======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 16, NUMBER 2 February 2016 ISSUE #145 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. There've been a number of disparaging reviews about TORUK in North America, (which just officially launched in Montreal on December 21st) and with Amaluna in the UK (which just had its London premiere on January 16th). So much so that many Cirque du Soleil fans are baffled by the audacity of what’s being published. These critics, who are normally a tough audience to begin with, have laid it on thick this time, suggesting that these two shows are pedantic, boring, and “a mess” – and that’s putting it mildly. Yet some fans feel these words perfectly describe what they now feel about Amaluna (which recently went through some changes for the European market) and TORUK (which is a radical departure from what Cirque usually produces). It’s not a hard stretch of the imagination then to realize fans on both sides of the fence have discussed their views with zest and zeal. We’re a passionate bunch, after all! And our fervor spilled over into a number of fan circles. You can imagine what ensued. My take on it all is this: I think we can all agree that what an artist does can be tough. (I certainly can't do any of it so they get props from me right there.) But if we examined a negative reaction more closely we might see that it’s not necessarily an issue with the artists themselves when people complain about a performance, it’s more likely they just didn’t like it and they can’t explain why. Perhaps it's the staging, integration into the show, a disappointment in what that act may have replaced, maybe they don't care about the artist's costume, the music accompanying it, the way it's lit, or maybe it just didn't touch them. It happens. You can't please everybody. And while it may be disheartening to hear negative comments - especially to artists who really are working hard - it comes with the job. You have to take the bad with the good. There really is no getting around it. I would consider myself a hardcore fan of Cirque du Soleil, and I love them and the artists that work for them. But being Hardcore or a "true fan" does not mean I automatically love everything Cirque does. Believing that way comes across as superficial and false. So, yes, even I might say a few adverse things when I feel such criticism is warranted. A fellow fan may not agree with my point of view, and you know what? That's okay! I may not agree with theirs. But the important factor here is that we can openly discuss it rationally (or, at least hope to) to see if we can come to common ground. Suggesting that criticism is unwelcome is foolish. We have our own opinions and we all should accept that there are those out there who do not agree with us. Their opinions may be harsh, we may vehemently disagree with them, but that's life. Take it, accept it, and use it to help yourself understand (fans) or get better (artists), and then move on. Surrounding yourself with people who think “everything is awesome” isn’t doing you a good service in my opinion because you’re only being told what you want to hear then, not necessarily what you need to hear. And in the end perhaps it’s a good rule of thumb not to take anyone who cannot enunciate the reasons why they disliked something you did so seriously. Comments like “you suck”, “that sucked”, and/or “this artist is bad” are subjective and dependent upon a lot of factors that are (maybe) out of their control. It’s negativity for negativity’s sake, it’s not very diplomatic, nor is it constructive. And keep in mind the person doing the speaking may not have an idea what he or she is talking about. Take this comment from one of the recent reviews of Amaluna as an example. She proclaimed it “as erotic as a wet wipe” and I have to wonder: did she understand Amaluna is NOT Zumanity? Was never meant to be Zumanity? Or overly erotic? It makes you wonder! Now, fans, if you’re champing at the bit to see TORUK-The First Flight and make your own opinion about the show, but it’s not coming anywhere near you anytime soon, don’t despair. According to TORUK’s Facebook page, filming for an upcoming TORUK DVD at Centre Vidéotron in Quebec City is now complete. We don’t know when it will be released or in what format (to DVD, Blu Ray, or digitally) – but it’s currently being edited for release so check back for updates; we’ll definitely let you know when we hear! (And we hope the documentary “TORUK Takes Flight”, which was exclusive to Bell Fibe TV will be included too!) In other news: La Nouba celebrated its 10 Millionth Guest on January 8th – that’s quite a feat! It seems like only yesterday the show welcomed its 5 Millionth Guest (which it did on August 10, 2006 – I was in the audience; my how time flies!) And for those who were wondering (like I was) if there was a plan for a 2016 version of SCALADA in Andorra, wonder no longer. A release (http://goo.gl/eylaRA) notes a new version of 45 DEGREES' summer spectacular is in the works. And if anyone out there was wondering how JOYA was doing, wonder no more. According to this article (http://goo.gl/6V6sSx - French), although there have been a few changes as of late (about 12 more minutes were added to the show recently), JOYA enjoys a 97% attendance rate. It's so popular that, according to the article, there's soon to be a JOYA-like dinner show in Hawaii. And there are 2 JOYA-type shows under consideration for China. WOW! There’s much, much more in our NEWS section this month, such as: Casting announcements for Paramour, Cirque butting back its involvement with the Saint-Michel community (where their IHQ is located), and a note that 45 DEGREES will be putting together the opening show for the NBA All-Star Game. If you’re looking for a little insight from Cirque cast and crew, check out the Q&A section this month where you’ll find a number of chats – with Nikolai Liubezny (TOTEM Russian Bars Performer), singer-songwriter Leona Lewis (who is joining One Night for One Drop 4), Hassan El Hajjami (ONOD4’s Director), Jerry Nadal (Cirque’s Resident Show SVP), and Giulia Piolanti (TORUK’s Tsyal). And don’t miss out on the articles about Cirque trying to break into the Chinese market, or the one about the changes coming to LOVE, Believe, and… yes, even “O”! I’m also curious to know your thoughts on the revelation that Cirque is planning a “talent show” reality series for its upcoming auditions in Australia! For FEATURES this month we continue with our look back at Guy Laliberte’s Poetic Social Mission (Part 6 of 8), and dive into all the press materials released on TORUK-THE FIRST FLIGHT – there’s a lot of text there – from costumes to music, and puppets to makeup - but it’s all very fascinating, especially for fans who are interested in the World of Pandora. As always we have updates to Cirque's touring schedule (ITINÉRAIRE), but before I signoff there’s one more thing I want to mention: we're piloting a re-tool of the OUTREACH section this month. You'll find that rather than breaking out mentions by location (CirqueClub, Facebook, etc.), we’ve basically arranged them by type (Videos & Photos) in the hopes that in the future we can include links to relevant posts from all across the social media spectrum: Twitter, Instagram, Periscope, YouTube, Snapchat, and Tumblr, without really worring about where they came from. To help us organize this effort you'll find three categories in the new OUTREACH section: WEBSERIES (for the official online featurettes Cirque’s been posting across YouTube and Facebook), FOTOS (for images posted by Cirque and fans on Facebook and Instagram), and VIDEOS (for other official peeks and noted fan finds across Facebook, YouTube, Vimeo, and other sites featuring video). So, let’s get started! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | Realy Simple Syndication (RSS) Feed (News Only): | | < http://www.cirquefascination.com/?feed=rss2 > | | | \----------------------------------------------------/ - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News for the Month * Q&A –- Quick Chats & Press Interviews * Special Engagement –- More In-depth Articles 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 * Webseries -- Official Online Featurettes * Fotos -- Images From Cirque & Other Photographs * Videos -- Official Peeks & Noted Fan Finds o) Fascination! Features * SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT" By: Cirque du Soleil (Press Kit) * LOOK BACK: Guy Laliberte's Poetic Social Mission PART 6 of 8: "Departure for Baikonur" By: Ricky Russo - Atlanta, Georgia (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Former WWE Superstar Joins KÀ {Jan.02.2016} ------------------------------------------------------- Former WWE Superstar Mason Ryan revealed on his Twitter account that he’s joined the cast of Cirque du Soleil’s KA. "I'm proud to say I have a new role in the entertainment world, I have joined Cirque and I'm now the chief archer in KA at the MGMGrand," he said in a Tweet, announcing the news. Ryan is portraying the role of the Chief Archer in the show at the MGM Grand Garden Arena. { SOURCE: Twitter } Complete Casting Announced for PARAMOUR {Jan.04.2016} ------------------------------------------------------- Complete casting has been announced for Cirque du Soleil’s new Broadway show Paramour. The company will feature a cast of 38 singers, actors, dancers, and internationally renowned aerialists, acrobats, and circus arts performers. The cast and creative team represent 13 different countries (Argentina, Australia, Belgium, Belarus, Canada, China, Cuba, France, Poland, Russia, Sweden, United Kingdom and United States), spanning five continents. The production is claiming that this will be the most internationally diverse production to originate on Broadway. Staged by French director Philippe Decouflé, the musical production will blend “the best of Broadway with Cirque du Soleil’s signature style.” Paramour is set in Golden Age Hollywood, where a young poet is forced to choose between love and art. Bradley Dean will play A.J., the director; and Ryan Vona will play Joey, the composer. Dean’s New York credits include A Little Night Music, Spamalot, The Last Ship, Doctor Zhivago and Evita on Broadway; A New Brain at Encores!; and The Fantasticks Off-Broadway. Vona played Andrej in Once on Broadway. They will join the previously announced Ruby Lewis, who has appeared in national tours of Gypsy, Grease, Jersey Boys and We Will Rock You, who will be making her Broadway debut in Paramour’s lead role. She has appeared in Cirque du Soleil’s For The Record: BAZ, a post-modern cabaret inspired by the films of director Baz Luhrmann. The cast will also include Tom Ammirati, Andrew Atherton, Kevin Atherton, Lee Brearley, Yanelis Brooks, Sam