======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 15, NUMBER 3 March 2015 ISSUE #134 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. As Varekai winds its way across North America to finish up its arena tour here, rumors have been circulating about its future in Europe and beyond. To put it simply: the rumor states Varekai will close during the summer of 2016 after a very short European Tour (and arena tour overall). The reason for its premature end wasn't part of the mill, but even Wikipedia has picked up on this gossip, so it has to be true, doesn't it? I mean reports of Kooza returning to the United States for a brief period circulated about recently too and they've just come true. (I hope you're ready Columbus, Ohio – See the dates in our Itineraire Section!) And there are rumblings that IRIS may be close to resurrection for Cirque's new permanent residence in New York City (New York Post columnist Michael Riedel quoted unspecified sources suggesting Cirque du Soleil is looking to take over the Lyric Theatre on Broadway in the spring). So who knows! Nothing is official at this point, but it's not beyond the realm of possibility that Varekai would close early. Could it be because AVATAR is slated to begin touring in arenas by year's end? Is it because OVO is due for conversion into an arena format soon? Would there be too many arena shows by that point? (Quidam is expected to close in 2016 as well.) Or could it be that Cirque is having a hard time lately finding profitable and available locations for its arena shows? Considering a February 22nd report that Cirque's reported a 33.6% drop in revenues from its European Tours, it seems likely the company is having troubles finding profitable locations. So no wonder arena tours are getting shorter and shorter! To prove that I pulled together some arena tour data, as is my wont, to compare and contrast each of the arena show tours to date. To give me a baseline I re-traced Salti's arena tour with focus on the number of months the show spent in a particular market and which markets it visited throughout its run, and then compared Saltimbanco's tours to each subsequent arena conversion (Alegria, Quidam, Dralion, MJ Immortal, and Varekai). I ignored DELIRIUM because as it was Cirque's first arena show – and a proof of concept and a specialty tour to boot, it would skew the analysis. Show Start End Mo Tour ------------------------------------------------------------ Saltimbanco 7/31/2007 8/23/2009 25 NAT 9/17/2009 3/4/2011 18 Europe 3/9/2011 4/3/2011 1 Africa 4/21/2011 9/4/2011 5 Australia 9/21/2011 9/9/2012 12 World 10/10/2012 12/30/2012 2 NAT Thus looking at the chart above, Saltimbanco visited 5 different markets - North America, Europe, Africa, Australia, "World" (as it bounced around from market to market), and North America again before the final curtain call. The data shows Saltimbanco spent most of its time in North America (27 months total), secondly in Europe (18+ months), and so on. By the end of its tenure, Saltimbanco spent 63 months touring throughout the world's arenas, or the equivalent of 5.25 years. Show Start End Mo Tour ------------------------------------------------------------ Alegria 5/27/2009 8/14/2011 27 NAT 9/7/2011 12/29/2013 27 Europe Alegria was the next show to undergo conversion, and the data on its tour makes quite the contrast to Saltimbanco's. The show visited only two major markets during its time (North America and Europe) but spent an equal amount of time in each (roughly 27 months). There's nice synergy there, but why didn't it tour around the globe like its predecessor? Either way its tour was cut short – at 54 months – or the equivalent of 4.5 years. Since both Dralion and Quidam were put on the road virtually in tandem, we'll look at them together... Show Start End Mo Tour ------------------------------------------------------------ Quidam 12/11/2010 8/11/2013 32 NAT 9/5/2013 4/20/2016 31 Europe Dralion 10/20/2010 12/23/2012 26 NAT 2/6/2013 10/20/2013 8 World 10/20/2013 9/6/2014 11 Europe 10/2/2014 1/18/2015 3 NAT Quidam had quite the healthy tour, didn't it? It spent just as much time out there as Saltimbanco did – 63 months, or the equivalent of 5.25 years – but like Alegria, Quidam only visited two major markets: North America and Europe – Why? Dralion didn't fare as well: even though it visited more markets than Quidam (North America and Europe before bouncing around other markets of the world), its arena tour only lasted approximately 48 months, or just 4 years. Are we seeing a market saturation trend? Is Cirque finding it hard to market shows in this format to arenas it's previously visited? Is it finding many stops unprofitable? Are there too many shows touring at once? Probably all of the above! The tour of Michael Jackson THE IMMORTAL is even bleaker: Show Start End Mo Tour ------------------------------------------------------------ MJ Immortal 10/2/2011 9/2/2012 11 NAT 10/12/2012 4/21/2013 6 EUR 5/9/2013 1/14/2014 8 Asia-Pacific 2/28/2014 8/31/2014 6 NAT2/Mex The special nature of the show almost precluded me from considering it - on average arena shows spend about 5 days per city for approximately 7 performances, the MJ Immortal Tour only performed 1-2 days per city with a very limited number of performances – but considering it did visit other markets besides North America and Europe it felt a worthy contender. But the data on its tour continues the trend: arena tours are getting shorter and shorter. In fact Michael Jackson THE IMMORTAL World Tour clocks in at only 31 months, or 2.58 years long. That might not be so shocking considering the trouble Cirque had getting the show booked and its turbulent tour itinerary later in its run (although it seemed to make boo-coo bucks!), it's fascinating never-the-less because Varekai's tour could be shorter! Show Start End Mo Tour ------------------------------------------------------------ Varekai 12/13/2013 9/6/2015 21 NAT 10/8/2015 7/xx/2016 9 EUR As it stands Varekai's North American tour will come in at approx. 21 months in length, much shorter than any of the previous shows in this format. Furthermore, if the July 2016 rumor holds true, Varekai will spend only 9 months touring Europe. Wow! That means Varekai's life- span will only be 30 months, or 2.5 years beyond the Grand Chapiteau. That's three years less than Saltimbanco or Quidam! Taking a look at Cirque's arena tours like this also begs the question: why has Cirque ignored Australia, Japan and other markets in the Asia-Pacific region? Additionally, why hasn't an arena show visited South America? Are there just not enough appropriate venues? Are there not enough interested parties to bring those types of shows in those markets? I really cannot say. But if Saltimbanco can visit Australia and MJ Immortal can tour Japan and other Asian markets, then it stands to reason other converted shows could as well, doesn't it? Alas the answer might be very simple: those markets were just not profitable enough for Cirque to return converted shows there, and/or the markets may not have wanted them to return there. That still doesn't answer why South America is ignored, but alas perhaps there's just not the proper facilities to house a Cirque arena show there… but I can't believe that's true! Maybe it's not worth converting shows anymore? Meanwhile, while I've contemplated Varekai's status in the arena line- up, three shows reached celebratory milestones of their own this past month: On February 21st, JOYA celebrated its 100th performance; on February 27th, Amaluna celebrated its 1000th performance in Houston, TX; and on February 28th, OVO celebrated its 2000th performance in FukuoKÀ, Japan. KÀ also celebrated its 10th Anniversary (official shows began on February 3, 2005; previews began November 26, 2004). And a few new projects were announced: HEART Ibiza collaboration with the Adrià Brothers – acclaimed restauranteurs in Spain. (It's a partnership we've eluded to twice in the past and now it's really happening), and Sama-Sama, a business partnership between Cirque du Soleil and Sama-Sama Creative Labs for the production of the first Sama-Sama Live Experience. Both of which you can read a little more about in our news section this month. And hold on to your hats folks, but according to Amazon.ca, the special show that would never be filmed and released to home audiences, then was later broadcast via the web (in edited form and only to Canadians), is due to be released on Blu-ray/DVD next month. What exciting new thing could this be? Why Cirque du Soleil's 30th Anniversary Grand Concert, of course! Amazon.ca has a pre-order page up and running for "Cirque du Soleil - The Great Concert/ Le Grand Concert Blu-Ray + DVD (Bilingual)" for $22.50 CDN (http://goo.gl/V0EiuC). The release date is listed as April 21, 2015 so it'll be here soon! We can only thank Cirque du Soleil, Radio Canada, and/or CBC for putting the effort into releasing the broadcast for home consumption, so forgive our jibe earlier about it never coming out on DVD – because we think it deserves to be released! (And we'll be first in line to get it!) As for our features: Our friends over at TheChapiteau recently visited Varekai in Houston and had the opportunity to speak with Isabelle Corradi (Varekai's Chanteuse) and Fernando Miro (The New Icarus) while there! The interviews were done via video but you'll find a transcription of each within as well as two rather large press pieces – one from Robin Leach giving us a glimpse of One Night for One Drop 3 (which debuts March 20th), and a piece giving us a "first look" at Cirque du Soleil and Saban's "Luna Petunia" project! As always we also have the posts made to Cirque's Facebook pages, and updates to Cirque's touring schedule. Oh, and don't forget to pick up Issue #4 of "The Chapiteau-Fascination! Magazine" here: < http://issuu.com/thechapiteau/docs/tcfmag_issue_4 >. 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 > | | | | The Chapiteau-Fascination! Magazine: | | < http://www.cirquefanzine.com/ > | | | \----------------------------------------------------/ - 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 * Didyaknow? -- Facts About Cirque * Networking -- Posts on Facebook, G+, & YouTube o) Fascination! Features *) SPECIAL /// "A One Night for One Drop 3 Preview" By: Robin Leach, via The Las Vegas Sun *) SPECIAL /// "A First Look at ‘Luna Petunia'" By: Jeremy Dickson, via Kidscreen.com *) INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse" By: The Chapiteau, a Cirque du Soleil Fan Club *) INTERVIEW /// "Fernando Miro – The New Icarus" By: The Chapiteau, a Cirque du Soleil Fan Club o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= KÀ Celebrates a Decade at MGM Grand {Feb.02.2015} ----------------------------------------------------- Cirque du Soleil launched KÀ at the MGM Grand on Feb. 3, 2005. Much has changed on the Strip—and the MGM Grand—in those 10 years, but KÀ remains a constant, drawing capacity crowds to its $165 million, 1,950-seat theater for 10 performances every week. It's rare enough that any show lasts that long in Las Vegas, but KÀ has also maintained one-third of its original cast despite a rigorous schedule and a tragedy that led the production to temporarily drop its climactic battle scene. Cast and crew are looking forward to the next 10 years of relating the odyssey of a pair of twins separated after an attack by sinister forces. As the 10th anniversary approaches, general stage manager Stacey Myers describes the mood within the 300-plus member KÀ community as "very excited. It's a great group. The technicians and the artists get along famously." Myers functions as the liaison between the artistic director and tech crew, as well as the show caller who gives cues from the back of the house during shows. "We have a very good understanding that no one person makes this show happen. It takes all of us together." KÀ immediately distinguished itself from other Cirque productions thanks to an ambitious set design by the late Mark Fisher, perhaps most notably the ingenious hydraulics of the Sand Cliff Deck. The cast includes talent that has been with the show since the beginning: internationally known baton twirler Noriko TaKÀhashi; sisters Jennifer and Cheri Haight, who play the twins at the heart of the narrative arc; "acro-valet" Jason Zulauf; and brothers Sabú and Francisco Alegría, traditional circus performers from Mexico who defy danger on the "Wheel of Death." The KÀ family lost one of its own when Sarah "Sasoun" Guyard- Guillot fell from her harness during a performance on June 29, 2013. The scene had to be pulled while safety standards were re- examined; show producers reinstated it last December. Guyard- Guillot's fellow cast members were devastated, but while her absence will be felt as the 10th anniversary is observed, it's her passion for performing that will be remembered. KÀ is one of the Strip's most demanding productions, but passion drives the cast performance after performance, making the show seem fresh the second, third or even fourth time around. "When you're happy with your surroundings, and you're happy with what you do, and when you love what you do and you're passionate about what you do, you go out there every day and try to do the best job that you can," Myers said. "I think we have a bunch of happy people here, and that's why the audience sees and