Multidisciplinary, multitalented Montreal artist Dominic Dagenais is a singer-songwriter, composer, multi-instrumentalist and acrobat. Starting off as a singer and guitarist on the local scene as part of various musical projects, including Omegadom, with which he took part in the Francofolies de Montréal in 2007. He was also a semi-finalist at the Festival International de la Chanson de Granby in 2010. A former champion trampolinist, Dominic joined Productions Haut-Vol as an acrobat in the late 1990s, where he also composed his first show soundtracks. During this time, he began working with Debra Brown, developing a truly unique skill: the trampoline guitar solo. Having worked with Cirque du Soleil since 2003, Dominic has contributed to numerous major productions, including Quebec City’s 400th anniversary celebrations, the Poetic Social Mission for ONE DROP and Les Chemins Invisibles. As a creator of music for two decades, his credits include soundtracks for shows such as XTREM for Zinc Productions in 2013, Ritmos de la Noche in collaboration with Debra Brown and René Dupéré in 2012, and the fourth chapter of Les Chemins Invisibles by Cirque du Soleil in collaboration with Francis Collard and Béatrice Bonifassi. Audrey Brisson Audrey trained at the Central School of Speech and Drama and studied classical singing at Cégep de Saint-Laurent. During her childhood and teenage years, Audrey worked extensively with Cirque du Soleil as a vocalist and acrobat, performing on their international tours of Le Cirque réinventé and Quidam. Theatre includes: Midnight’s Pumpkin and The Wild Bride (Kneehigh—UK tour / San Francisco / New Zealand); Miss Hedgehog in The Lion, The Witch and The Wardrobe (Kensington Gardens); Midnight’s Pumpkin and The Wild Bride (Battersea Arts Centre / Berkeley Repertory Theatre, California / St. Ann’s Warehouse, New York); The Elephantom (National Theatre); and Dead Dog in a Suitcase (and Other Love Songs) (Kneehigh). Film includes: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes: Money (BBC). Francine Poitras Hailing from New Brunswick, Francine Poitras studied piano and dramatic arts before completing a bachelor’s degree in classical singing at Université Laval. She then travelled to New York, Santa Barbara and Paris to hone her craft. In 1989, Francine met composer René Dupéré, lending her voice to the Nouvelle Expérience album. In 1992, she became the first singing character at Cirque du Soleil, in Saltimbanco. Working with Dupéré, she helped to develop Cirque’s hallmark “invented language.” She travelled the world with this production, playing the role of the bird woman on stage. Since then, Francine has contributed to many of Cirque’s special projects in Europe, South Africa, Russia, Scandinavia, South America and beyond. At the same time, she has taken part in numerous film and theatre productions while also developing personal projects such as her tribute to Joni Mitchell, Woman of Heart and Mind. In 2007, she produced Espacios lntimos, a show and an album showcasing Latin- American songs and compositions. Today, after so many years on the road, Francine pursues her career and shares her experience from her home base in Granby. She has established a welcoming and intimate space, La Maison qui Chante, for teaching, creation and collaboration. Estelle Esse Although she is a pianist by training, Estelle is a versatile artist and her voice quickly became her instrument of choice. She began by singing backup on stage, on screen and on record for top artists such as Roch Voisine, Sass Jordan and Dan Bigras while pursuing her own solo career. In the 1990s, with a greater focus on musical theatre, she played a variety of singing roles in productions of Pied de Poule by Marc Drouin, Cabaret Neiges Noires, Lolita and L’Odyssée by Dominic Champagne and Beauté Féroce by Victor-Lévy Beaulieu. More recently, she has appeared in the musical comedies Neuf and Sister Act directed by Denise Filiatrault. She also teaches singing and vocal technique, and regularly works as a coach and consultant on musical comedies such as Cabaret (Juste pour Rire), L’Opéra de Quat’Sous (TNM), Une Vie presque normale (Théâtre du Rideau Vert) and Géronimo Stilton (HumanID). With a background like hers, it was only natural that Estelle would team up with Cirque du Soleil, for which she has worked as a singer, vocal coach and talent scout since June 2000. She has sung on the European and American tours of Dralion, Alegría, Corteo and, most recently, KURIOS and travelled to every continent as a vocal coach on most of Cirque’s shows. Paul Bisson Paul Bisson is a singer-songwriter and musician born in Asbestos, Quebec, on April 5, 1963. After years of composing music for commercials, in 1998 Paul debuted on the international scene as a singer in the musical comedy La vie en bleu with Robert Hossein in Paris and Monaco. He was then approached by Luc Plamondon in 1999 to play Quasimodo on the Canadian tour of Notre-Dame de Paris. In 2000, he reprised the role of Quasimodo in the American version, staged at the Paris Hotel in Las Vegas. In Montreal in 2002, he joined the cast of Roméo et Juliette to play three roles in rotation. In 2004, Paul worked as a composer, arranger, musician and vocal coach on the Denise Filiatrault production Ma vie en cinémascope. In 2005, Paul joined Cirque du Soleil as the lead singer on the international tour of Corteo. He has also composed the music for several international circus acts, including Flight of Passion, which was awarded the Golden Clown at the Monte-Carlo International Circus Festival in 2009. In 2010, after working with Michel Cusson on the Shanghai production of Kaleido, he took on the lead singing role of Zark in Zarkana by Cirque du Soleil in New York, Madrid and Moscow and then Las Vegas in 2012. See Cirque du Soleil as you've never heard it before! o) Tickets and Information: LINK /// < http://goo.gl/C5WSqe > o) Preview Video: LINK /// < http://goo.gl/bt8gaU > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 14, Number 12 (Issue #131) - December 2014 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2014 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. { Dec.05.2014 } =======================================================================