Charlton, Martin Charrat, Nate Cooper, Katrina Cunningham, Myriam Deraiche, Kyle Driggs, Jeremias Faganel, Amber Fulljames, Steven Trumon Gray, Tomasz Jadach, Rafal Kaszubowski, Reed Kelly, Denis Kibenko, Joe McAdam, Raven McRae, Sarah Meahl, Amber J. Merrick, Sheridan Mouawad, Amber Pickens, Justin Prescott, Fletcher Blair Sanchez, Matthieu Sennacherib, Bret Shuford, Blakely Slaybaugh, Sam Softich, Amiel Soicher, Amber van Wijk, Bruce Weber, Tomasz Wilkosz, and Zhengqi Xia (Da Qi). Under the artistic guidance of Jean-François Bouchard (creative guide), the creative team includes Pascale Henrot (associate creative director), West Hyler (associate creative director and scene director), Jean Rabasse (set designer), Philippe Guillotel (costume designer), Bob & Bill (composers), Andreas Carlsson (composer), Daphné Mauger (choreographer), Patrice Besombes (lighting designer), Anne?Séguin Poirier (props designer), Olivier Simola (projection designer), Christophe Waksmann (projection designer), John Shivers (sound designer), Shana Carroll (acrobatic choreographer and designer), Boris Verkhovsky (acrobatic performance designer), Pierre Masse (rigging and acrobatic equipment designer), and Nathalie Gagné (makeup designer). Paramour will begin preview performances on Saturday, April 16, and open on Wednesday, May 25, at the Lyric Theatre. { SOURCES: Theater Mania, Broadway World, Broadway.com, Playbil } Equity Reaches Agreement with Paramour Producer {Jan.05.2016} ------------------------------------------------------- A looming clash between Actors’ Equity Association and Cirque du Soleil Theatrical, producers of the forthcoming Broadway musical Paramour, was averted this week with an agreement between the two parties that will allow some members of the cast to be represented by the Variety Artists union, AGVA. The show had been listed on the Equity website as barred to members of the actors’ union because no contract existed between the two. AEA spokesperson Maria Somma released a statement Jan. 5 saying the two parties “have entered into an agreement for all future Cirque du Soleil Theatrical productions on Broadway (as well as pre-Broadway and post-Broadway tours) to be produced under Equity contracts.” As part of their new relationship, Actors’ Equity Association and Cirque du Soleil Theatrical will enter into a special one- time agreement for the upcoming Broadway production of Paramour that will allow part of the cast to be represented by a different union, the American Guild of Variety Artists. Equity said that “this special agreement contains many of the same terms and conditions as the [standard AEA Broadway] Production Contract, including minimum Broadway salary, benefits and safety rules. The special agreement will cover the actors, singers, dancers and stage managers of the company.” According to the statement, a special agreement was created because Paramour contains “traditional Cirque acrobatics and feats and the remainder of the company is made up of experts in the Circus Arts.” Specific terms of the agreement were not released. Mary McColl, executive director of Actors’ Equity said, “We are delighted to welcome Cirque du Soleil Theatrical to the Equity family. We look forward to a successful, long-term relationship and to the many additional work weeks this agreement will provide for our members on Broadway and across the country.” “This is a terrific way to start the New Year,” said Equity president Kate Shindle. “On behalf of the membership, I would like to congratulate Equity’s staff on the great work they did negotiating this, and, additionally, to thank the National Council and the many members-at-large who participated in the effort. We continue to hear that our 50,000-plus actors and stage managers want ‘Broadway’ and ‘touring’ to be synonymous with ‘Equity,’ and this represents a major gain toward that goal.” { SOURCE: Playbill | http://goo.gl/V3iRNF } El Niño no Bother to Cirque in LA {Jan.07.2016} ------------------------------------------------------- L.A. has been getting soaked this week due to El Niño-delivered rain storms that have caused havoc across the Southland, causing mudslides and flooding freeways. But there’s been an unexpected bright side to the downpours, according to Yannick Chapados, director of site operations for Cirque du Soleil’s current show at Dodger Stadium in Los Angeles, Kurios: Cabinet of Curiosities. “We usually wash our tents very often, but because of the drought in California, we haven’t washed at all. Now they look clean naturally because of the hard rain,” Chapados tells THR. “When it rains, some people hate it, but for us we look at it as a good thing — now the tents are clean.” Chapados and the Cirque crew are able to have such a sunny perspective on the recent rainfall for another reason: the Dodger Stadium parking lot that is hosting the entire Kurios operation is on a slope, directing the rainfall downhill. “The way the Dodgers parking lot is structured, there are zero puddles forming on site,” explains Chapados, who has been with Cirque for 15 years. “We may have had a few minor leaks, like a drop of water in the kitchen or something, but that is easily fixed. For California, the last two days have been wet, but we are prepared for much more.” Chapados notes that the worst experience the Cirque team has encountered was when the traveling performance troupe set up shop in Manilla, the capital of the Philippines, during monsoon season. “We had to dig big trenches and some trenches were big enough to swim in,” he says. “South America and Bogota were also challenging.” Cirque rep Amélie Robitaille adds that the rain in L.A. has been more of a slight inconvenience. And if anything, her team has to rally to let Angelenos know that the show does go on. “We haven’t seen any impact from the rain, but we like to reassure guests that the Big Top is dry and shows are not canceled.” Fortunately, Chapados and Robitaille say they are only dealing with rain and not snow, which has the potential to accumulate on the top of the tent and cause more problems. “And from what I hear from my colleagues, we would have a much different story (with the rain) if we were on the beach in Santa Monica,” he says. { SOURCE: The Hollywood Reporter | http://goo.gl/vcd2g5 } What can this clown do for your business speech? {Jan.13.2016} ------------------------------------------------------- What does a clown know about giving a business speech? More than you probably think, Jeff Raz says. Raz is a world-class clown who performed the lead role in Cirque du Soleil’s Corteo. Now the 58-year-old program director of California-based Stand & Deliver Group shows clients how to use theatrical skills to engage business audiences. “You need the same skills of persuasion of communication and creating excitement as a performer in front of 3,000 people in an abstract show,” Raz says. It’s all about stage presence, eye contact, body language and nimbleness. Stand & Deliver hires professional actors to provide communication and leadership training for mega corporations including Deloitte, Medtronic, Sony, American Express and Cisco. So what are Raz’s tricks of the trade? Build a delivery “ramp.” You’ve got two minutes before people tune you out. “The meta idea here is, ‘When you get in front of a group, whether it’s Cirque du Soleil or a training lab at DU, you’re giving a gift to the people there. You have to focus on, ‘What do they care about? What are they interested in? Why are they even here?’ “We call it a ramp.” Raz watches for crossed arms in the audience. “Arms crossed is protecting your heart: ‘This guy’s going to attack me,’” he says. “My goal is literal and physical. At the end of my ramp, which is only a minute or two long, I want half of the arms uncrossed because when they uncross them, it’s: ‘Wait, this guy’s actually thinking about me.’” Be authentic. “Sure, you’re authentic around the kitchen table or with your friends at a ballgame,” he says. “But at a conference or a high-stakes meeting or when you’re talking one to one with your boss, you need genuine practiced skills, like an actor has, to let your authentic self come through.” He says we’ve all experienced the colleague chameleon. “You’re talking with someone and their voice is vibrant and their eyes are alive. They’re moving and having a great conversation. And then they get in front of the room, and you’re thinking, ‘Who is that person?’ They’ve just lost everything of interest. “You have to combat that. You can’t do that to people. It’s cruel.” Adjust your presence to the size of the room. “If you’re in front of a big room, you can make larger gestures and have more range in the volume of your voice.” Whenever possible, get rid of the lectern. And step down from the podium, unless the folks at the back can’t otherwise see you. “A raised stage is a metaphor for: ‘I’m on a higher level than you.’” In a video conference, people can only see your head and shoulders, and gestures get lost. “You should use the softer tones in your voice — almost like whispering in people’s ears,” he says. There’s also a tendency in one-on-one conversations or small meetings for people to get too relaxed and informal. “You have to find that right balance between formality and warmth.” Leave a little to the imagination. Raz’s role in Corteo was Cirque-weird because the audience was left to decide whether the clown was dead or alive as he conjured visions of his festive funeral. “Cirque du Soleil loves ambiguity — in its marketing, in its shows, in its names. I realized the power of it when I was on the road with Cirque,” he says. “But because almost every story in business has a point, people tend to lead from that front by telling us what the point is. Leave it alone. Let us find the meaning. Be a little mysterious.” Be a storyteller. “Create a coherent, concise and compelling narrative so that you can light up a room even if the subject isn’t earth-shattering — like making projections for FY 2016.” At the outset of his training sessions, Raz routinely asks the group: “‘What is the speaker doing when your eyes start to glaze over and your hand goes to your electronic device?’ There’s never a shortage of answers to that question.” His advice: Whatever that is, don’t do it. { SOURCE: Cheryl Hall, Dallas News | http://goo.gl/IuZvwo } SPARKED Nominated for 2016 NYC Drone Film Festival {Jan.14.2016} ------------------------------------------------------- Nominations have been announced for the 2nd Annual New York City Drone Film Festival, the world’s first film festival dedicated to works filmed by drones. The nominees include Cirque du Soleil’s Sparked, National Geographic’s Lava Chaser, Corridor Digital’s The Smallest Empire, Jordan Rubin’s The Drone and the NBC News coverage of the Nepal Earthquake. The festival, with presenting sponsor GE, will be held March 4- 6, 2016 at the Directors Guild of America Theater. “The quantity and quality of this year’s submissions is outstanding,” said festival founder and director Randy Scott Slavin. “With 330 submissions coming from 45 countries, drone filmmaking is a not merely a passing fad but a worldwide phenomenon that’s here to stay.” Renowned architect Bjarke Ingels and Yahoo Tech founder David Pogue will join other exceptional individuals from a variety of disciplines in art, media and technology on the Festival Jury. Awards will be presented in 14 categories, including Best Narrative Film, Best News/Documentary Film, Best Extreme Sports Film and Best Dronie, a SELFIE taken with a drone. Check out Broadway World’s article for the schedule for the three-day event: http://goo.gl/QYlpcG { SOURCE: Broadway World } JOYÀ Music Album Now Available on iTunes/Amazon {Jan.15.2016} ------------------------------------------------------- You can now purchase JOYÀ on iTunes for $1.29 per track or $9.99 for the full album. JOYÀ – CDSMC-10053 Composer: Bob & Bill Run Time: 37:22 01: "Naturalium".............. (4:51) 02: "Comedy of Errors"........ (4:50) 03: "Reinas en la Penumbra"... (4:58) 04: "Adventure at Sea"........ (4:45) 05: "The Dive"................ (3:45) 06: "Profunda Belleza"........ (4:49) 07: "Legacy".................. (4:26) 08: "Nueva Era"............... (4:58) Get the JOYÀ album on iTunes today [for $9.99]: https://itunes.apple.com/us/album/joya/id1070100519 Or Get it at Amazon [for $9.49]: https://www.amazon.com/gp/product/B019OX2S6W It is also streamable via Spotify. { SOURCE: Apple, Amazon } Quidam - A Feel Good Story Alert! {Jan.22.2016} ------------------------------------------------------- A few weeks ago, the Quidam Banquine team the news doing old school acrobatics on the beach. Little did Cirque know, their photos traveled right back to the person who had found the originals years before… this is the email they received: “I am the son of the photographer George Caddy to whom your acrobats, under the guidance of head coach Etienne recently paid homage by recreating some of his “beachobatics” photographs on Wollongong Beach […] I am very keen to personally express my gratitude to the coach and the acrobats for their interest in my late father’s work.“ We were so happy to find out Paul lives in Hobart, Tasmania where we were also performing so we invited him to see the show and meet the artists. He loved the show and was happy to discuss the mechanics of how to build human pyramids with Coach Etienne. It was a pleasure meeting you Paul! { SOURCE: Cirque du Soleil } Cirque Cuts Back Involvement with Saint-Michel Community {Jan.27.2016} ------------------------------------------------------- When Cirque du Soleil set up its home base in Saint-Michel 20 years ago, one of its stated missions was to support the low- income neighbourhood. It wrote cheques to community groups. It lent staff for community events. It participated in neighbourhood meetings to stay abreast of ongoing projects. No more, community members say. Since it was acquired by U.S. and Chinese investment funds last year, the circus’s local involvement has reduced to a dribble. “I stopped making requests for donations. It’s pointless,” lamented Ambeault Simon, general manager of the Carrefour populaire, a community centre that works with adults in Saint- Michel. For about a year, he said, the centre’s financial pleas to the Cirque have been systematically denied. Before that, he received regular donations that made all the difference. “Three years ago, the Cirque helped us to buy a van,” Simon said. Last fall, the Cirque du Soleil did not participate in an economic development forum with other companies in Saint-Michel. In recent months, the company founded by Guy Laliberté has no longer taken part in local round tables. The Villeray-Saint-Michel-Parc-Extension borough was informed recently that, starting in 2017, Cirque du Soleil will stop funding the Parcours Scène program, which encourages young artists in the neighbourhood. “It is very regrettable and worrisome,” said city councillor Frantz Benjamin. “This is not the time to overlook the neighbourhood. “I hope that Cirque du Soleil will understand that its role is of paramount importance for the future of the neighborhood.” The president of Vivre Saint-Michel en Santé, a group that connects community organizations with citizens and businesses, speaks of Cirque du Soleil in the past tense. “It was an important partner,” said Marjorie Villefranche, who also heads the Maison d’Haiti. “All the people with whom we had contacts are gone.” The last two Cirque representatives who liaised with community groups have been laid off. According to Radio-Canada sources, the “citizenship team,” which is responsible for the company’s social activities, now has a dozen employees. One year ago, the team had 40 people. The Cirque laid off several hundred employees in recent years in Montreal and around the world. Reportedly, the new owners have a strict policy of profitability. Cirque says it is targeting initiatives that work The company denies having reduced its presence in the community, but did not back up this claim with numbers. “I won’t go into the numbers, because I don’t have to go into the numbers, but I can confirm that the Cirque has an enviable generosity,” said Agathe Alie, senior director of community relations at the Cirque du Soleil. However, she recognizes that the company has changed its ways. “Have we withdrawn from some things? Yes, most likely.” She explained that the Cirque distributes fewer cheques all around and tries to target what works. “There are points of interest established,” Alie said. “Maybe we are less present in some areas but, nonetheless, we will be present elsewhere,” she added. For example, the Cirque supports Magasins-Partage, which provides meals and school supplies to more than 700 families in Saint-Michel. { SOURCE: CBC | http://goo.gl/hsErHo } 45 DEGREES to Tip Off Festivities at NBA All-Star 2016 {Jan.28.2016} ------------------------------------------------------- Building on its worldwide successful projects, 45 DEGREES will harness Cirque du Soleil’s creative power to custom-tailor a five-minute opening show for the NBA All-Star Game. “45 DEGREES is proud to produce a unique performance during player introductions for the 65th NBA All-Star Game, the first ever to take place in Canada. It’s a thrilling opportunity to offer the international NBA community and fan base a jaw- dropping, never-before-seen experience, powered by the magic of Cirque du Soleil. The theme, the music, the costumes and the various acts are all designed to celebrate everything that makes basketball great. Our team has created an exclusive experience for all spectators to enjoy. This is what we do at 45 DEGREES,” explained Yasmine Khalil, the company’s president. 45 DEGREES will tell the story of basketball through the lens of Cirque du Soleil. Weaving together acrobatics, dance and technology, the performance will amaze the audience and take them on the journey of a basketball dream. The show is a tribute to basketball—the game, the dream, its heroes and the culture. It will resonate with diehard NBA fans and spectators alike and engage them in the timeless tale of living your dream. 45 DEGREES has built a unique show specifically for NBA All- Star. This is how 45 DEGREES works with clients the world over to provide customized entertainment for corporate and private events. “Always mindful of the ROI beyond entertainment, 45 DEGREES has created tailor-made events for customers like Microsoft, Fiat and Glade, to name a few,” added Ms. Khalil. 45 DEGREES would like to thank its many partners, specifically Steve Bolton, the show’s designer, stage director and choreographer, Normal Studio, video-mapping designer, makeup artists from MAC and composers from YUL Music. { SOURCE: 45 Degrees | http://goo.gl/cpzBN3 } François Barbeau, Costume Designer for Dralion/Wintuk, Has Died {Jan.29.2016} ------------------------------------------------------- François Barbeau, the renowned costume designer from Montreal, has died at age 80. Barbeau worked on more than 700 theatre, dance, film, television, opera, and circus productions in Quebec and abroad. As a professor at the National Theatre School at the Université du Québec à Montréal for 25 years, Barbeau influenced a generation of costume designers. Until his death, Barbeau had been perfecting the wardrobe for the Grands Ballets Canadiens’ annual production of the Nutcracker since 1987. Barbeau was prolific as a costume designer from the early 1960s to his death. He was the official costume designer for Théâtre du Rideau Vert in Montreal, where he worked on over 150 productions. Barbeau also collaborated with many other theaters in Montreal, including the New World Theatre, New Theatre Company, The Threepenny, Centaur, Compagnie Jean-Duceppe, Théâtre d’Aujourd’hui and the National Arts Centre in Ottawa. In film, Barbeau designed the wardrobe for Kamouraska, Atlantic City, Léolo, New France and Laurence Anyways. Including The Nutcracker, Barbeau collaborated on several productions with Grands Ballets Canadiens, and costume designed around 20 ballet productions in total. Barbeau’s work extended into the circus, including two shows with the Cirque du Soleil — Dralion in 1999 and Wintuk in 2007 Barbeau also worked with Robert Lepage on two European productions of La Célestine in 2005 and the opera A Rake’s Progress in 2007. Barbeau’s received the Governor General’s Award in 1996 and the Order of Canada in 2000 for his lifetime achievement. For his work in theatre, Barbeau’s talent and versatility have won him many awards, which culminated in an honourary Masque in 2000 from the now defunct Quebec Academy of Theatre. In film, Barbeau won several Emmy awards, including one in 1971 for Claude Jutra’s feature film, Kamouraska, and another in 1999 for the Cirque du Soleil show Dralion. { SOURCE: CBC | http://goo.gl/joVfdn } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Meet Nikolai Liubezny, TOTEM Russian Bars Performer {Jan.08.2016} ------------------------------------------------------- Irina Terehova of MTL Blog got a chance to speak to Nikolai Liubezny, an established Cirque du Soleil performer, who was kind enough to offer her a sneak peek into the circus life. Q. How did you become a circus performer? I did acrosport for almost 15 years. First, my brother started performing for CDS. When he came back home after one year of tour and showed me a video tape of his performance, I said to myself, “I want be there!” It took me about 3 years to get to my goal. First, I visited my brother in Houston, TX with my mom. I did an audition there for Big Top. My mom