feels that passion from the show, because they go out there and give it their all, all the time." { SOURCE: Las Vegas Magazine | http://goo.gl/wA18Jf } See Inside JOYA Theater on Google Maps! {Feb.03.2015} ----------------------------------------------------- Check this out! Interested in seeing what the inside of Cirque du Soleil JOYA's Theatre looks like? You can, right on Google Maps! LINK /// < https://goo.gl/maps/No0Zj > { SOURCE: Google Maps } Cirque du Soleil Marketing Department Signs AOD {Feb.03.2015} ----------------------------------------------------- Cirque du Soleil recently added AOD Marketing as part of their SEO online visibility strategy. "This mandate requires an exciting technical strategy that we're ready to take on. Our collaboration with Cirque du Soleil marks the beginning of a promising 2015 year," says Augustin Vazquez- Levi, President and founder of AOD Marketing. Cirque du Soleil is among the rare clients that could propel this agency among key players and reinforce AOD in the web marketing space in Canada. About AOD Marketing AOD Marketing is composed of true SEO and web analytics experts. The agency is recognized for creating and maintaining close relationships with clients, using a win-win approach to both internal and client strategy. Based out of Montreal, AOD has expertise trusted by recognized names like Ricardo Cuisine, iPerceptions, Renters Pages, Linen Chest, La Presse, Jessica London, Du Proprio and more. AOD manages a client base, whose traffic represents more than 45 million daily web visits. { SOURCE: AOD Marketing | http://goo.gl/JYjXpS } Valentine's Day – Cirque Style {Feb.04.2015} ----------------------------------------------------- Check out these images Cirque du Soleil posted to their Facebook page in celebration of Valentine's Day! LINK /// < http://www.cirquefascination.com/?p=5472 > { SOURCE: Cirque du Soleil } KÀ, a Technical Marvel, Celebrates 10 Years {Feb.09.2015} ----------------------------------------------------- The athleticism and gymnastics are extraordinary. The agility is more than amazing. The computer technology and machinery to bring Cirque du Soleil's "KÀ" to life twice nightly at MGM Grand are exceptional. It's all about fearless courage and tenacity in a unique family of performing artists. They've been defying the laws of gravity for 10 years and are still climbing. Tonight is the start of the 10th anniversary celebration shows, and it's good to take a look back at the spectacular that still has audiences confounded and wondering if what they saw was real. One tragic incident during "KÀ's" decade-long run at MGM Grand led Cirque officials to delete the final Epic Battle Scene, but it was restored in early December. On June 29, 2013, acrobat Sarah Guillot-Guyard plunged 90 feet off the rising vertical wall to her death after her safety cable was cut in a winch. It was the first onstage accident resulting in death in Cirque's 30-year history. Shows were put on hold for about a month, and the battle scene was replaced with an alternative sequence and then a previous video projection of the act. It took nearly 18 months and more than $500,000 for Cirque performers and executives to feel confident and comfortable about reintroducing the scene that reached the climatic finale. My interview with senior Cirque exec Calum Peterson, who was candid about the circumstances that led to Sarah's death, how a similar disaster could never happen again and why the scene was reintroduced to the show two months ago, was posted on Dec. 7. It's still as dangerous as it looks, even more so than the Wheel of Death, which I've always thought of as the most dangerous act in any show. "It is highly dangerous," Calum explained to me. "It requires a lot of the human body. The training that goes into the athlete's core building this act is intense. It takes months of strength training." "KÀ" premiered on Feb. 3, 2005, after previews that began Nov. 26, 2004. I remember the premiere night well as everybody in the glittering audience were open-mouthed at the spectacle — the show and theater had cost nearly $200 million to develop. It was hailed as a "masterpiece of theater" and a "unique entertainment of the first order." The theater seats 1,950 people at each performance in the 16 seating zones who find a pair of speakers at ear level in every seat. Hundreds more are installed in the auditorium — in all 4,774 loud speakers in 2,139 cabinets. Instead of a conventional stage with a permanent floor, there are two giant moving platforms and five smaller ones that seemed to float through a bottomless space. The height of the high grid is 98 feet above the stage and the drop to the lowest floor level is 51 feet from the audience, a mind-numbing 15 stories in height from top to bottom with computers controlling the movable platforms. The unique floating stages won "KÀ" the Thea Award for Outstanding Technical Achievement in 2008 from the Themed Entertainment Association. One of the highlights of the production is the Sand Cliff Deck, which a vertical gantry crane controls rotating it 360 degrees, tilting it from flat to 100 degrees and lifting up and down 72 feet. The performers use 80 "rod-actuators" that sprout from the floor surface to assist their climbing vertically. It turns into a beach with the entire deck covered with 350 cubic feet of imported granular cork from Portugal. That's one ton of cleaned cork hydrated to specific conditions for every performance. The cast members inside the human-sized puppets are buried within the cork and then revealed to mimic giant sea creatures, including a mischievous starfish and playful crab. Since "KÀ" opened, more than 130,000 pounds of cork have been used. During the run of the show, 1,586 Spearman/Spearwoman unitards and 243 wigs have been used. The cast has worn out 7,421 makeup brushes since opening night. Just what does "KÀ" mean? Its title is inspired by the ancient Egyptian belief that an invisible, spiritual duplicate of the body accompanies every human being throughout this life and into the next. Eighty phenomenally physiqued individuals make up the team of onstage artists and performers with backup from 220 others, including technicians and support staff on the production team. Amazingly, about 30 percent of the staff and one-third of the performing artists have been with the show since Day 1. They celebrated 4,000 shows in 2013. Happy 10th anniversary! It's truly a remarKÀble achievement and another only-in-Las-Vegas experience. { SOURCE: Las Vegas Sun | http://goo.gl/ZkFm1L } Cirque May Walk Tightrope on Ownership? {Feb.12.2015} ----------------------------------------------------- Cirque du Soleil founder Guy Laliberté may be ready to sell control of his company as it reaches a crossroads in its 30-year history. Laliberté mused publicly in December about selling a 20- to 30- per-cent stake in the Montreal-based entertainment giant. In an interview with The Wall Street Journal, he said he was looking for a partner to help expand the business globally. Now, there are suggestions that an even bigger block of the company could be up for grabs. La Presse reported this week that the Cirque — 90 per cent owned by Laliberté ­— is considering all its options, including the sale of majority ownership. The Cirque and its adviser Goldman Sachs are seeking a deal that would value the company at about $2 billion, according to a Bloomberg News report, which identified private-equity firms TPG Capital Management and Carlyle Group LP as interested suitors. [ED: The Carlyle Group, one of the world's largest investment firms, is listed on the New York Stock Exchange and achieved a significant money shot (200% in one year) as a shareholder of 50% of shares Beats Electronics last year. TPG Capital is a private investment firm managing assets of 65 billion, which has invested in the Uber transport service and the Fairmont hotel chains.] If it happens, Quebec could see financial control of one of its flagship cultural enterprises slip out of the province. How long before we hear pleas from PQ leadership candidate Pierre-KÀrl Péladeau and others for the provincial government or public pension fund manager Caisse de dépôt et placement du Québec to step in to keep the Cirque in Quebec? Well, that possibility has been dismissed by Economic Development Minister Jacques Daoust, who says a pricey government investment in the Cirque is out of the question. He's right. We know by now that the Cirque du Soleil, like Céline Dion, has decamped to Las Vegas and points abroad. Other than the people who work at the head office in Montreal, the Quebec flag is not all that visible on Laliberté's business. The real strength of the Cirque has been its ability to produce shows of artistic genius that resonate with audiences worldwide. Creative control is likely to remain here and, aside from any nationalist considerations, new capital and new ideas could be just what the Cirque needs at this point in its history. The show has been running for three decades, but the business peaked just before the recession began in 2008. Signs of fatigue have been showing for a while. When the recession hit, the Cirque continued to expand its offering even as consumer demand slowed down. In January 2012, it announced 400 layoffs. There were reports of another 52 job cuts last November. Some shows have flopped, others have been shut down early or scaled back and management ranks have been rationalized. A tragic accident shook the Cirque in 2013 when an acrobat was killed after falling during a Las Vegas performance. What might lie ahead under a new ownership group? "They have smartly trimmed down the company to make it attractive to investors," says Concordia University theatre professor Patrick Leroux. And the Cirque has moved its activities into separate divisions to give a clearer sense of the different markets in which it operates. "But," he asks, "have they kept their essential players, the people who actually drive the creative process without which the company is but a brand? "Accountants and marketing staff have their roles, but they don't reinvent the circus year in and year out. For that, you need a clear and driven artistic and business vision." Leroux says it's difficult to know what will happen next. Depending on the potential partners' core values, the Cirque might actually be poised for an interesting expansion with the infusion of new funds and ideas. One possible partner identified in La Presse is Mitch Garber, chief executive of gaming company Caesars Acquisition Company, which owns resort and casino properties such as Planet Hollywood, Bally's Las Vegas, The Cromwell Las Vegas, The Quad Las Vegas, Harrah's New Orleans and the Horseshoe Casino in Baltimore. Garber is reportedly interested in making a bid with private equity firm Apollo Management. If there's anyone who understands how Las Vegas works, it's Garber. And if there are potential ties between the Cirque and the casino/entertainment industry, then Garber could be well placed to find them. Attempts to reach him were unsuccessful. But he does fit the bill in one important respect. The company he runs is headquartered in Montreal and despite those Las Vegas connections, Garber is a Quebecer. { SOURCE: Montreal Gazette | http://goo.gl/GzB0y2 } CREACTIVE to Launch June 2015 {Feb.12.2015} ----------------------------------------------------- According to Travel Pulse, Club Med and Cirque du Soleil's joint project – CREACTIVE – will launch at Club Med's Punta Cana location in June 2015. The Zen Oasis will be the second new program to debut at the resort in 2015. Late last year Club Med officials announced the resort will launch Club Med Creactive by Cirque du Soleil in June 2015. { SOURCE: Travel Pulse | http://goo.gl/YOepim } Cirque Announces: HEART Ibiza {Feb.13.2015} ----------------------------------------------------- Cirque du Soleil today announced another collaboration, this time with the Adrià Brothers – acclaimed restauranteurs in Spain. We've eluded to this potential partnership twice in the past, and now it's really happening. From Cirque's Facebook Page: We are happy to announce HEART Ibiza, a creative partnership between The Adrià Brothers and Cirque du Soleil. A unique and exciting concept that explores the creative collision between food, music and art. HEART Ibiza opening in summer 2015 www.heartibiza.com And from HEART Ibiza's Facebook page: The Adrià Brothers and Cirque du Soleil unite their unique creative minds in HEART, an innovative concept curated by Albert and Ferran Adrià, the world-famous chefs renowned for their Michelin three-star restaurant elBulli, and Guy Laliberté, founder of Cirque du Soleil. For more than 10 years, Albert and Ferran Adrià and Guy Laliberté have been sharing ideas on the concept. This project was born from their common passion for art, gastronomy and music and will be set at an iconic location at Ibiza Gran Hotel. HEART seeks to explore what happens when food, music, and art collide. Three places to experience HEART Ibiza: o) THE BARAKÀ – A hippie chic take on street food markets. This outside terrace features curated music, original contemporary art pieces, ambient live art performances and gastronomy. Inspired by traditional street food markets and various street foods of the world, the Adrià brothers have taken great care to design an astonishing gastronomic offer to create a unique and global experience. o) THE WORKSHOP – Where to experience art, music and food. The Workshop is a unique space that offers a seated food service experience combining ambient visual and performance art, curated music and signature Adrià gastronomy. o) LA BOÎTE – A live music venue, featuring live bands, live art, and a decadent food and beverage service. A space where the hottest nightlife ingredients mix in different ways to create a distinct flavor resulting from the creative genius of the Adrià Brothers and Cirque du Soleil. HEART explores the creative collision between food, music and art. Check out HEART Ibiza: o) WEBSITE - http://www.heartibiza.com/ o) FACEBOOK - http://goo.gl/Fnhbqg About Albert and Ferran Adrià: Albert and Ferran Adrià, spirit and soul of restaurant elBulli, can certainly be considered the most well-known brothers in the world of gastronomy. For many, elBulli is considered a before-and-after of modern cuisine, not only for the creation of innumerable elaborations and techniques, but also for its philosophy and values such as creativity, passion, challenge, and humility, which have always defined the way Albert and Ferran work. The Adrià brothers are also known for their willingness to communicate and spread recent developments in gastronomy through their participation in conferences, projects and books. Over the years, elBulli has been an incubator for some of the foremost chefs in modern gastronomy. Rene Redzepi, Andoni Aduriz, Joan Roca, Grant Achatz, José Andrés and Massimo Bottura are among the most eminent of the more than 2,000 trainees that have completed an internship at elBulli over the years. Aside from their projects as a team, Albert and Ferran are currently working on personal projects. The year elBulli closed its doors, Albert embarked on the BCN5.0 project with Tickets, the first in a series of five concepts (culminating in 2016 with project Enigma), all located in el Paralelo, one of the most celebrated neighborhoods of Ciudad Condal. Ferran is fully committed to the development of elBulli Foundation, the evolution of what was once elBulli. This project is meant to create a physical and digital archive of the restaurants' legacy and creativity as well as to serve as a learning center for knowledge sharing and acquisition. { SOURCE: Cirque du Soleil } Mystere at Nación ESPN's 4th Anniversary Show! {Feb.14.2015} ----------------------------------------------------- LINK /// < http://www.cirquefascination.com/?p=5518 > { SOURCE: Cirque du Soleil } ZarKÀna at USA 7's Rugby Tournament! {Feb.15.2015} ----------------------------------------------------- LINK /// < http://www.cirquefascination.com/?p=5521 > { SOURCE: Cirque du Soleil } Las Vegas Sun: KÀ By The Numbers {Feb.16.2015} ----------------------------------------------------- Today's Monday By the Numbers focuses on the Cirque du Soleil spectacle KÀ at MGM Grand celebrating its 10th anniversary this month. The show opened officially on Feb. 2, 2005. Similar to an acrobat in "KÀ," we fly freely with the figures: o) $165 million: Cost of the "KÀ" theater. o) 1,900: The theater's seating capacity. o) 98: Distance in feet from the lowest level of the stage below the boardwalk at audience level up to the highest grid. o) 15: The height, in stories, of the lowest level of the theater to the highest grid. o) 50: The height, in feet, of the Sand Cliff Deck, the largest moveable stage in the show. o) 25: The width, in feet, of the Sand Cliff Deck. o) 6: The depth, in feet, of the Sand Cliff Deck. o) 50: The weight, in tons, of the Sand Cliff Deck. o) 2,139: The number of speakers placed around the theater, including in each seat. o) 80: Number of cast members in the show. o) 300: Total number of members of the production team in the show. o) 14: Number of acts in the show. o) 20: Number of minutes before the curtain the show's Gatekeeper characters begin taking their places in the wings of the theater so that they can swoop down and run past unsuspecting audience members. o) 16: Number of songs in the "KÀ" soundtrack. o) 350: The volume, in cubic feet, of granular cork used in the show's washed-up-on-the-shore scene. o) 14: Number of fake trees in the show's forest scene. o) 160: Number of safety harnesses used in the show. o) 500: Individual props used in the show. o) 16: The length, in feet, of the Stick Bug puppet. o) 80: The length, in feet, of the Snake puppet. o) 110: Number of arrows shot across the theater during the performance. { SOURCE: Las Vegas Sun | http://goo.gl/1ftVWO } Mystère Characters to Stop By FACES Conference {Feb.18.2015} ----------------------------------------------------- The FACES 2015 Encephalitis Conference will welcome a number of presenters. Becky Dennis, a compassionate patient advocate and member of the International Encephalitis Consortium will be our opening speaker. Elaine Dowell, founder of The Encephalitis Society UK will travel from England to share, "How Your Brain Works, an interactive workshop." The Hashimoto's Encephalopathy SREAT Alliance will offer a presentation and a question and answer session hosted by Dr. Melanie Alarcio, Nicola Nelson and Cori Zdebel. Dr. Patricia Hopps, Utah psychologist and encephalitis survivor will speak of "The Least Talked About Yet Most Painful Loss Due to E." Chris Maxwell, author of "Changing my Mind" will invite others to face their inner wars post encephalitis and turn mourning into dancing. Dolly Kelepecz, Affilate Assistant Professor UNLV and owner of DK Bodybalancing Method will share an introduction to Pilates and teach a few mind/body techniques. The FACES Organizers have chosen a non-gambling Las Vegas hotel to offer a comfortable and peaceful environment for all attendees. This means they have removed the continuous sound of those Vegas slot machines from FACES. But don't think for a moment that they have removed all the fun! Encephalitis Global is very proud to announce that a few artists from the Cirque du Soleil show Mystère will be teaming up with Encephalitis Global to be certain that this FACES Conference will be a memorable one. Mystère Cirque du Soleil characters in full costume will be stopping by at FACES to share a taste of their show with us. The characters will be happy to take photos with FACES attendees after their performance. Encephalitis Global wishes to sincerely thank David Gomez and Andrew "Moose" Allagree for making this dream a reality. Gomez is the Artistic Director of Mystère; Allagree is an Artistic Director at American Ballet Master Series. These two gentlemen have put their heads together to arrange an unforgettable "first" to happen at FACES. { SOURCE: Digital Journal | http://goo.gl/mRQP9t } Edhec Business Students Join The Circus {Feb.19.2015} ----------------------------------------------------- The programmes are proving popular with students and organizations alike, so much so that Edhec Business School in France has signed up the Canadian entertainment group Cirque du Soleil as sponsors of its one-year degree in creative business. Daniel Lamarre, president and chief executive of Cirque du Soleil, says the relationship is intended to generate ideas for the company. "When I see a university I see young people with a lot of creative talent," he says. "If I meet and talk to 30 students, already three want to meet me and pitch to me." When asked if the relationship with Edhec will result in projects, internships and jobs for students, his answer is simple: "All of the above." The collaboration with Cirque du Soleil is proving popular among students too, in part because the company is showcased in class, with Edhec professors teaching a case study about the entertainment company. "They are one of the only companies that have the cultural and artistic side and the social [responsibility] side," says Miren Garaicoechea, a student on the programme who wants to work in corporate philanthropy when she graduates. Students on Edhec's MSc in Creative Business are taught arts management in the first semester and social innovation in the second. It was this that Etienne Bouvier, a student on the degree, found particularly attractive. Moreover, he is now studying for part of his programme at HEC in Montreal, the home of Cirque du Soleil. Eleven of the 40 masters students are studying in Montreal, and along with Mr Bouvier will visit the headquarters of Cirque du Soleil while in Canada, to talk to executives and performers. On graduation he hopes to work as an executive producer in the movie business. Isabelle Sequeira, programme director of the MSc in Creative Business says the degree is designed specifically to promote careers in arts and cultural management. "Like any business school, we have to train people in creative business." She now hopes that the fledgling relationship with Cirque du Soleil will develop into a long-term alliance. { SOURCE: Financial Times | http://goo.gl/ZgyWfZ } Buyout Troupe Stage Bids for Cirque du Soleil? {Feb.20.2015} ----------------------------------------------------- Some of the UK's biggest buyout funds are plotting to take control of Cirque du Soleil, the live entertainment company which is one of Canada's most prominent global exports. Sky News has learnt that BC Partners, CVC Capital Partners and Permira Advisers are among a troupe of financial investors which have tabled indicative offers for the Montreal-based business. The auction of a stake in La Cirque du Soleil, which staged some of the world's most spectacular live shows in the years after its launch in the 1980s but has recently fallen on tougher financial times, is expected to take place this year. Set up by street performers in Quebec in 1984, Cirque du Soleil describes itself as offering "a dramatic mix of circus art and street entertainment". Previous reports suggested that Guy Laliberte, the company's founder and controlling shareholder, was hoping to sell between 20% and 30% of it to a new investor who could help it to enter markets such as China and India. However, sources close to the process say that financial information disclosed to potential buyers suggests that Mr Laliberte is now open to the possibility of offloading a majority stake in Cirque du Soleil. Millions of people have seen the company's range of hit shows in London, which have been staged at the Royal Albert Hall for more than a decade, and other cities including Las Vegas. Notable for its daring acrobatics and flamboyant costumes, Cirque du Soleil was valued at $2.7bn when Mr Laliberte sold a 20% stake to Istithmar World, the investment arm of Dubai World, and Nakheel, a Dubai-based real estate developer, in 2008. However, after Dubai was forced into a sovereign debt restructuring, Mr Laliberte bought back part of the stake he had sold in a transaction valuing Cirque du Soleil at just $2.2bn. Analysts and company executives have reportedly said that the company expanded too quickly, spending over-zealously on new performers, executives and shows in a way which diluted the brand's international distinctiveness. Private equity groups are not the only potential acquirers of the entertainment group. Recent reports suggested that Live Nation Entertainment, IMG and AEG Live, were expected to submit offers. Goldman Sachs is handling the auction for Cirque du Soleil, which could not be reached for comment. BC, CVC and Permira all declined to comment. { SOURCE: SkyNews | http://goo.gl/AuRUkP } LeVar Burton Goes Behind the Scenes at Mystere! {Feb.21.2015} ----------------------------------------------------- Come join LeVar as he goes behind the scenes with the talented cast of Cirque du Soleil: Mystere! You will be drawn into the unique mixture of decorative costumes, high-flying acrobatics, and talented circus skills. Be inspired to imagine BIG today... but you don't have to take our word for it! VIDEO /// < http://youtu.be/Y04rTnwY1LY > This video field trip and so many more like it are available right now in the Reading Rainbow App. Watch, share and enjoy our vast library of video field trips and interactive books with your children. Download the Reading Rainbow App for unlimited access to more great content. Try it free on iPad: http://bit.ly/10sgjbs or Kindle Fire: http://amzn.to/14tOPzY About Reading Rainbow: The beloved brand parents have trusted for 30 years, has been reimagined as an award-winning app for kids. Reading Rainbow takes children on a guided reading adventure hosted by LeVar Burton. Filled with a library of quality ebooks and kids videos for ages 3-9, the educational app is free to try. New children's books, videos, reading activities and educational games are added every week expanding the collection and encouraging kids to believe they too "go anywhere, be anything." { SOURCE: YouTube, Reading Rainbow } Cirque Reports a 36.6% Drop in Revenues from European Tours {Feb.22.2015} ----------------------------------------------------- Cirque du Soleil, the operator of avant-garde circus events, has reported that revenues of its European tours fell by 36.6% to $59.9m (£36.3m) in 2013 due to a sharp drop in the number of shows it hosted. The Canadian company has been juggling with increased competition and the economic downturn which is a particular problem as its shows are seen to be highbrow. Last week it finished a six-week run in London and began a new era in its 30-year history as it was reported that the company's founder Guy Laliberté