spent 10 days shopping and sight-seeing while I was training non-stop. My 10 day discipline was called “Russian Bars.” After 10 days, I did a video and sent it to casting in Montreal. After waiting for some time, I got another audition in Vitebsk, Belarus. I passed that one too. Finally, after 3 years, they invited me to General Formation, where they teach us acting classes, discipline, choreography, clown classes, doing make up, etc. And after 3 months of General Formation I got my first contract with Alegria show! Q. Describe your typical day When I am on tour, working days look like this: I wake up around 10 or 11 am, have breakfast, run some errands, answer emails, etc. After, I go have lunch to Cirque. We have a kitchen there. Then I go and do my own training. After that, I do my make up for the show (we do our own makeup), warm up and start the first show. A show lasts for about two hours and that’s when everything becomes a jungle: costume changes, running everywhere, going on stage… After the show, we get a break for about an hour. I try to have some snacks and then warm up for the next show. Some people prefer to rest and take a nap. Once the second show is done, I remove make up and go back home to have dinner, rest, sleep… my day normally finishes around 3 a.m., because I can’t go straight to bed, my body stays awake and full of adrenaline from the performance. Q. Do you follow a special diet and/or workout regimen? Diet and regimen… some people do, some don’t. I, personally, do try to eat healthy, less sugar, less fat… And I try to eat 5 times a day. So my answer is – yes, I do follow a diet, but it’s a personal decision. Circus wants us to look good on stage and that’s it. It’s your personal responsibility how you’re going to go about it… Q. Is there a strict weight limit for performers? Limits? Not really… but depends on the act. For example, in my act, we have flyers (people who do tricks in the air) and porters (people who throw and catch flyers), I am a porter. For flyers, it’s obviously better to be in appropriate weight in order to make sure everyone feels comfortable performing. For porters, it’s better to be in good physical shape and strong. Q. Rumor has it, circus performers are often romantically involved with other circus performers within their group, is that true? Most of the time, yes, because the Circus world is really big, it takes over your life. Our days are pretty much full and we need a lot of rest… so most of our time is spent at work and a lot of performers end up dating other performers. It’s not just common at CDS, it’s like that at a lot of circus companies around the world. It’s another “world”, “land”… People from the industry understand each other easily, meet each other on different stages or even work in same act. It’s a lot of family dynasties too. But we also have some people who’ve never been in circus. I’d say 70% of performers are actual families and 30% new comers. Q. Does the average salary rate change depending on the act or every performer is roughly making the same amount of money? Yes, salary changes in a couple of ways. It can depend on the act: solo, group act, musicians, clowns, main character in the show… all have different “starting” salaries. It also depends on how long you’ve been performing or how popular you are as a performer. The more professional you are – the more you get paid. If you’re very popular and acclaimed – you get a bigger salary from the start. After you sign a contract, for your next one, your salary is going up by 2%. I believe all big companies have this policy. Q. Where do you live when Cirque du Soleil moves from country to country? We live in good conditions. Sometimes it’s inside the cities, other times it’s outside of the cities, but we live in good hotels and apartments. Cirque tries to arrange the best stay for us. Q. What happens when you get injured during practice or during the actual show? If someone gets injured, first they have to see a doctor wherever we are working at the moment. After that, they normally send them to Montreal to recover. A couple of years ago, if we needed surgery, they would let us go home (where we’re from or where we’re located) and do all the necessary procedures there, until the doctor would consider us ready to go back to Montreal, where we would finish recovery and smoothly transition into training process again. Q. How long is your vacation and what do you do in your spare time? Vacations… sounds amazing… we have an official break for 2 weeks per year. But between cities or countries where we get to work, we have one additional week off. You can decide if you want go to the next city to perform or you can go anywhere else in the world. But you need to be back at work on a specific date. Normally, we try to take advantage and explore the country where we are performing in. We’re very lucky and it’s a lot of fun. After working for CDS for almost 13 years, I actually can’t imagine having to stay in one place and not travel every two months. { SOURCE: MTL Blog | http://goo.gl/cPBxAc } Leona Lewis joins Cirque’s One Night for One Drop {Jan.19.2016} ------------------------------------------------------- “X Factor” winner Leona Lewis, the singer-songwriter with the amazing four-octave, mezzo-soprano vocal range, has sold 20 million albums since she won her $1.3 million recording contract with Simon Cowell’s record label from Season 3 of the hit British TV show. Now the 30-year-old animal-welfare campaigner is about to make her debut on the Las Vegas stage as the star headliner of Cirque du Soleil’s “One Night for One Drop” fundraiser March 18 at the Smith Center. Leona gave a preview of the fourth-annual, one-night-only event during rehearsals at Zarkana Theater in Aria that a select group were invited to watch: For the first time since these celebrations to benefit those across the world without access to safe water in addition to Southern Nevada projects, artists from other Las Vegas shows, including “Jubilee” at Bally’s, will join with Cirque performers as the 100-strong cast. “It’s about 50- 50,” new director and former “The Beatles Love” at the Mirage performer and choreographer Hassan El Hajjami said. (French- Moroccan artists Hassan, 38, goes by the stage name Haspop.) Leona’s other guest star will be Mice from the hit ABC comedy “Black-ish” played by 9-year-old hip-hop dancer Miles Brown, who embarks on a quest for water emulating the director’s own story of his grandmother’s water woes in Morocco. Miles also is known as Baby Baby Boogaloo. He plays the adorable 6-year-old twin son of Rainbow Johnson in the series played by Diana Ross’s daughter, Tracee Ellis Ross. Here is Robin Leach’s Q+A with Leona: Q. When Cirque approached you, did you fall in love with their shows, or was it their message about global water needs? It was both really; I think it was quite equal. First of all, Cirque du Soleil is very inspiring for me as an artist. When I put on my shows, I definitely like to have a certain amount of theatrics just for it to look beautiful, and a lot of the Cirque shows have inspired that. I was, like, “Wow, this is going to be amazing.” Then when I read up on One Drop and what they’re doing to ensure fresh running water around the world, obviously they’re doing amazing things, so I wanted to get involved. Q. Where does your remarkable voice come from? My dad says it’s him! I don’t know, really. I just always sang as a little child. I’ve always honed in on my singing because it was something that used to make me happy, as I didn’t really fit in much as a child. I used my voice as a way to escape things. Q. What Cirque shows have you seen? I think I’ve seen all of them apart from “Michael Jackson One” and “Zumanity.” I haven’t seen a “One Drop” show before. I’ve seen clips of it of last year’s and the year before, but I haven’t been present in the audience before. Q. It’s a remarkable, emotional night. It really drives home the fact that there are still people living in the world who can’t turn on the tap and get H2O out of it. It’s crazy. Definitely as an artist obviously coming together and bringing music to create awareness, these are the things that fulfill me. This to me is meaningful, this is what I want to be a part of. I feel like sometimes you just get caught up in what you’re doing, but when I get to do stuff like this that speaks to who I really am, I love to be involved. Q. You sang one song today. How many songs do you do in the entire show? I’m going to be doing two songs in the entire show, then I’ll be making an appearance throughout, so we’re working on that now. I’m in the show throughout, but not singing all the time. I’m part of the dream-like sequence. Q. How’s it feel to be an English girl in America? Do you live in America now? I live between London and Los Angeles. I go back and forth a lot because a lot of the people I work and write with are in L.A. There are actually a lot of British people, which is nice, so I don’t feel too far away. I always have the option to go back home because I love being close to my friends and family, and I do get a little bit homesick. For this show, I’ll commute between L.A. and Las Vegas, but you do have a direct flight to London if need be. I like Las Vegas. For me, recently, it’s been to see the Cirque shows. I don’t really do much of anything else when I’m here apart from watch the performances. I’m going to come back and see Lionel Richie because we have the same manager, and I want to see the J.Lo show. I like coming and seeing performances because the productions in Las Vegas are so epic. You just don’t get shows like that really, for production value, anyway. They’re almost as epic as a Cirque spectacular. My favorite was Celine Dion. { SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/hmce8t } Robin Leach’s Q&A w/Hassan El Hajjami – ONOD 4 Director {Jan.20.2016} ------------------------------------------------------- This year’s annual Cirque du Soleil one-night-only spectacular “One Night for One Drop: Quest for Water” has several new elements. It’s the first time that performers from other Strip productions will join Cirque artists. It’s the first time that British singer-songwriter Leona Lewis joins the cast along with young dancer Miles Brown of ABC’s “Black-ish.” And it’s the first time that former “The Beatles Love” at the Mirage dancer and choreographer Hassan El Hajjami will be the show’s artistic director, and because he speaks from experience of caring for his grandmother in a water-less village in Morocco, the show will be named “Quest for Water.” In fact, in his contract with Cirque, he won the right to a funded water system for her village so that the residents there would have running water. About 100 artists — 50 from Cirque and 50 from other Las