is considering selling a majority stake in it. He is being advised by Goldman Sachs and bids are understood to have been tabled by UK buyout funds BC Partners, CVC Capital Partners and Permira Advisers. Mr Laliberté owns 90% of Cirque and the whole company is understood to be valued at between $1.5bn and $2.5bn. It operates 20 shows 10 in permanent venues in the United States and Mexico with the remainder touring the globe. In 2013 five shows toured in Europe: Alegria, Corteo, Dralion, Kooza and Quidam. Their bizarre brand names reflect the surreal stunts they showcase. There are no animals in Cirque's shows and instead they take a unique twist on typical acts. Performers juggle ping pong balls with their mouths, ride Penny Fathings over high-wires and bounce off trampolines to make it look like they are scaling the side of the set. The European tours are run by offshore company Gaia Luxembourg and the first-ever analysis of its accounts shows that in the year to 29 December 2013 it made an operating loss of $9.9m down by $3.3m on 2012. Its losses narrowed in line with a reduction in costs and revenue which the accounts state "was the result of having less shows in 2013, 400 shows compared to 600 shows in 2012." Its single biggest source of revenue was ticket sales which fell by 39% to $43.6m. At the other end of the spectrum hospitality revenue plummeted 85.6% to just $250,000. The biggest expense was $6.2m spent on accommodation for its 287 employees, followed by the $5.5m cost of transporting equipment. Each two-and-a-half hour show takes place in a 2500-seat big top. Getting this to the opening night requires transporting up to 80 performers, 20 technicians, 800 tonnes of equipment, 70 containers, four generators and even a school. Creating a new tour requires a capital investment of around $11m and about $10m to cover the research and development. In contrast, the permanent shows can cost more than $100m to get off the ground. However, they bring in more money than the tours which are unable to generate revenue when they are in transit. The 10 permanent shows are believed to make around $70m each in venue annually with the five tours outside Europe generating another $60m combined. Other income, including sponsorship from brands such as printer company Xerox and delivery service DHL, brought Cirque's total annual revenue to $850m in 2013. It was down from $1bn and this trend looks set to continue in Europe. The accounts reveal that "the net turnover will continue to decrease as less shows will be presented by this company. Moreover a general downturn of the European economies may have a negative impact on the 2014 results." { SOURCE: UK Finance | http://goo.gl/X814vq } Two Swimmers from "O" to Represent America {Feb.24.2015} ----------------------------------------------------- Two professional synchronized swimmers from Cirque's "O" at Bellagio will represent America in the 2015 world championships in KÀzan, Russia, from July 24-Aug. 9. Christina Jones and Bill May qualified to compete in the mixed duet trials held in Moraga, CA, at the highest level in the inaugural mixed duet. The duo both returned from retirement to take part in the historic competition. Another preliminary phase takes place here this spring before the summer trip to Russia. Bill has won 14 U.S. national swimming championships and Christina was a 2008 Olympian. They're now in training for the world championships. { SOURCE: Las Vegas Sun, Vegas Duluxe | http://goo.gl/af8UDu } Go Behind the Scenes at Varekai with The Times of San Diego {Feb.25.2015} ----------------------------------------------------- On the road since 2002, Cirque Du Soleil's production of "Varekai" landed Wednesday in San Diego for the first of seven performances. Famed for its 1984 Canadian origins and permanent Las Vegas presence, Cirque du Soleil will show off its international troupe through Sunday at the Valley View Casino Center (formerly called the San Diego Sports Arena). Two weeks ago in Albuquerque, Mayor Gregg Hull proclaimed one day "Varekai Day." But as Wichita Eagle reviewer noted in January: No two productions are exactly the same. The paper quoted cast singer singer Isabelle Dansereau-Corradi as saying: "If someone saw ‘Varekai' in 2002 when it was created, and they came to see a show today, they would say it's a different show. The story is the same, and some of the people may be the same, but everything is always alive; nothing is redundant or repetitive." With acrobats, live original music and the circus company's usual bizarre costumes, "Varekai" (which means "wherever" in Romany, the Gypsy language) tells a version of the Icarus myth. "From the sky falls a solitary young man, and the story of Varekai begins," the producers say. "Parachuted into the shadows of a magical forest, a KÀleidoscopic world populated by fantastical creatures, this young man sets off on an adventure both absurd and extraordinary. On this day at the edge of time, in this place of all possibilities, begins an inspired incantation to life rediscovered." Dansereau-Corradi also said: "We have so many different nationalities in ‘Varekai.' It's so beautiful to have all these cultures working together. It's a good example for the world, too. We have Georgians and Russians working together. We have Ukrainians and Russians working together. There's peace. It's a little example that if we can achieve it in this little village of Varekai, in the world – with some time – we can achieve it too." After San Diego, the circus takes a two-week break, then opens March 18 in El Paso, Texas, before returning to California for shows in Fresno, Bakersfield, Sacramento and Stockton. In late 2015, the troupe goes to Europe, with stops in Germany, Austria and Luxembourg. The last scheduled performance is Feb. 24, 2016, in Hanover, Germany. Check out these fantastic pictures! FOTOS /// < http://www.cirquefascination.com/?p=5550 > { SOURCE: The Times of San Diego | http://goo.gl/dyWhez } Cirque & Sama-Sama Create a "Live Experience"? {Feb.26.2015} ----------------------------------------------------- Roy Ofer, Founder of Sama-Sama, and Charles Joron, Chief Production Officer & Executive Producer of Cirque du Soleil Group, have announced a business partnership between Cirque du Soleil and Sama-Sama Creative Labs for the production of the first Sama-Sama Live Experience. The innovative concept will be a unique multisensory entertainment experience combining elements from live shows, theme parks and interactive events. Sama-Sama Live Experience will transform audience members into performers through the universal language of music, movement and rhythm. The experience will appeal to multi-generational audiences and make the most of state-of-the-art multimedia and technology. Recognized for its innovative approach and high quality artistic entertainment, Cirque du Soleil will provide guidance in the development of this live experience as well as acting as a business partner in the venture. "We see great potential in Sama-Sama's new immersive concept and have decided to come on board. This innovative approach is unique and we believe it will touch audiences in a brand new way" said Charles Joron. Honing the creative concept A proof of concept was performed to outstanding popular and critical acclaim in Tel-Aviv, in 2012, with more than 50,000 tickets sold over a one-month period. Since then, Roy Ofer, Co- founder of the Mayumana Group and Founder of Sama-Sama, has led an international creative team to further develop and refine the concept. A select group of creators, programmers, designers, technicians, music composers and video directors have contributed their expertise gained from working in leading entertainment brands such as Cirqeu du Soleil, Universal Studios and Mayumana. The creative and production teams are hard at work at the Sama-Sama R&D Studio in Tel-Aviv, which also serves as a collaborative hub for international technology companies. The Concept Sama-Sama Live Experience invites the audience to immerse themselves in a parallel universe where they will follow the story of a mysterious community known as the Samis. The Samis have built a unique space for creativity and inspiration, bringing people together through the joy of creation in a way never experienced before. They call this place Sama-Sama, which means "together" in Filipino. Sama-Sama takes the audience on a 360-degree immersive journey to a parallel universe. A dozen large-scale interactive installations urge the audience to unleash their creativity, become performers, play and have fun. Each original installation is created exclusively by the Sama-Sama team and features user- friendly interfaces and intuitive instructions designed to fully engag the audience. The Sama-Sama journey culminates in a grand finale where all audience members become part of the Sami community. Tour of Europe, North and South America The international launch of Sama-Sama Live Experience will take place in Madrid, Spain, followed by a tour of other major cities in Europe, North America and South America. The company is also in discussions with different parties interested in hosting permanent installations of the Sama-Sama Live Experience. For more information: www.samasamalive.com { SOURCE: Cirque du Soleil } See a few free minutes of Cirque's ZUMANITY – TODAY! {Feb.26.2015} ----------------------------------------------------- Las Vegas tourists will get a free eyeful of sexiness Feb. 26 when Cirque du Soleil's libidinous "Zumanity" performers put on a few minutes of their show in the middle of the Las Vegas Strip. Cirque says cast members will be doing things with strawberries, and putting on a dance number and then the "chains" act where a performer begins to (newspaper guidelines may not let me tell you the rest of this sentence). This will be a promotion for the show's revamped bits and parts. If you're titillated, you can see the public display at 4:30 p.m. today on the outdoor Brooklyn Bridge in front of the New York-New York hotel. { SOURCE: Las Vegas Review-Journal | http://goo.gl/28yv2O } A Revamped ZUMANITY Unveiled! {Feb.26.2015} ----------------------------------------------------- "Zumanity, the Sensual Side of Cirque du Soleil" is ready to unveil its latest incarnation, an update after 12 years at New York-New York Hotel & Casino. The sexy version of the show continues to be part burlesque, part cabaret zaniness, with feats of acrobatics thrown in, but about 30 percent of the production changed. "Zumanity" certainly is not for the faint of heart. The show explores sexuality in all its forms and audience members must be 18 and older. Yanis Marshall was brought on board to choreograph new pieces for the show, debuting on Thursday night. Marshall, finalist on last season's "Britain's Got Talent", said he'll dance in heels during the show. "We changed those little things that didn't work after 11 years," Marshall said. So a scene with two men fighting in cages becomes two men dancing in bird cages wearing red stilettos. "Girls are drawn to it and the boys ask ‘How?' It was a challenge to put into the show." Emcee "Mistress of Sensuality" Edie, played by famed drag diva Christopher Kenney, remains, although her dialog changes to accommodate new performers. Some of the costumes from French designer Thierry Mugler were refreshed, and old pieces from the early days of the show were revived, Marshall said. "The spirit of it is the same." So now the dance troupe includes a "very tiny little girl, a huge drag girl and a woman with tattoos from head to heel." Traditional circus arts such as contortion, acrobatics, aerial stunts and hand-balancing are choreographed with dance genres such as African dance, tango, contemporary dance and striptease. "All of the performers have this confidence, this big confidence. Obviously the big difference is the new energy. They are younger than the previous dancers and have a little more personality." Another new act involves artist Brandon Pereyda, who sports a red Mohawk. A favorite of women in the audience, Pereyda shows off his athleticism while strapped in chains above the stage. { SOURCE: The LA Times | http://goo.gl/iWKEor } VIDEO /// Zumanity: Outdoor Performance in Vegas 2015 {Feb.27.2015} ----------------------------------------------------- Zumanity invited Las Vegas to get naughty as it unveiled a preview of the reinvigorated show at New York-New York Hotel & Casino. Cast members of Zumanity took over the Brooklyn Bridge, enticing the audience with playful interactions and alluring music. Guests also witnessed the brilliant creativity of Zumanity's new choreographer Yanis Marshall as the cast performed a spectacular dance number followed by the show's famous ‘Chains' act with the property's Statue of Liberty as the backdrop. VIDEO /// < http://youtu.be/hzYIss-sayE > Additionally, check out these great behind-the-scenes pictures of the Zumanity cast warming up and out and about before the performance! FOTOS /// < http://www.cirquefascination.com/?p=5570 > { SOURCE: Cirque du Soleil, YouTube } Le Grand Concert Coming to Bluray/DVD? {Feb.28.2015} ----------------------------------------------------- Is Cirque du Soleil's 30th Anniversary "Le Grand Concert" coming to Blu-ray soon? The answer appears to be YES! Amazon.ca has a pre-order page up and running for "Cirque du Soleil- The Great Concert/ Le Grand Concert Blu-Ray + DVD (Bilingual)" for $22.50 CDN. The release date is April 21, 2015 so it'll be here soon! The Product description: For their 30th anniversary, Cirque du Soleil presents a monumental musical event – CIRQUE DU SOLEIL – LE GRAND CONCERT, a concert recorded live at the stunning Montreal Saint-Jean- Baptiste Church, offering exceptional acoustic sound. Gregory Charles is the artistic director for the choirs featured in this 90 minute musical Odyssey that unites 8 soloists accompanied by 28 musicians that transports us through the emotion and poetry of 35 shows created by the Cirque du Soleil since 1984. Dans le cadre de son 30e anniversaire, le Cirque du Soleil présente un grand événement musical unique – CIRQUE DU SOLEIL – LE GRAND CONCERT, capté au coeur de la splendeur de l'Église Saint-Jean-Baptiste de Montréal, à l'acoustique exceptionnelle. Gregory Charles assure la direction artistique des chorales de cette odyssée musicale de 90 minutes réunissant 8 solistes accompagnés de 28 musiciens qui nous transportent à travers l'émotion et la poésie de la musique des 35 spectacles que le Cirque du Soleil a créés depuis 1984. Pre-order the disc here: LINK /// < http://goo.gl/V0EiuC > { SOURCE: Cirque Spotlight, Amazon.ca } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Corteo, Koozå, OVO, Totem & Kurios} o) ARENA - In Stadium-like venues {Quidam & Varekai} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, ZarKÀna, 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: Houston, TX -- Feb 12, 2015 to Mar 22, 2015 Madrid, ES -- May 6, 2015 to Jun 21, 2015 PortAventura, ES -- July 3, 2015 to Aug 23, 2015 Brussels, BE -- Sep 11, 2015 to Oct 25, 2015 Paris, FR -- Nov 6, 2015 to Dec 13, 2015 Corteo: Bogota, CO -- Mar 19, 2015 to Apr 12, 2015 Guadalajara, MX -- Jul 30, 2015 to Aug 16, 2015 Monterrey, MX -- Aug 27, 2015 to Sep 13, 2015 Mexico City, MX -- Sep 25, 2015 to Nov 22, 2015 ** CORTEO TO CLOSE IN MEXICO CITY ** Koozå: Bern, CH -- Feb 28, 2015 to Apr 4, 2015 Columbus, OH -- Jun 4, 2015 to Jul 5, 2015 Kurios: Seattle, WA -- Jan 29, 2015 to Mar 22, 2015 Calgary, AB -- Apr 9, 2015 to May 24, 2015 Denver, CO -- Jun 11, 2015 to Jul 26, 2015 Chicago, IL -- Aug 6, 2015 to Sep 20, 2015 Costa Mesa, CA -- Oct 15, 2015 to Nov 29, 2015 Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016 Ovo: FukuoKÀ, JP -- Feb 21, 2015 to Apr 5, 2015 Sendai, JP -- Apr 23, 2015 to Jun 7, 2015 Totem: Melbourne, AU -- Jan 21, 2015 to Mar 29, 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 30, 2015 ----------------------------------- ARENA - In Stadium-Like Venues ------------------------------------ Quidam: 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 -- Apr 29, 2015 to May 4, 2015 Linkoping, SE -- May 8, 2015 to May 10, 2015 Gothenburg, SE -- May 13, 2015 to May 16, 2015 Turku, FI -- May 22, 2015 to May 25, 2015 Tallinn, EE -- May 27, 2015 to May 30, 2015 Stockholm, SE -- Jun 3, 2015 to Jun 6, 2015 Tel Aviv, IL -- Jul 2, 2015 to Jul 16, 2015 Varekai: 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 West Valley City, UT -- Apr 22, 2015 to Apr 26, 2015 SpoKÀne, WA -- Apr 29, 2015 to May 3, 2015 Portland, OR -- May 6, 2015 to May 10, 2015 Penticon, BC -- May 13, 2015 to May 17, 2015 Vancouver, BC -- May 20, 2015 to May 24, 2015 Victoria, BC -- May 27, 2015 to May 31, 2015 Edmonton, AB -- Jun 18, 2015 to Jun 21, 2015 Winnipeg, MB -- Jun 24, 2015 to Jun 28, 2015 Ottawa, ON -- Jul 2, 2015 to Jul 5, 2015 Baltimore, MD -- Jul 8, 2015 to Jul 12, 2015 Boston, MA -- Jul 15, 2015 to Jul 19, 2015 Fairfax, VA -- Jul 22, 2015 to Jul 26, 2015 Duluth, GA -- Jul 29, 2015 to Aug 2, 2015 Tampa, FL -- Aug 5, 2015 to Aug 9, 2015 Sunrise, FL -- Aug 12, 2015 to Aug 23, 2015 Nashville, FL -- Aug 26, 2015 to Aug 30, 2015 Toronto, ON -- Sep 2, 2015 to Sep 6, 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 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 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 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 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 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 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 ZARKÀNA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm 2015 Dark Dates: 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 April 14 - 16 o June 3 – 18 o August 11 o October 14 – 22 o December 15 Added performances in 2015: 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 ======================================================================= o) Didyaknow? –- Facts About Cirque o) Networking -- Posts on Facebook, G+, & YouTube --------------------------------------- DIDYAKNOW?: Facts About Cirque --------------------------------------- o) Did you know: the Tatami Deck in KÀ can slide forward 46 feet at full travel, like a giant drawer slide? At its full extension, it appears to float over the abyss. (But it's a picture of something else, as commenter Stephen Sywak explains: "Unfortunately, this is a picture of the Sand Cliff Deck, a 50 x 25 x 6 foot floating, tilting, revolving, 80,000 lb performance platform that rises up and down on a 200,000 pound "H" frame structure, raised and lowered by four of the largest hydraulic cylinders in the world, being run by a force-compliant hydraulic servo-control system what would make even NASA jealous!") FOTO /// < http://goo.gl/TxhhXD > o) Did you know: controlled by artists, the Wheel of Death in KÀ's Slave Cage scene weighs 10,000 pounds, and is comprised of two independent sets of circular "cages" that rotate around a common axle? The laws of physics at their finest! FOTO /// < http://goo.gl/07r75g > o) Did you know: La Nouba's front-of-house sound booth is equipped with a Cadac F-type console with 72 dual inputs, feeding 10 Level Control System LD-88's creating an integral 80x80 matrix? This provides the ability to automate mixes and dynamic changes, as well as the placement and movement of the sound image throughout the showroom. FOTO /// < http://goo.gl/L0KYmz > o) Did you know: all costumes for Mystere are custom-made in Montreal for each artist? Each artist goes to Montreal to have full body measurements taken, including head, feet and hands. FOTO /// < http://goo.gl/KUXLH6 >. o) Did you know: Some unusual materials are used in some of the costume pieces in "O", such as shower curtain material and surgical tubing? Now that's a fact that makes a splash! FOTO /// < http://goo.gl/sf9qZa >. o) Did you know: some of the leotards in "O" act as a second skin and give the illusion that the performer is tattooed? FOTO /// < http://goo.gl/Qvhfwy >. o) Did you know? The TOTEM lifeguards' look and costumes are inspired by the Aussie beaches! Warm weather this week-end in Melbourne, good reason to come hang out in the Big Top with our beach boys! FOTO /// < http://goo.gl/Z2G8oP >. o) Did you know? The music of TOTEM tells the story of humanity by weaving together native music and instruments from around the world, ranging from North America's First Nations, Spanish flamenco, African vocals and sonorities, to the sounds of the Indian subcontinent. --------------------------------------------------- NETWORKING: Cirque on Facebook, YouTube & Twitter --------------------------------------------------- {Compiled by Keith Johnson} ---[ AMALUNA ]--- {Feb.18} We spent the morning with the morning news team at KTRK-TV in Houston and had a lot of fun with some Amaluna costume pieces. Do you know how many costume pieces are featured in our show?! FOTO /// < http://goo.gl/5rfs0M > {Feb.22} As we kick off our final show for the week, we are curious to know if you have purchased tickets to see us in Houston yet?! We have exactly four more weeks of shows here before saying farewell to North America for a while and heading across the pond to Madrid!! FOTO /// < http://goo.gl/Ya6Dvt > {Feb.26} We had a lot of fun transforming Great Day Houston's Courtney into the Moon Goddess! Our very own Moon Goddess, Andreanne Nadeau, and Head of Wardrobe, Larry Edwards, had a lot of fun with this extreme makeover! Stay tuned to KHOU this week to see the full transformation. FOTO /// < http://goo.gl/vCCeh5 > {Feb.27} Today Amaluna celebrated 1,000 SHOWS! What a milestone! We marked the occasion with cupcakes under a beautiful sunset. Where were you when you experienced Amaluna?! FOTO /// < http://goo.gl/JBCAlZ > ---[ CORTEO ]--- {Feb.03} Está es nuestra última semana en Costa Rica, estamos listos para dar lo mejor y esperamos verlos por acá. FOTO /// < http://goo.gl/ANBNkr > {Feb.08} Ticos, gracias por ser parte de un gran equipo! FOTO /// < http://goo.gl/YkKÀpQ > {Feb.12} Empezamos la mudanza a Bogotá! Nos vemos pronto !!! (For once a tent DIS-assembly video!) FOTO /// < http://goo.gl/kWxsyy > {Feb.14} Un día como hoy se casaron Valentina y Grigor!! Feliz aniversario para ellos y feliz San Valentín para todos ustedes!! FOTO /// < http://goo.gl/7JNIes > {Feb.21} Somos muy buenos trabajadores pero también exelentes viajeros! Cómo pasamos nuestro tiempo libre?? Algunos de nosotros estuvimos por la Antártica !! FOTO /// < http://goo.gl/FZCYJN > FOTO /// < http://goo.gl/fcMFbS > FOTO /// < http://goo.gl/awze3N > FOTO /// < http://goo.gl/GrfJYn > {Feb.24} Esperando paciententemente durante el entrenamiento de Opera Roulettes… FOTO /// < http://goo.gl/GLA5OU > {Feb.27} Increíble Zoom!!! El artista balancea una pequeña flor encima de la escalera!! FOTO /// < http://goo.gl/fQLWEv > ---[ JOYA ]--- {Feb.10} Our culinary experience is the ideal setting for an unforgettable Valentine's Day. FOTO /// < http://goo.gl/soRU65 > {Feb.20} Celebrating 100 shows and thousands of smiles this evening. Thank you for being part of our history! FOTO /// < http://goo.gl/QUd8Lm > ---[ KOOZA ]--- {Feb.04} The Gallery at the Royal Albert Hall offers some incredible views of KOOZA that we don't normally get to see in the Big Top. FOTO /// < http://goo.gl/Q2d56c > {Feb.09} What are you doing this Valentine's Day? KOOZA's Philippe Bélanger invites you to be his Valentine this year at the Royal Albert Hall! VIDEO /// < http://goo.gl/jUXtuj > {Feb.11} It was lovely to have Cirque du Soleil Founder Guy Laliberté see KOOZA last night at the Royal Albert Hall! FOTO /// < http://goo.gl/Jpjw40 > {Feb.12} Long before they were performing High Wire on the KOOZA stage, the Quiros Brothers were training with their sister and father! FOTO /// < http://goo.gl/4ZXDkI {Feb.14} Dressed perfectly for the occasion as Red Army, KOOZA's Marina Tikhonenko and Talita Lima are spreading the love today and every day! Happy Valentine's Day! FOTO /// < http://goo.gl/eKktT1 > {Feb.17} Only 5 more shows at the iconic Royal Albert Hall in London! Take a look behind the scenes with Liberty London Girl and then come see the on-stage performance before we pack up and go! (ED: Has a great picture of the "activity board" not often seen.) LINK /// < http://goo.gl/PKGVRJ > {Feb.18} The KOOZA band looking fierce before one of the final shows at the iconic Royal Albert Hall in London. FOTO /// < http://goo.gl/h1Jnqz > {Feb.24} KOOZA's Unicycle Duo, Yury Shavro & Olga Tutynina, gave the Kiss FM (UK) Breakfast team a lesson in Unicycle. And let's just say, it's not as easy as they thought! VIDEO /// < https://www.youtube.com/watch?v=3nKWY-ll-fE > {Feb.28} ?Bern?! There's only a few hours left before you can explore the zany kingdom of KOOZA! Are you as excited as we are? FOTO /// < http://goo.gl/2909mJ > {Feb.28} A big THANK YOU from the entire KOOZA cast and crew for this successful premiere night! Bern, you were amazing! FOTO /// < http://goo.gl/cEJALn > ---[ KURIOS ]--- {Feb.14} Choose us because we chose you. Happy Valentine's Day! FOTO /// < hhttp://goo.gl/9LWjKd > {Feb.19} Last week, Michel Laprise, director of KURIOS was in Calgary for an advanced media day. We are very excited to perform at the Stampede Park starting April 9th. FOTO /// < hhttp://goo.gl/ih7W3m > ---[ OVO ]--- {Feb.23} Have you always wondered how many mouvements a cricket does on the powertrack? Have a look at this! ? FOTO /// < http://goo.gl/QZNWbR > {Feb.27} Congratulations OVO for 2000 shows! Also, a huge BRAVO!!! to our scarab Safa, who has never missed a show! What an amazing artist! A special thank you to the 4,000,000 spectators around the world who came to see the show over the last 6 years. FOTO /// < http://goo.gl/LqQC8H > FOTO /// < http://goo.gl/gONAds > ---[ QUIDAM ]--- {Feb.05} Quiet stage time before we take Bratislava by storm. FOTO /// < http://goo.gl/khrbpY > {Feb.07} Nothing better than a Quidam full house. What a crowd!!! FOTO /// < http://goo.gl/X9Fbrr > {Feb.13} Getting ready to open in Budapest FOTO /// < http://goo.gl/K2ISQQ > {Feb.14} Quidam's cutest Backstage love story! VIDEO /// < http://goo.gl/YcLePZ > {Feb.15} Quidam had such a good time in Budapest! Whether it's on stage or visiting your lovely city, we'll be back. FOTO /// < http://goo.gl/uTTUAI > {Feb.18} Backstage view from the office. FOTO /// < http://goo.gl/HMbCi7 > {Feb.25} Another kind of backstage @tijdvoormax FOTO /// < http://goo.gl/jNmPPs > ---[ TOTEM ]--- {Feb.03} Get closer to TOTEM costumes designed by Australian Kym Barrett at Highpoint Shopping Centre in Melbourne outside Mecca Maxima on level 3 through February 23! Six colorful costumes can be observed from up close, including our Blue Frog and Butterfly! FOTO /// < http://goo.gl/lw8WV8 > FOTO /// < http://goo.gl/BNCDJq > {Feb.04} We are opening tomorrow a remote TOTEM Box Office at Federation Square in Melbourne which will be opened from Tuesday to Sunday until February 18! 