Vegas shows, including “Jubilee” at Bally’s — will team up as the cast for the March 18 performance at the Smith Center. It’s an all- volunteer cast and crew with rehearsals now under way at the “Zarkana” stage at Aria led by Hassan, whose stage name is Haspop. Q. This is quite the journey from a tiny, no-water village in Morocco to Las Vegas, Hassan. We, too, are a city in the desert! Yes, it is. I have a story. When I was young, I was visiting my grandmother in Morocco. I was shocked by the fact she didn’t have water at home. I had to walk with her to the well every day to bring water back home. I was shocked because I was living in France, and it’s the same in America — we have everything. You have water, you brush your teeth, you wash your food, you do dishes, you bathe, everything. In Morocco, she didn’t have any access to running water in her home. Her quest, my quest for water, became the theme for this new fourth “One Drop” show. She lived in Moulay Yacoub, a smaller village in the center of Morocco. We had a donkey, and I walked with her three miles to the well. It was six miles back and forth every day. Q. You were born in France, lived in Morocco and made it to America and Cirque? Yes, born in France, and I live in America. I came to Cirque for “The Beatles Love” show at the Mirage. I was cast in 2005. I performed 2,000 shows from 2005 to 2009 and ended my run there in June 2009. Afterward, I went to Los Angeles, where I did “America’s Got Talent,” then “France’s Got Talent” as a hip-hop dancer. I went on tour because I was very popular in Japan, Hong Kong and Venezuela. Cirque called me back to take part in an earlier “One Drop” show and for the opening of “Zarkana” here and their show at Kodak Theater in Los Angeles. Then back to Paris for the big TV show “The Star.” I was the coach and judge of 14 kids who had to sing and dance with a celebrity. Q. You were selected from your submission for this year’s “One Drop.” How do you make it different from the past three years? Is that the biggest challenge? What I put onstage is my personal story. I think it’s powerful. All the directors have very different views. I’m French- Moroccan, so I think I have this side of a French-Moroccan view with European theater, too. We’re going to see how powerful I can make the message within the entertainment. I’m confident but very stressed out! I’m going to put all my energy and effort to have the best show so I can help to have clean water for the charity and the children. Q. Your village back home in Morocco now has water? My contract with Cirque when I was working at “Love” was I was able to provide for my family. We have running water in the house there now. My grandmother passed away three years ago, but she got to use the running water. Q. So that is the dream, the vision of the new show? Your personal experience sparked it all? Nine-year-old hip-hop dancer Miles Brown, who plays Mice on ABC’s “Black-ish,” emulates your own story? That’s the vision of when I was a little boy walking for water. I put some dream sequence into it because the child is going to fall down the water hole. He gets to see the world of his imagination, and he’s going to go through a troubled world. Maybe he’s going to come back. We will find out on March 18 what’s going to happen. Q. You saw “One Drop” last year under another director, and now you’re moving out of a Cirque home-base theater and into the Smith Center. There are a lot of different things this year? For me it’s a challenge to have the Smith Center because it’s not a Cirque stage. Fortunately, I’m from Europe where the theater is a black square, so that part is normal. So far we have 100 artists, and half of my cast is from Cirque, the other half is from other Las Vegas shows. We did a workshop audition. We selected 50 from the 300 people who came. It’s a mix and match of artists, including with a “Jubilee” dancer right after their show closes Feb. 11. Q. Is difficult to take people who are not Cirque and put them with Cirque? They have the opportunity to work with us and to be able to test Cirque: How it goes, how we work on staging and choreography. I think it’s a big experience for them, and they can be seen by casting people from Cirque and maybe get cast from their current job to be put into a Cirque show. There are different disciplines between Cirque and other shows. Everybody has been doing well, though. We have a nice cast. That’s why we did this audition, to find the best. I didn’t take an artist just because they are an artist. I chose them because they have charisma and express something I would like to have onstage. It’s like more like expression. You can be the best at what you do, but onstage it’s very different. You have to have this explosion of happiness and shine. You have to shine onstage. I’m very picky on how I choose my artists. Q. How many choreographers for this year’s “One Drop”? So far four because I’m also a choreographer. We have an African choreographer, we have an aerialist choreographer and dance hip- hop choreographer and me. I do a little bit of everything. Q. I always think for “One Drop,” it starts out sad because you drive home the terrible realization that there are people in the world who do not have water, not even access to it. Does it end on a happy note here? It ends on a happy note, but you’re going to feel the sadness in some of my tableaux because that’s the reality. I’m not going to shy away from the reality of what’s happening today. Q. How bad is it for somebody who turns on the tap and realizes that there’s no water? How bad is it to live without water? I was living with water in France and America, but when I was in Morocco, I was asking, “How is it possible that you don’t have any water at home?” I was shocked. It’s so bad because you usually have water at home, and that’s it. You can do whatever you want. My grandmother was old and walking to get water. It was bizarre. When I see my own kids opening the tap, I ask what they’re doing and to calm down because we don’t have water in Morocco. I explain to them how it’s bad to not have water. You have to be careful how you use water today. That’s the message, but it does end on a happy note. Leona will sing for the last song, and it’s going to be a happy song. { SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/3amFzB } Robin Leach’s Q&A w/Jerry Nadal – Resident Show SVP {Jan.20.2016} ------------------------------------------------------- In addition to speaking with Hassan and Leona, who flew in last week for her song rehearsal, Robin Leach had an opportunity to also speak with Jerry Nadal, Senior VP of Cirque’s Resident Show Division. He revealed that the new show TORUK-The First Flight inspired by James Cameron’s Oscar-winning “Avatar” may be coming to Las Vegas soon… Q. What is the process of selecting an artistic director to take control of the entire show? Our assigned producer really knows all the casts and crews of Cirque here in Las Vegas. Now that we’ve done this three times, there is a lot of interest in it. We had 12 submissions this year for directors, and we ask them to come up with the show concept. We interview everybody, and they lay it out. This year, Hassan’s just jumped to the top of the pack. It really resonated. We thought that we could easily see his story being on the Smith Center stage. Q. Other than the fact that it’s his personal story, what is the setting? It’s set in a village where we have one of the “One Drop” projects running. It’s village daily life. It’s a take on “Alice in Wonderland.” Hassan told us when he was a kid, they were constantly drilling wells looking for water. But once a well is drilled out, they don’t fill it in after it’s empty. So you’ll see an image at the beginning of the show where all these women are standing around a hole. He told us there’s a lot of wailing because a kid fell into the well, and, more often than not, they died. Q. And that explains Mice from “Black-ish”? Yes. He’s the kid, and he falls down the well, then it’s his story. He tries to get out of the well coming across all these areas, stories and regions. It allows us to go after telling the story of what things are like with and without water. Q. It’s interesting that it is 50 Cirque characters this year and 50 people from other shows in Las Vegas. Is this the first time you’ve gone outside the Cirque family? We’ve had other guest artists over the past few years, but not to the extent that we do this time. There’s a lot of interest in the project for people who live in Las Vegas who want to donate their time. That’s huge. Q. How much money have you raised to date from these “One Drop” one-night-only shows? In three years, we’ve raised $17 million. This year, our goal is $7 million. Last year we did a little over $6 million. Q. Hassan told me that one of the contract points in his agreement was that running water came to the village where he went and lived with grandmother. Yes, absolutely. Once again this is a very ambitious undertaking. It’s more ambitious than staging one of our own Cirque residencies. There’s more time to do those. This is all volunteer, and we get to rehearse it in bits and pieces and dribs and drabs because everybody is working on other shows. We really only get two full run-throughs with everybody together at the same time, and then, bang, we’re on — it’s show time. It’s nerve-wracking every year, but the payoff is fantastic. It’s worked somehow really well the past three years. Q. It’s always been a success, so why the decision to leave a Cirque theater and go to the Smith Center? We really wanted to broaden the regional appeal of the foundation. I think by keeping it at one of our theaters, it’s still MGM and so centric. By putting it at the Smith Center, we have more people interested in buying tickets as it has become a community event. It allows us to talk about the One Drop Foundation outside everything else that we’re doing and all of our own trappings. We’ll bring the artistic and creative down there with us to do it. It’s a magnificent space, as you know. I can’t wait to see how they’re going to fully utilize it. I know we will. Q. There’s a sadness about rehearsing in the “Zarkana” theater as it’s about to end its run and become a convention center. “Zarkana” vanishes from your Las Vegas lineup. Will there be another Cirque show for Las Vegas? I’m sure at some point down the road. We’re refreshing the shows now, and I think as other contracts expire, we’re always in discussion with MGM about what’s the next thing coming? Is that still making money for us? The rest of the lineup is doing very well, so nothing immediate. But that’s not to say … not maybe in Las Vegas, but with MGM going to Springfield and Washington, D.C., we’ve been talking to them about other