100 tickets to be sold daily for the performances scheduled on the same day at the special price of $50! See you there between 11am and 6pm! FOTO /// < http://goo.gl/nrupmC > {Feb.09} It is Carapace rehearsal time under the Big Top at Flemington Racecourse and Victoria Racing Club in Melbourne! Did you know we constantly work on the quality of the artistic and acrobatic elements of the show? The goal is to keep it fresh for the artists and for the audience who experiences TOTEM for the first time! FOTO /// < http://goo.gl/BiAm3R > {Feb.10} Hoop Dancer Shandien Larance is in studio today with Lauren and Shane from Go!Kids' WB on Channel 9! FOTO /// < http://goo.gl/gU67NC > {Feb.17} Cosmonauts posing for a special video shoot today, more details soon! FOTO /// < http://goo.gl/iKUiCb > {Feb.19} xzinnián kuàilè / Happy Chinese New Year from Yurong, Xuedi, Yuting and Yang Jie who cooked amazing dumplings for the whole TOTEM family!! FOTO /// < http://goo.gl/Wl08Ub > {Feb.19} Don't miss Hoop Dancer Shandien Larance this Sunday morning on GO! TV Kids' WB as she teaches Lauren Phillips and Shane Crawford a few tricks and performs her routine! FOTO /// < http://goo.gl/6fJR3e > {Feb.24} How would you react if you were to walk into one of our monkeys on your way to work? Melbourne, keep your eyes opened tomorrow morning as we will bring some characters in the CBD for a special photo shoot. FOTO /// < http://goo.gl/uE6Kxn > {Feb.25} Watch out! Our apes and Neanderthals are running around Melbourne for a special photo shoot! FOTO /// < http://goo.gl/mD7kVV > {Feb.25} Last week-end, we helped Starlight Children's Foundation Australia make 14-year-old Sebastian's dream come true of performing with the cast of a Cirque du Soleil show and spend a day backstage! Sebastian got transformed into the B lue Frog character and danced with the full cast on stage during a dress rehearsal! A touching and emotional moment for everyone who had the chance to attend and take part in making this wish come true! FOTO /// < http://goo.gl/IAHypS > FOTO /// < http://goo.gl/jWPgrq > FOTO /// < http://goo.gl/gtdpGO > FOTO /// < http://goo.gl/rg8BAC > ---[ VAREKAI ]--- {Feb.03} Want to know what's it like to be a flyer in one of the most thrilling, yet daring acts in Varekai? LINK /// < http://goo.gl/SBfVeN > {Feb.10} Hey San Diego! We're checking YOU out but be sure to check US out at the Valley View Casino Center! FOTO /// < http://goo.gl/RKVZiN > {Feb.11} Did you know that today was proclaimed official Varekai day in Rio Rancho. We have a photo to prove it! Thank you the city and the mayor for dedicating February 11, 2015 as Varekai Day! FOTO /// < http://goo.gl/pQGedw > {Feb.14} Will you be his Valentine? Share this with your loved one! VIDEO /// < http://goo.gl/K9FVNO > {Feb.19} Some of the artists from Varekai put the hosts of RightThisMinute to work! Be sure to tune in today and tomorrow at your local listings to see if they're fit enough to join Cirque? VIDEO /// < http://goo.gl/KFfJzD > ---[ ZUMANITY ]--- {Feb.04} Falling in love also means knowing someone will catch you. Let them know you're thinking of them this Valentine's Day. FOTO /// < http://goo.gl/CwveJe > FOTO /// < http://goo.gl/TvJ5QD > FOTO /// < http://goo.gl/8qFSeN > FOTO /// < http://goo.gl/Ea70xG > ======================================================================= FASCINATION! FEATURES ======================================================================= o) SPECIAL /// "A One Night for One Drop 3 Preview" By: Robin Leach, via The Las Vegas Sun o) SPECIAL /// "A First Look at ‘Luna Petunia'" By: Jeremy Dickson, via Kidscreen.com o) INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse" By: The Chapiteau, a Cirque du Soleil Fan Club o) INTERVIEW /// "Fernando Miro - Icarus" By: The Chapiteau, a Cirque du Soleil Fan Club ------------------------------------------------------------ SPECIAL /// "A One Night for One Drop 3 Preview" By: Robin Leach, via The Las Vegas Sun ------------------------------------------------------------ It's the biggest and most glittering Cirque du Soleil show of the year. But it runs only one night, yet involves, as an all-volunteer effort, the casts and crews of all seven Cirque shows on the Strip. It's the only production that Cirque founder Guy Laliberte never sees and changes in advance of curtain up. The first two "One Night for One Drop" shows at "O" Theater in Bellagio in 2013 followed by the "Michael Jackson One" Theater in Mandalay Bay in 2014 raised $11.3 million for the world water charity One Drop. This year's production on March 20 will be at "The Beatles Love" Theater in the Mirage. We received a sneak preview over the weekend of this year's annual charity production helmed for the second consecutive time by Mukhtar O.S. Mukhtar, who started with Cirque as a performer in "Love" at the Mirage. He presented the mind-blowing aerial gymnastics of twin British brothers Kevin and Andrew Atherton, who star in "ZarKÀna" at Aria. I wrote about Andrew and Kevin, from my hometown of Manchester, England, on March 7. They began their Cirque careers in 2000. They will help illustrate Mukhtar's vision for this year's production based on the long-distance journey women make in different parts of the world to get water. "It's the story of the journey, not the destination, for the six women we introduced last year," he told me. He stressed that this year's show is still in the raw state of creation and the specially composed and selected music is not yet completed. His video projections will only arrive two weeks before the March 20 performance. "But everybody at every Cirque show is already busy with the One Drop project," he emphasized. "I began it in August, but now it's at full intensity for everyone involved." I talked with Mukhtar and One Drop CEO Catherine Bachand after the Athertons' gravity-defying, one-strap act 50 feet in the air. Our thanks to contributing photographer Tom Donoghue for his extraordinary photos. [First up] is my Q+A with Mukhtar; my chat with Catherine will [follow]. Q. How do you focus on the journey of six women without there ever being a destination? What's the payoff? What's the finale? What's the conclusion? This is why I didn't want to say too much about the finale because there's an element of surprise that we show at the end, and we show it with this story. This journey that we've been seeing really is the women's journey because there's something else in the show that we show, and you find out at the end whether it's really them or not. The surprise comes at the end. We're fabricating something very unique specially for that to show the story of these women through one woman. At the end, we find out how that woman — we don't know who she is or what she is — but how she's connected to these women. We see her at the beginning. We also see her for a few moments during the show, and then the finale is all her. Q. How tough is it to stage it in this theater that is an octagon? I would say it's double time the effort, but I've worked here for six years in "Love," so I know how the theater works. That's one of the biggest things that pulled me in because it's a 360 and that challenge of having this time constraint to create a 360 to make sure that you please everybody in the crowd so there's no blind spots. I think that's the biggest thing that truly made me want to do it again. If it was any other theater, I probably wouldn't have come back. Q. Have you succeeded? We're in the process. We're definitely getting there. I can easily say yes, but we're still creating right now, but I'm liking what I'm seeing. The show will be approximately between an hour and 15 minutes and an hour 30. This is the biggest cast that I've got. Last year, we had I think about 100. This year I said you know I'm going to cut it down to 80 to make it similar to what "Love" has: 60. But I'm already up to 110. There are a lot of volunteers who want to do it, and then as we go, we see … I have to say no at some point; we have to. Some because it doesn't fit what we're doing, but then we also see positions that pop up as we're creating. Q. The first year that this took place with water being the theme was at Bellagio, where you had all the water in the world to work with, but my knowledge of "Love" says there's no water. Does the fact that there's no water to work with become a strength for the show and its message of drought and disappearance? No water at all. That's definitely a strength. The first year was about the celebration of water. They did a great job of really showing how we can use water in celebration. The second year, I thought how can I do something different, so I concentrated on the desertification of the lack of water. This year I thought how can I create a show because we have the same crowd that will come. They can relate to what they've seen already and connect the shows. The No. 1 thing were the women because we've seen elements of the women in the last two shows, and now people can really see who these women are. In terms of water, I don't want to use any water really onstage. We only have one element of water we use, and that's a specially built bowl. I'm calling it "the vessel." All props that you see in the show are specially built for this occasion and one-night-use only. Q. Are you cutting it close with video projections not being delivered until two weeks before the one big night? Not really only because we're really prepared in what we're doing with the projections. We have two or three content designers for the show, so each concept has their task of what they need to do. My job is to make sure I give them the right directions so that when they put the projection with the movement, everything fits. Q. Today we saw the Atherton twins, who are totally remarKÀble people. Fearless people; fearless. I see a lot of strap acts, and I see a lot of people doing straps, and for you to really earn your way, you've got to do something really interesting. For me, it's poetry for them. They're not two separate people; they become one. You don't really look at the straps when you're watching them; you watch them. Q. How do you make their aerials work for water? What's the message other than the fact that they're stunning, and you will expose them hopefully to a new audience? What's the connection between them and the air and water? It's a projection element. I want to make the show so that there are a lot of things to look at and understand. I don't want to just limit it to these women are just looking for water. Usually half the time, the stories are sad. You know they've been traveling a long distance, so I don't want to do that and make the whole show sad. I want to expand it and look at different things they explore. So each woman I've given a different exploration in life. One woman explores love and the different forms of love, so in that section, we explore for example the love of twins and this is how they come into it and how unique their love is. We also explore the love between a masculine energy and a feminine energy and know that all love is the same. It's just society that breaks it up. We also explore the love between a mother and her baby. So that's three things that love can be seen, but we'll show that they're all the same. It's just society that breaks it into pieces. Each woman explores something completely. One woman explores love and different forms of love, another woman explores memories and how this affects us, another woman explores figuring the system that we're living in this everyday life. Q. It's a ballet, it's a play, with no words? We have some words. I'm not using the spoken word poet again. This year I thought I'd go in a different direction and see how I can still tell the story without the poet. We do have poetic elements in the show that you hear throughout the show. There are some acted words. There's also a character as a guide who will speak in the show. We've got different types. I've created clowns who are going to go the opposite directions. I don't want clowns to be funny or make people laugh and joke. I want clowns who are cooler. I want clowns that when kids look at them, they say, "I want to be that when I grow up." There are six clowns. Q. The six clowns match the six women? Exactly. So there are little things like that I'm bringing together that bring the circus with this cause, and it makes sense. Q. When did you start writing this show? When did you start banging your head against the walls? Maybe August. July is when I started thinking, "OK, what can this show be? What would be interesting?" The easiest part for me is working with the team just because everyone really wants to do it. I don't have to persuade people; they're already engaged. The toughest part is telling people they can't help, but also the time limit is very tough. It's already tough enough on a regular stage, but when you're in a round, it's four angles. That for me is a tough thing, but it's also the biggest thing that drew me back because what is life without a challenge. I really wanted to see how it can be tested in this theater. Q. Is it sad that it's only one night? It's so sad. For me, especially as a director, I want more people to see this live. There's something about seeing it live that you're