opportunities in other places that they’re going. They’re a good partner for us, but we’ll probably see another show here at some point. We’re exclusive in North America to MGM. Q. What’s the newest Cirque show corporately? We have “Toruk: The First Flight” based on “Avatar” as an arena show. You sit in that arena, and you don’t know where all this stuff is coming from. The projection mapping and changing scenery, it’s as if the movie has come to life. Its director, James Cameron, was very involved in the process Q. Is there a possibility that it could come to the new T-Mobile Arena? MGM executives have gone to see it. It could easily get I think a two-week booking here. It’s too big for Mandalay Bay, so it would either be MGM Grand or the new arena because it takes up the entire space. Q. Your founder, Guy Laliberte, sold Cirque last year, so a new corporation owns the company. Is Guy still involved? Yes. We have other owners running the business piece of it, but they very wisely kept him on the creative end, which is really what he loved anyway. He’s been around for all of it, which is great to have. When you’re on a new show, you see him a lot. People on the new shows will see him more, or when we’re refreshing a show, he’s around more for his creative input. For the “One Drop” shows, though, he says he never wants to see it until it opens. That can be a little gut-wrenching. Q. Have the new owners given their blessing for the “One Night for One Drop” shows to continue here? They completely support it, all of the One Drop initiatives, in fact. They came and saw the show last year and are very supportive of it. { SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/3amFzB } Meet Giulia Piolanti – Tsyal in TORUK-The First Flight {Jan.20.2016} ------------------------------------------------------- There’s a certain mystery behind being a circus performer and “Toruk” aerialist, Giulia Piolanti, sheds some light for us. Q. Tell us about your role on the show? I play Tsyal, a young woman, fearless and strong. She’s the link with the two boys to help them on their quest. She comes from the Tawkami Clan, performing a solo Tissu act while she collects the special seeds that are one of the key objects needed. She’s extremely elegant in her feline movements. As an older teenager, she’s pretty stubborn and she goes against her clan and her father because she believes Ralu and Entu. She doesn’t want to miss the opportunity to be part of this journey with them. Q. How demanding physically is your role and chosen career as a performer? The biggest difference between this role and other Cirque du Soleil shows that I’ve done is the time I spend on stage. My energy in this show has to last for basically 70 minutes, while in other productions my involvement in the show was 5 minutes in a solo number. Here I have to be realistic and present in my character for the whole show. In addition to that, my physical performance includes lots of running, jumping, climbing, and a solo Tissu Act. Q. What’s the process for your show preparation? At the moment we work four days a week, from Thursday to Sunday. The days are pretty long, starting at about 11 AM. The first day of the week is all about validations for all the acrobatic equipment we have in the show. On the weekend, we perform two shows daily. The makeup is an important section of the day because it takes between 1 1/2 hour and 2 hours and it’s definitely the first step that makes you feel you are a Na’vi. Another difference for me on this show, is my costume is full of wires. That takes a little bit of time as well. Because I talk during the show (Na’vi words), I have a mic. And to constantly have a follow spot on me we are using a new technology called BlackTrax that requires sensors be placed in my costume. Of course as a performer the warm up moment is essential and usually it takes 45 minutes before the beginning of the show. From when I start my makeup it’s about 3 1/2 hours to fully be ready to step on stage. Q. What’s it like performing for you personally with Cirque? It’s been 8 years that I work for Cirque du Soleil and this is my third production. And I still feel the same enthusiasm and passion like I did the first day that I stepped on stage with the company. It’s an amazing company to work with and I could not desire anything better. Q. What is it about this particular show that audiences will fall in love with? TORUK gives to people two hours of visuals that you’ve only seen a dream. In this 21st Century, this show can bring hope. The beauty of the world is still there, we just need to see it and protect it. { SOURCE: Allie Hanley, Houston Examiner | http://goo.gl/dWPgkN } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- Costume Design of Cirque du Soleil’s Toruk {Jan.08.2016} ------------------------------------------------------- Cirque du Soleil’s latest production, Toruk – The First Flight, is an immersive touring spectacle that brings to the stage the world of James Cameron’s AVATAR in new and exciting ways. This mythical tale is set thousands of years before the events of the AVATAR film, long before humans entered Pandora, and centers on the journey to ride the mighty red and orange predator that rules the Pandoran sky. Acclaimed costume designer Kym Barrett was tasked with creating this beautifully adorned world. Barrett is well known in the world of fantasy design for film, with such credits as The Matrix, The Amazing Spider-Man, and Jupiter Ascending. And she has previously collaborated with Cirque du Soleil on the touring production Totem. She shares with us an exciting look at her process in envisioning this richly imaginative story! SEE THE AMAZING PICTURES THAT ACCOMPANY THIS ARTICLE HERE: < http://www.cirquefascination.com/?p=7365 > Where does one begin with such an imposing task, with a built-in fan base with such strong visual expectations? The director and the team created a story that lives within the world of Pandora, but was not limited to replicating the film. Barrett explains, “I wanted to reflect the Pandoran world of the film and respect its parameters, while also heightening the visual narrative for a Cirque ‘experience.’ We are telling the story of the first Toruk Makto as a mythology. We have some license to push the images.” The team relied on the film and the film team’s original source material to establish rules, including the use of bioluminescence, the idea that everything they wear is made by hand from natural fibers, and no metal! The first challenge for Kym and the costume team was to transform the very physical Cirque performers into the blue, elongated, cat-like shape of the Na’vi. This is no easy challenge, as acrobats tend to be medium in stature and very muscular. They utilized layers of silk-screening to achieve both the body shaping, as well as the individual character patterns. According to Barrett, “Muscle contouring was tweaked by raising the navel and nipples, and strongly shading the sides of the body to create an ‘impression’ of a slightly slimmer and taller silhouette. High foreheads and full braided hairstyles help to create the feeling of a taller Na’vi.” One of the most exciting aspects of this production is the introduction of multiple Na’vi clans by way of The Storyteller. While the film focused on the Omaticaya clan, we get a chance to meet the Tawkami, Anurai, Tipani, and Kekunan Na’vi. For these new groups, Kym looked to regional setting to help create each clan’s unique identity. Indigenous plants and materials served as the initial inspiration, but the performers’ own physicality played a large role. She explains, “As each set of acrobatics started to evolve it gave me a better idea what I could and couldn’t do with them. So their looks really evolved out of the practical as well as the environmental aesthetics.” The costumes of the Omaticaya clan took inspiration from the film, but because these events occur thousands of years before, they are not quite as sophisticated. Instead of animal skins, we see them in woven garments. They are also far more colorful, a necessary element due to the scale of the live performance venues. One of the central characters, the Shaman, is a member of the Omaticaya clan and has one of the most elaborate and stunning costumes in the production. Barrett drew inspiration from the giant dream catcher-type object in the film, and incorporated it into her headpiece. The shape of the skirt is meant to mimic a funnel or vortex, which is the function the Shaman serves as a spiritual vessel for the clan. She also incorporated weaving and embellishment inspiration from North American native tribes. The Tipani clan hails from a quiet, austere place. Barrett was inspired by her frequent trips to China and the dusty, mountainous, barren regions. Barrett relates them to “warrior monks” and describes them as the production’s “most combative” clan. They are costumed in armor and carrying shields that are made from the shells of a large beetle like animal with a beautiful, almost metallic blue and yellow sheen. The Tawkami are the most colorful of the clans. “They’re kind of like the chemists of the world,” Barrett explains. “They use flowers, compounds, and organic matter to make medicines. All of their costumes are made from flowers, seeds, or vines that are woven together.” The Anurai are a desert people. “Their clothing is made of some kind of animal hide. There isn’t an animal yet that exists like that. There will be at some point. So we invented our own animal skin.” The Anurai also use the bones of different animals and carve them as decorations for their costume. Barrett describes them as “the artisans of the Na’vi.” They also utilize a mother of pearl like stone from their realm for embellishment. Woven headpieces top off their look, formed by the bristly manes of a desert animal. Lastly, the Kekunan are a Na’vi clan that live near the ocean. They fly the banshee, bird like animals, and lead the main characters to find the Toruk. Their costume is made from the dried leaves of the war bonnet plant. They are embellished primarily in red accents, which are made of shells and different objects found in the water. Creating the costumes for a Cirque du Soleil production is no easy task. There are 115 costumes in the show, and the costume department produced more than 1,000 items, including shoes, headpieces, and necklaces. To create the “extraterrestrial flora” of Pandora, the costume team used loofah sponges, molds from cabbage leaves, crinoline, open weave horsehair, linen and braided wool to amazing effect. { SOURCE: Joe Kucharski, Tyranny of Style | http://goo.gl/w7KJpE } When work is a Workout {Jan.08.2016} ------------------------------------------------------- At the risk of sounding like a hipster, I liked Cirque du Soleil