never going to get on the Internet. No way; never. Even most years when I watch the DVD, I'm still not affected like I was when I was watching it live. I wish we would have a two-week run so that more people could see it. Q. Maybe bring back a Cirque tent to the Strip? Exactly. That's what was mentioned, that maybe "One Drop" could be a temporary show. So that's already in the works, but I also love the element of this uniqueness. You only see it once, so you need to fight to get your ticket to come and see this. Q. Has the big boss, Guy Laliberte, had any input in this yet? No, none whatsoever. He doesn't see it until the night of; it's the only show he does that. To be honest with you, it's good and bad. The good element is that you can fully create without anybody interfering. The bad thing is, it's not bad, but you need to make sure you have your act together because he's coming in for that one night, and you need to deliver. Q. No shortage of volunteers from performers to seamstresses at the Cirque shows? No shortage. This year has been better than the last two. I think from last year, people saw a lot of things, how we developed and how people's time was used, so I think that really engaged people to come back this year. For example, the costumes, we had all the shows really taking on projects. … We have all-new costumes. We're not using any old ones. Q. Is it safe to say that the minute you walk into the "Love" Theater, you know you're inside the "Love" Theater, but you're not going to see anything of "Love"? The love is all about protecting water? The love is all about water, and the love is about this theater that we're transforming. It will be physically transformed by virtue of the unique show. The challenge with that is "Love" coming back in the next day. So understandably of course they're worried about time; how much we change that we can change back. I think that's the biggest worry. Of course I'm trying to do the most I can. Q. The "Love" stage in sections is either a computer genius' nightmare or the ultimate tech pleasure. You get to use it all? I get to use everything, which is amazing. That's another way of us transforming how people see "Love." We're trying not to use any of the transfigurations that "Love" uses. There's also a safety element. "Love" took nine months to a year maybe just to make sure things are safe. I have limits, for example lifting the sensor, I want it to come up 30 feet; "Love" doesn't do that. So there's that collaboration and that negotiation with all the necessary licensing departments and inspectors. Q. I noticed that the Atherton twins this morning worked with no safety nets. How many feet up? That's how good they are 50 feet up. In their rehearsals, they haven't once used their safety nets because they feel so comfortable working with each other. We're still playing with how dangerous we can make it. The fact that they do an aerial act and this is not a completely new discipline, we do not have to have mats. But we have other acts in the show, for example we're bringing in a trampoline with teeterboard. It's one of the first times that's been done. We're doing it together. There are nine people in that right now. It's never been done. These guys are basically the top trampoline act and also the top teeter artists from "Mystere." We made sure we got the best. This show will be different than last year, and it's going to be an upgrade, too. Q. Have you signed up for No. 4 yet? No. Right now there are a lot of projects in mind that I want to really focus on, and my main focus is really making this one a success. * * * "We're going to see things that will blow your mind," said One Drop Exec Catherine Bachand. "Robin, let me emphasize this again. We do ‘One Night for One Drop' because the fact is one child dies every 20 seconds somewhere in the world going without water. It's 4,000 a day. That's more than five filled jumbo jets falling out of the sky a day." Q. A very sad but powerful illustration of the problem with the lack of water in the world. What did you think of this preview with these two aerial acrobats who are going to be the stars of this year's show? I actually get really emotional before events like today because it really reconnects me with not only the concept of "One Night for One Drop," but also the fact that there is so much talent and passion going into putting on this event. These guys have 10 shows a week, and on top of that they have to imagine a whole new act, practice it in their own hours, on top of the training that they do for their own show, which I think is three hours per day. It's a big challenge for them to perform in a 360 venue like this one. For all the artists, it's going to be a challenge. It's something when you're used to it, but when you leave a different venue to come here … Q. This is year three. Remember the very first time in year one, you said it was one-night, one-time only. It's now gone to a second year and a third year, so it looks set as a permanent fixture? Well, I would never take it for granted. I think this is; because all of the employees are so committed, that's the only reason we can have this event. It's also because we have a partnership with MGM Resorts and Cirque du Soleil. We have more and more committed, all volunteers in their own way. During the year whether you're doing PR communications, info graphic stuff, you get to work on ‘One Drop.' I think what it did for the employees, it really brought them all together to deliver something bigger than themselves and connected them to the higher purpose. That's what Cirque is doing by committing so much to water globally. Q. Year One was in the "O" Theater, Year Two in the "Michael Jackson One" Theater, and now the third one is in "The Beatles Love" Theater. You're going to run out of theaters by year eight, so does Guy let you bring the tent back where it all started for him? We might have a surprise to announce for 2016. Our idea is to engage the whole community. I think through these events, we've brought new audiences here to the theater. It shows them also what the capability of the venue is. Mukhtar will be able to use this in ways that it's never been used before. The idea is to really surprise and please the audience, just like the first year at the "O" Theater. We were able to use that stage to create mountains and elevation, which you actually can't see in the "O" show. I think here we're going to see things that will blow your mind. Q. If he gets his way? He will. There's no one to say that he can't. Creating a new Cirque show costs millions of dollars, but this one is done on the dime just because people contribute all their time and talent. They all give, and we have technical donations from all sorts of people. Q. It's so special, couldn't it be more than one night and still be special? Couldn't it run two weeks? Couldn't there be an opportunity for it not to just be one night, or does that upset all the other productions? If you had a Cirque tent at the Rock in Rio site or MGM Resorts Village opposite the Luxor, then you could do two weeks? It's a good question. It's a question for Cirque. What the capacity of the market is to have a whole new show, it certainly would take away from the special … I mean, it's called "One Night for One Drop" because it is just for one night. It's still more than 2,000 tickets that we have to sell for that special night putting on the show and everything that comes with it. I think for everyone who buys those VIP tickets, there's a sense that you're part of something unique. You know what it's like when you watch something magical happen right in front of your eyes, like you're KÀyaking and you see a whale jumping; You have to really pay attention because this moment is actually never going to happen again. That's the feeling I want everyone in that room that night to have. That feeling that what you're watching is a manifestation of a company coming together to change the world, and pay attention because it's not going to happen again. Q. The two previous shows raised $11.3 million? Yes, and in addition with our overall first generation of programs, we helped 655,000 people. One Drop when we started our first water-access programs, they were all done in sort of pilot mode, and we were reaching anywhere between 20,000 to 50,000 beneficiaries per program. Now because of the new business model, so all the partnerships we're developing within the sector, the work that we do in the field in Central America and Africa and India, because of our model of partnership and leverage and with local governments, corporations and other sector players, we are able to deliver programs that now reach 655,000 people. So the scale and scope of our program have grown tremendously because of those partnerships and the way we operate. Q. In your own words, please explain to the people in Nevada who think this problem only exists in India, therefore," "I don't have to worry about it. It's never going to affect me." How do you address that on a local or state level? The World Economic Forum that just concluded in Davos, Switzerland, identified water as the top challenge risk of the century for humanity. It's a risk not only for developing countries, but for developed countries, as well. There are a lot of diseases being spread because of the lack of water, bad water. There's a lot of political instability, the fact that we're keeping half of the African continent busy carrying water all day whereas productive time could be freed to generate so much revenue. Q. How does that affect people in Nevada and Las Vegas? People don't think we have a water problem. Tell me why we have a water problem. Tell me why we're going to have a water problem. Well the problem is that we're taking from the water shed and underground water reserves. Way more than the reserve is able to replenish itself. The problem is when you have years like we have had in the past few years where you do don't have a lot of snow pack, the problem is that the water reserve is not replenishing itself. The levels are lower, and it's dramatic. It's as important for people in Las Vegas and Nevada to worry about it as for people in India. It starts at home; it starts with us. We take it for granted until it stops running from the tap. You wake up one morning and you don't have water. I think we have to figure out ways to manage the resources better. We have very water-intensive industries that could do a whole lot better in using new technologies. The water that we save, the community here in Las Vegas, are credits that we get back to use more water from the Colorado River. Every single drop that we save is important and has a real impact. The economy here is so tied with the Colorado River that it represents $9 billion. If the river was not there, our economy would be poor by $9 billion. I don't think people realize how tied we are to water. If you don't have water here, everything is going to close up. Look at big cities like what's going on in Brazil and Sao Paulo. They now have water only three days a week. What do you do the rest of the time? The idea is to be smart enough that in Las Vegas we never get to that state. So we recycle, reuse and replenish so we never run out. Everybody has a role to play. { Original Sources: | http://goo.gl/153jrv & http://goo.gl/8I0Vp9 } ------------------------------------------------------------ SPECIAL /// "A First Look at ‘Luna Petunia'" By: Jeremy Dickson, via Kidscreen.com ------------------------------------------------------------ Iconic Montreal, Canada-based performing arts organization Cirque du Soleil has achieved more success in its 30-year history than most companies ever dare to dream about. Since Guy Laliberté founded the company in 1984, its unique live shows have thrilled close to 150 million spectators in more than 300 cities in 40-plus countries on six continents. Generating US$850 million in revenue in 2013, Cirque currently operates 20 different touring shows simultaneously around the world and continues to evolve and expand globally. In December 2012, it caught the attention of the kids entertainment industry by launching Cirque du Soleil Média, a joint-venture with Canadian broadcast heavyweight Bell Media. The plan was to expand the Cirque brand and its values beyond live shows into new and original youth- and kid-targeted content for television, film and digital platforms. The joint-venture's first project brought L.A.-based Saban Brands (Power Rangers, Julius Jr., Popples) into the mix in February 2014 to help launch a kids property that includes a TV series, a consumer products line and interactive content. Eight months later, Cirque and Saban introduced Luna Petunia to the world at MIP Junior, and revealed that an animated TV series of the same name was already in development with Bradley Zweig (Sid the Science Kid, Yo Gabba Gabba!) as showrunner. The series marks uncharted waters for Cirque du Soleil Média, but the company is confident its collaboration with Saban will move the property in the right direction and open up a wealth of opportunities. During a recent visit to Cirque headquarters, where a joyful, creative energy permeates every inch of its vast interior, Kidscreen spoke with Daniel Lamarre (president and CEO of Cirque du Soleil), Jacques Méthé (president of Cirque du Soleil Média), Elie Dekel, (president of Saban Brands) and Brian Casentini (Saban SVP of development and production) about Cirque's move into the kids space and the progress of the series. Why preschool animation? ------------------------ When Cirque was initially exploring ways to bring the magic and emotion of its live shows to a larger audience through mass media, it kept coming back to kids animation. "We've been toying with the idea of kids animation for many years. We think it is the right way to attract a new demo," Lamarre says."It's very important to expand Cirque's target demo beyond those who can afford to go to its live shows in person." And when it came time to pinpoint a specific age group within kids, Cirque and Saban both agreed that preschool was a sweet spot. "For the majority of the world, adults are the most aware of the Cirque brand," says Casentini. "So we felt that because moms and parents control the media preschool kids consume, launching a preschool brand first made a lot of sense." In addition, Saban's global success with its own brands and Zweig's experience in developing and producing TV series were big factors in Cirque's final decision. "Bradley's openness to another creative process was a big factor for us," notes Méthé. "A lot of people when they interact with us see the surface, the acrobatics and colors. He cut straight to our DNA and values. He asked right away, ‘Who is Luna and what drives her?'" Creating Luna ------------- While Luna Petunia will have nothing to do with circus life, Cirque's values and the whimsical nature of its stage shows will seep into the fabric of the series' characters, stories and visual world. The series follows the adventures of a little girl, Luna, who lives in the real world, but plays in a dreamland where she learns to make the impossible possible. She teaches young viewers the importance of believing in themselves and in the wonderful things their minds and bodies can do. According to Casentini, a bible is complete, the core characters have been designed, and the digital development of the backgrounds has started. The 52 x 11-minute series will be 2D-animated with 3D elements, and Casentini says Cirque and Saban are actively seeking co- production partners. "We are looking at a bunch of different Canadian studios in conjunction with Cirque Média to help us produce the series, but no official decision has been made yet," he says. As for scripts, Zweig is currently writing episode one and a number of premises have been turned into full story outlines. Luna's world ------------ The narrative begins at Luna's birthday party. After her friends leave, she receives a special gift from her mischievous aunt Zuzu—a mysterious box adorned with a petunia and filled with unusual toy characters. The box is also inscribed with the phrase, "Make the impossible possible today…feel your heart, touch your mind, and swirl away!" When Luna speaks the words, she is magically transported to the world of Amazia, where the toy characters from the box come to life and accompany her on wondrous adventures. One of Luna's friends, Sammy-Stretch, is a playful character who is fluent in gibberish (how Cirque!), and has accordions for limbs that make music when they move. He loves riddles and games, and he often challenges Luna to try new things. Bibi Bubbles, Amazia's excitable brainiac tour guide, and cuddly Koalaroo, who has a KÀngaroo tail, the body of a koala bear and springs for legs, round out the core ensemble. A particularly creative aspect of the Bibi Bubbles character is that her thoughts can be seen by other characters because they appear in bubbles that pop out of her ears. As for unique environments, the series features a mood willow tree that changes a character's hair color to suit their mood when they walk under it. Wiggly lily pads also react to characters' emotions. In the development of the show's characters, Méthé says a number of Cirque artists were called on for creative input. "A bunch of them are involved and have produced all sorts of elements that are in the present course of development. We will keep on this path because it is working really well," he says. Future opportunities -------------------- With positive early reactions across the board from broadcasters at MIPCOM, and a deal close to being secured with a global distribution partner, Cirque and Saban are confident in the potential of the IP. "It's exciting and frightening because we have to deliver," says Méthé. Lamarre concurs. "The risk is that we have to produce a series that will not only be appealing to viewers, but that will be a good demonstration of our brand, too," he says. "Our consumers have very specific expectations of what Cirque is all about, and it's very important that moms recognize the creativity in the new brand. Obviously, we don't want to disappoint them." With delivery of the series expected for summer 2016, Cirque and Saban are also exploring ways to extend Luna Petunia to interactive, digital, learning and other consumer products. "As the creative is developing, we are paying a great deal of attention to how the storylines, characters and visuals can translate to the other platforms," says Dekel. One of the ultimate goals, according to Lamarre, would be to launch an immersive live experience and bring the property back to what Cirque does best. "The greatest reward we could have, and it would be a first for us, would be to establish a character that has enough impact to integrate into a live show." ------------------------------------------------------------ INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse" By: The Chapiteau, a Cirque du Soleil Fan Club) ------------------------------------------------------------ Q. Where were you born? I was born in Italy and raised in Montreal. Q. How long have you been with the show? With Varekai it'll be 11 years on the 10th of July - a big day! And I'm still passionate about it. I love what I do. Q. What other shows have you been in? I did Alegria in '94, and I did Saltimbanco so this was singing and dancing a lot on that [angled surface], so it was interesting to dance with little boots(-ies) with little heels(-ies) but I was having a great time. I did Alegria again, then I was the voice coach for a while, then I was a dance coach for a while too and then I came to Varekai! Q. What is it about Varekai that you enjoy? I love the music, and I can say my favorite [song] to sing would be the opening act, which is called Hula. Another one that I really like too is the one of song trapeze that is more rhythmic. The lyrics are written even if it's, like, an invented language. I guess you call this gibberish. The words are actually created and composed with the note and everything, so musically the score is done. When there are changes of acrobats, changes of rhythm, or new tricks we want to put in, my band leader will say: oKÀy, Isabelle, we're going to do this, this, and this... but we are framed... well, not framed... but we are guided to the score but intention, we put intention behind it. And yes I have vocabulary of movement on stage but I chose everything... I'm not the same [everyday], I don't feel the same [everyday], and the intention is not the same [everyday]... Antipodise is very smooth and touching, and with the new mise en scene, because when we were in the big top we had different staging, here because we have so much ground to cover our artistic director restaged things, so I love it. Q. How does it feel to sing your sister's music on stage every night? It feels great!! It feels amazing; it feels fabulous. We sang all our lives together, and then we separated... she wanted to do things and I wanted to do musicals (like Les Miz and other musicals), and then when I heard that they needed more composers I contacted my sister and said that would be great if you could, you know, send your material. And they loved what she did, so she composed Dralion (was the first one), Varekai (the second one), and Zaia. Q. Do you enjoy touring? My parents were on tour, I'm on tour; i like it. It's like getting used to something. When I started, of course, I missed my friends because when you arrive you don't know anybody. But then what happens - there's a magic that happens - the people you work with become your family because you see them more than your real family, so I embrace it the best I can. I have a contract with me: as long as I am having fun, as long as I have challenge, I stay. When I feel less feeling I pick up the phone and say "can I do this show? Do you have another show?" Something like this. I did this once, and so far everything is going well. I'm very blessed and I'm very conscious about it. Read and HEAR this fantastic interview on The Chapiteau's Website: < http://www.thechapiteau.com/interviews/isabelle-corradi/ > ------------------------------------------------------------ INTERVIEW /// "Fernando Miro – The New Icarus" By: The Chapiteau, a Cirque du Soleil Fan Club) ------------------------------------------------------------ Hello, my name is Fernando Miro, and I'm Brazilian-Puerto Rican, and I play the character of Icarus in Varekai. Q. Who is Icarus to you? Icarus is this young man who was given wings to fly and he was a bit greedy. So he decided - even though he was told not to - he decided to fly close to the sun. And with that he burned his wings off. In the actual mythological story he drowns, but in the show Varekai it takes a twist so he lands in a mythological forest and he gets a second chance. So the whole story is based on this second chance, and how he overcomes this situation. Q. How do you see your act? The whole show is based on this character that is telling his story. So my act is more based on the suffering of he just burning his wings and you just landed in this place that you don't know. So including the acrobatics, I'm trying to tell the story that this net has me trapped. Through a little contortion I do a little suffering, I try to fly again, but I don't have wings. So instead of doing an acrobatic piece number, it's more an interpretive dance with acrobatics. Q. How much training did you receive? I had two months in Montreal with coaches over there and with the help of the current artistic director of the show. They were really specific with the vision they wanted, so I could show them options of what could be possible and then they could choose what would be perfect for their visual. Q. How did you get started with circus? I started in gymnastics when I was very young - gymnastics and choir (I was trained as a singer as well), and slowly, as I got older, I quit gymnastics and I started in the dance world, so I did a little Contemporary and Hip-hop. Then I got a scholarship with one of the biggest schools in Puerto Rico, so I had to do the whole dance training. With the gymnastics background it was very helpful. When I got older I lived Puerto Rico to the United States, and that's where I started my circus training - about 10 years ago. And I trained all sorts of circus stuff: contortion, hand balancing, aerial (of course), and yeah, here I am! Q. How many shows have you been in with Cirque? I've been in three shows, and I've also been part of the LIGHT Night Club in Las Vegas. Though it's not counted as a show, I've been in four Productions. My first show was BELIEVE - Criss Angel Believe - as one of the rabbits, then I took a break and went with Taylor Swift, the pop star; did a tour with her for 2 years, then after that I got the Michael Jackson show. So I did the Immortal World Tour show for a bit as a dancer, and had my own aerial act as well, and that led me to audition for Icarus, so here I am! Q. Do you find traveling difficult? It is extremely difficult. I've never been in big tops, but I have toured in arena shows. It's a lot of traveling. In MJ Immortal we did two cities in a week, here at Varekai we do one every week so I literally never unpack. I just pull stuff out of my suitcase and put it back in. But it is extremely hard, especially with family and friends, you have to try to keep in touch when you have five minutes... my character has a lot of scenes involved so there's a lot of rehearsals as well throughout the day before the show, so it's a busy schedule but you kind of get used to it after a while. Yuu appreciate your time off a lot more than on resident shows or big tops. Q. Do you have a special moment in the show? There's a special moment where I'm not Fernando, I'm actually Icarus, and I'm telling thousands of people the story of Icarus, so I think that's special every night. If I can reach that moment in the show then I truly believe that I did a good job. Q. Any advice to aspiring performers? Anything is possible. I know it sounds tacky, but you just have to work hard and everybody has their own spark and their own special ability so if you manage to find that, you have to exploit it and make it more of a beautiful thing than anybody elses. It's your own thing so you make sure you shine. Read and HEAR this fantastic interview on The Chapiteau's Website: < http://www.thechapiteau.com/interviews/fernando-miro/ > ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 15, Number 3 (Issue #134) - March 2015 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c) 2001-2015 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. { March.05.2015 } =======================================================================