before it was cool. It was 1994 in Vegas when I attended their "Mystere" performance. I remember seeing a man do a one-armed handstand, on a cane, atop a single pole that towered out of a hastily constructed pyramid of giant-size tinker toys. I held my breath frequently, certain someone would fall and break something important. Recently I saw Cirque du Soleil perform "Amaluna" in Calgary, Alberta, my fourth time seeing the Montreal-based circus troupe, and again they did not disappoint. There were unicycles and undulating tight ropes and trapeze, balancing acts and back flips, juggling and jocularity, all to original rock music with sensational singing and great guitar and drumming reminiscent of Rush. Acrobats flew. Dancers moved with inhuman grace. A love story unfolded. Through it all I found myself wondering, "How is it that they are all so good looking?" (Awesome costumes aside.) Turns out, they all look so great because the working out doesn't end when the show does. BALANCING ACT "I work out several days of the week outside of the performances," says Melanie Sinclair, a 25-year-old former competitive gymnast from Orlando, Fla., who does an uneven bar performance for Cirque du Soleil. "Including the eight to 10 shows a week, it's about 30 hours of training each week." Sinclair, who began gymnastics when she was 6, is always on the move, doing about 30 minutes of treadmill running or elliptical trainer each day. She also bikes to work each day. "I have my own bike I bring on tour," she told me. On top of this is a lot of stretching. "We receive a large quantity of videos and resumes," "Amaluna" company manager Jamie Reilly said of the competition to be part of the show. "We have casting agents, hold auditions and have a scouting team that will go to the Olympics and gymnastics competitions to find talent." And it's not just amazing physicality they seek. "There is a large acting component," Reilly said. "We need to select the right people to provide the wow factor during the show." And that wow factor takes time to develop. Sinclair spent nine months of full-time preparation and rehearsals before "Amaluna" launched in Montreal. And performers new to Cirque du Soleil quickly learn how physically demanding it is. "Since coming here I've realized that cross-training is very important," said Amy McClendon, the main dancer (the peacock goddess) in the show. "I do the elliptical on high resistance to keep my legs strong." Pilates classes are provided for the performers by the troupe. "They bring someone in locally," McClendon, 26, said. "A lot of the performers do Pilates. It's been like gold for me." PATHS TO THE BIG TOP McClendon attended the Alvin Ailey School of Dance in New York. Before joining Cirque she performed musical theater on Broadway. She found her new role required a higher level of conditioning. "There is a lot of physical exertion, even just having to change costumes," she said. "There is a whole other physical performance going on backstage." While some performers have previous careers that lend themselves to joining this circus, others go to school for it. "It was four years of Cirque university," straps performer Andreanne Nadeau told me of attending L'Ecole Nationale de Cirque de Montreal to obtain a diploma in circus studies. "It was five to seven hours of training every day. There is also theory, physiology, psychology, career management and a second language." Nadeau has impressive musculature, and she needs it. "I am a Valkyrie in the show," she said. "It's a highflying act using aerial straps. It's mostly upper-body strength." Nadeau started dancing at age 4, but she also played basketball and football and took part in track and field. She didn't go to circus school until later in life. "I didn't join until I was 25." STAYING HEALTHY And at 31, Nadeau isn't worried about the ticking clock for a career that might seem more conducive to youth. "We have performers who are over 50 in Cirque du Soleil," she said. All the performers I spoke with are concerned about career longevity, and so is Cirque du Soleil, which is why two performance medicine therapists travel with the "Amaluna" troupe, both of whom have master's degrees in sports medicine. "We research the various performers' disciplines and the body mechanics that are necessary," Chad Fraser said. Because joint injuries are common, the therapists focus on strengthening the small internal muscles around these joints. "We also train the muscles in different joint spaces so that if unexpected movement happens, we prevent injury from taking place." As it turns out, most of the injuries are from overuse. "It comes from doing the same thing every day," Fraser said. "But the performers are pretty good about taking care of themselves." "Most of my injuries came from my gymnastics years," Sinclair said. "Here the goal is to make sure you last. It's not just a hobby or a sport, it's your career. You need to be smart." On top of the physical therapy guiding the performers movements, there are also coaches traveling with the show. "We have a coach for our act specifically, and there is another coach who oversees all the acts," Sinclair said. "We have a lot of guidance from the coaching staff and artistic director to help us continuously refine the show and make it better." I can verify this. Backstage, I saw two large whiteboards filled with written critiques of previous performances. This is a show that's been live for a year, and still they're trying to make it better. And even though performers live a life of near constant physical exertion, motivation to go on the stage is always high. "Like any job, you look forward to vacation," McClendon said. "But because it's performing and something I love doing, there is a motivation that will never go away, even when you're tired." { SOURCE: James Fell, Chicago Tribune | http://goo.gl/Mwg8Ic } Cirque Reorganizes to win over Broadway, China {Jan.15.2016} ------------------------------------------------------- Canadian-based Cirque du Soleil, acquired last year by Chinese and US investors, has undertaken changes that have been criticized internally but which should allow it to win over Broadway and China. The first fallout from this takeover was announced this week by Cirque’s chief executive, Daniel Lamarre. In a letter to the approximately 4,400 employees, he warned that “major changes to the corporate structure” were underway. In particular, staff are grumbling because now the chief operating office is a corporate lawyer. Two of the company’s longtime leaders, chief operating officer Charles Decarie and chief financial officer Eric Marceau, left the company. “Less comfortable with the new environment,” Lamarre said of their departure. “It is normal when there are changes of ownership that adjustments be made,” he told AFP. The departures have sparked “a great unease internally among managers and among employees” who are not fond of the new direction advocated by management, public broadcaster CBC reported, citing sources in the company. In particular, the replacement of Decarie by corporate lawyer Jonathan Tetrault, who is more adept at finance than entertainment, irks staff who view their work as performance art. “The Cirque has always been balanced between business and creation, but now everything is focused on business,” an anonymous source close to the matter told Radio-Canada, CBC’s French-language sister station. Lamarre retorted that Cirque du Soleil has reached the global fame it enjoys because of its creativity, not because of the way its business side is run. Evidence of how the new Cirque owners “have bought the company to grow it” is that its payroll has increased 10 percent since the takeover, said Lamarre. The Cirque’s poor financial performance in recent years had led to the dismissal of 1,000 employees as part of a restructuring before last year’s takeover. With a new show unveiled in April in Montreal, and another launched on Broadway on May 25, “We are in a mode where it’s full on at the creation and production,” Lamarre commented. Cirque du Soleil will debut on Broadway in New York with “Par Amour,” but it is especially eying the Chinese market for new shows. “We’re opening an office in Shanghai. China is becoming a priority market for us,” said Lamarre. China has a very old tradition of acrobatic circuses. The market will thus be more difficult to conquer. Inspired by the film “Avatar” from James Cameron, the new show “Toruk” attracted a record crowd at Christmas in Montreal, before it hits the road in the Middle Kingdom in 2017. “Avatar the film was a runaway success in China and we think this is the right show to establish the brand of Cirque du Soleil in China,” says Lamarre. “Subsequently, we have four, five shows in development, and I hope that in five years we will have a permanent presence of two or three new shows out there,” said Lamarre, who is eager for the Cirque to “cross all cultures and into all markets.” { SOURCE: Clément Sabourin, AFP } Changes Now Underway at BELIEVE, LOVE, and… “O”?! {Jan.19.2016} ------------------------------------------------------- Changes are underway at three Cirque du Soleil shows on the Strip thanks to “Mindfreak” magician Criss Angel and The Beatles widows Yoko Ono and Olivia Harrison. “We’re going to be major overhauling the Criss Angel BELIEVE show with him. He’s bringing in all-new illusions, new lighting, new costumes, and we’re probably going to do a name change, too,” Jerry Nadal, Cirque’s senior VP of resident shows, told Robin Leach. “We’ll close in April for a couple of weeks. We already have a week dark, then we’ll close an extra week and a half and come back in early May. It will be 70 percent … new. He’s already begun rehearsals for the new show. I don’t know how he does it. Somehow, he has found a 28-hour workday, and I’d love to have his secret because I would love to have those extra four hours. He doesn’t sleep. He’s amazing. He’s driven. I think the new show will be good for him and great for the brand. We’re in our seventh year, so there’s three more to go on the current contract.” Jerry also confirmed a major refresh for “The Beatles Love” at the Mirage ahead of its 10th anniversary this year with Paul McCartney and Ringo Starr set to attend. “LOVE is undergoing a major refresh right now. We’ll go down mid-February and come back at the end of February with a whole refreshed version of the show, then have a grand celebration probably in June,” said Jerry in our interview. “We’re going to add elements over the next couple of months, technological stuff, then in June we’ll do another red carpet event around Paul McCartney and Ringo’s schedule for the 10th anniversary. Yoko and Olivia have been quite involved, Paul and Ringo at more of a distance, but the women are very involved in it. They’ve been around all the time running support and adding creative input.” The third show that could undergo changes is “O” at Bellagio. Jerry continued: “ ‘Ka’ is in great shape. We haven’t had to touch that. I think if we’re going to look at the next one we may refresh, it’s going to be ‘O.’ We’ve never really touched that. There’s a lot of repeat business in there, and even just from the technical standpoint, there is so much other equipment out there that we could do, like the colors of the water making them more vibrant with projections. We played around with that theater the first time for ‘One Night for One Drop,’ so we think of the possibilities that are in there. It gives people a reason to come back and see it, particularly since so many people who stay at Bellagio are big customers and have seen the show 10 times or more. We’ve got to give them a different reason to come back and see a new show. Technology has improved and changed over the years. There are more toys on the market now.” { SOURCE: Robin Leach, Las Vegas Sun | http://goo.gl/VyRFme } La Forge aux Étoiles is Coming! {Jan.29.2016} ------------------------------------------------------- Back in November 2015, 45 DEGREES and the Futuroscope were proud to announce a joint project to create a new evening show entitled ‘La Forge aux étoiles’, an aquatic fairy-tale from the creators of Cirque du Soleil. The show would be performed on a 7,000 square-meter outdoor stage “through a system of laser projections, water fountains, fireworks, and fire.” “This collaboration will allow us to pool and share the creative spirit that drives us in creating extraordinary visual experiences, issues of marriage between technology and art,” said Dominique Hummel, CEO of Futuroscope “Approaching our 30th anniversary, this new creation is intended as a gift to our visitors inviting them in a magical universe and unrivaled and unique dream world,” he added. It’s now ready to open! o) THE SHOW -- A new fairytale aquatic evening show from Cirque du Soleil. Get ready to be blown away by the big-bang razzmatazz of visual, aquatic and pyrotechnic effects. The constellation of fairytale scenes takes you into the magical story of a young, real girl who meets a virtual giant with his feet on the ground and his head in the stars. o) THE AUTHORS -- Cirque du Soleil has created a tailor-made show inspired by the original style of Futuroscope’s architecture and theatres that reach for the stars. It added its creative flair to Futuroscope’s technological expertise to explore a new form of expression: a show in which the actors are represented and perform through the magic of images and special effects. o) THE TECHNOLOGY -- The impressive array of technical gadgetry that brings the brand new set design to life across the 75,000 ft² water stage features new pyrotechnics and aquatic effects, lightshows on water screens, and innovative and dazzling choreography between lights and lasers. The unique, 115-ft-high structure complete with screen and wall of water are the canvas for a fairytale show beyond your wildest dreams. SEE THE SCHEDULE HERE: < http://goo.gl/RN9ooG > CHECK OUT THE IMAGES THAT ACCOMPANY THIS POST: < http://www.cirquefascination.com/?p=7464 > { SOURCE: Futuroscope } Cirque’s Got Talent? {Jan.31.2016} ------------------------------------------------------ Cirque du Soleil is holding auditions in Australia – and turning it into a television event... Cirque du Soleil is coming to Australia in February to conduct auditions. And for the first time ever, we’ve decided to extend our reach with a nationwide Auditions Roadshow promotion to search for Australia’s most unique performing talent. Do you have a weird but wonderful routine, an unusual skill, or an act that is unlike anything we’ve ever seen before? Throughout the year, Cirque du Soleil’s casting team auditions the world’s most talented circus artists, acrobats, sportspeople, singers, musicians and dancers. Information on this standard audition process can be found at this LINK: < https://goo.gl/i8WcSK >. If you don’t fit into one of those categories, the Australian Auditions Roadshow is the opportunity for everyday Australians like you to show us your creative performance talent, and to get a taste of our audition process as part of an upcoming television program. Cirque du Soleil has appointed guest talent scouts to search for acts which are completely different. This is your chance to really surprise us! A selection of candidates from each city will be flown to Melbourne on Sunday 14 February 2016 to perform for the Cirque du Soleil auditions team and to potentially participate in the television program. CONDITIONS: o) You must be at least 18 years old at the time of the audition o) Must be an Australian citizen currently residing in Australia o) Your act must be a solo or a duo o) You will be allocated a maximum of 3 min to perform your act o) Your act must be able to be presented with minimal equipment. Any time required to set up equipment will be included in your 3 minutes. There will be no rigging facilities or technical support. o) By participating in the auditions you agree to be filmed for the purposes of a television program o) Cirque du Soleil will not pay for any expenses incurred by you in attending the auditions AUDITION DATES: o) Perth: Tuesday 9 February 2016, 10am to 5pm o) Brisbane: Thursday 11 February 2016, 10am to 5pm o) Sydney: Friday 12 February 2016, 10am to 5pm o) Melbourne: Saturday 13 February 2016, 10am to 5pm REGISTRATION IS ESSENTIAL You must apply for an audition time on line by Monday 8 February 5pm. Apply early as there is a limit to the number of people that can be registered. To register for an audition time, complete and submit your details at this link. You will then be contacted with details of the location and an audition arrival time. REGISTER HERE < https://goo.gl/sQBPt5 > We can’t wait to discover your talent! { SOURCE: Audition Roadshow | http://www.auditionsroadshow.com/ } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia & Totem} o) ARENA - In Stadium-like venues {Quidam, Varekai, TORUK & OVO} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, Believe, Zarkana, MJ ONE & JOYÀ} NOTE: .) While we make every effort to provide complete and accurate touring dates and locations available, the information in this section is subject to change without notice. As such, the Fascination! Newsletter does not accept responsibility for the accuracy of these listings. For current, up-to-the-moment information on Cirque's whereabouts, please visit Cirque's website: < http://www.cirquedusoleil.com/ >, or for a more comprehensive tour listing, visit our Itinéraire section online at: < http://www.cirquefascination.com/?page_id=6898 >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Amaluna: London, UK -- Jan 16, 2016 to Mar 6, 2016 Amsterdam, NL -- Mar 17, 2016 to May 1, 2016 Frankfurt, DE -- May 12, 2016 to Jun 5, 2016 Knokke-Heist, BE -- Jul 14, 2016 to TBA Koozå: Montevido, UY -- Mar 9, 2016 to Mar 20, 2016 Buenos Aires, AR -- Apr 21, 2016 to May 8, 2016 Santiago, CL -- Jun 30, 2016 to Jul 31, 2016 Sydney, AU -- TBA Brisbane, AU --TBA Kurios: Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016 Atlanta, GA -- Mar 3, 2016 to May 8, 2016 Boston, MA -- May 26, 2016 to Jul 10, 2016 Washington, DC -- Jul 21, 2016 to Sep 18, 2016 New York City, NY -- Sep 30, 2016 to Nov 27, 2016 Miami, FL -- TBA Luzia: Montreal, QC -- Apr 21, 2016 to Jul 16, 2016 Toronto, ON -- Jul 28, 2016 to Oct 16, 2016 San Francisco, CA -- Nov 10, 2016 to Jan 22, 2017 Seattle, WA -- Feb 2, 2017 to Mar 26, 2017 Calgary, AB -- Apr 6, 2017 to May 21, 2017 Totem: Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016 Osaka, JP –- Jul 14, 2016 to Oct 2, 2016 Nagoya, JP –- Nov 10, 2016 to TBA Fukuoka, JP –- Feb 2017 to TBA Sendai, JP -– Apr 2017 to TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Quidam: Aucland, NZ -- Feb 5, 2016 to Feb 14, 2016 Christchurch, NZ -- Feb 17, 2016 to Feb 26, 2016 ** FINAL SHOW: February 26, 2016 ** Varekai: Lyon, FR -- Feb 3, 2016 to Feb 7, 2016 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 Antwerp, BE -- Mar 2, 2016 to Mar 6, 2016 Bordeaux, FR -- Mar 10, 2016 to Mar 13, 2016 Montpellier, FR -- Mar 17, 2016 to Mar 20, 2016 Nice, FR -- Mar 23, 2016 to Mar 27, 2016 Moscow, RU -- Apr 14, 2016 to Apr 24, 2016 St Petersburg, RU -- Apr 27, 2016 to May 8, 2016 Kazan, RU -- May 11, 2016 to May 15, 2016 Chelyabinsk, RU -- May 18, 2016 to May 22, 2016 Togliatti, RU -- May 25, 2016 to May 29, 2016 Sochi, RU -- Jun 2, 2016 to Jun 5, 2016 Zaragoza, ES -- Jun 29, 2016 to Jul 3, 2016 Santander, ES -- Jul 3, 2016 to Jul 10, 2016 Granada, ES -- Jul 13, 2016 to Jul 17, 2016 Murcia, ES -- Jul 20, 2016 to Jul 24, 2016 Nantes, FR -- Nov 16, 2016 to Nov 20, 2016 Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016 Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016 Paris, FR -- Dec 6, 2016 to Dec 11, 2016 Turin, IT -- TBA Bologna, IT -- TBA Florence, IT -- TBA Milan, IT -- TBA TORUK - The First Flight: Houston, TX -- Feb 11, 2016 to Feb 14, 2016 North Little Rock, AR -- Feb 17, 2016 to Feb 21, 2016 North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016 Sunrise, FL -- Mar 3, 2016 to Mar 6, 2016 Miami, FL -- Mar 10, 2016 to Mar 13, 2016 Tampa, FL -- Mar 17, 2016 to Mar 20, 2016 Tulsa, OK -- Mar 24, 2016 to Mar 27, 2016 Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016 Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016 Louisville, KY -- Apr 28, 2016 to May 1, 2016 Cincinnati, OH -- May 4, 2016 to May 8, 2016 Columbus, OH -- May 11, 2016 to May 15, 2016 Hamilton, ON -- May 20, 2016 to May 22, 2016 London, ON -- May 27, 2016 to May 29, 2016 Providence, RI -- Jun 3, 2016 to Jun 5, 2016 Duluth, GA -- Jun 15, 2016 to Jun 19, 2016 Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016 Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016 Denver, CO -- Jul 21, 2016 to Jul 24, 2016 Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016 Chicago, IL -- Aug 3, 2016 to Aug 7, 2016 Brooklyn, NY -- Sep 7, 2016 to Sep 11, 2016 Newark, NJ -- Sep 14, 2016 to Sep 18, 2016 OVO: Lake Charles, LA -- Apr 8, 2016 to Apr 10, 2016 Baton Rouge, LA -- Apr 14, 2016 to Apr 17, 2016 Greensboro, NC -- Apr 20, 2016 to Apr 24, 2016 Cleveland, OH -- Apr 27, 2016 to May 1, 2016 Syracuse, NY -- May 4, 2016 to May 6, 2016 Philadelphia, PA -- May 11, 2016 to May 15, 2016 Portland, ME -- TBA Bangor, ME -- Jun 2, 2016 to Jun 5, 2016 Bridgeport, CT -- Jun 8, 2016 to Jun 12, 2016 Hartford, CT -- Jun 15, 2016 to Jun 19, 2016 Atlantic City, NJ -- Jun 22, 2016 to Jun 26, 2016 Charlotte, NC -- Jul 6, 2016 to Jul 10, 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 2016 Dark Dates: o February 7, 2016 o March 16, 2016 o May 7 – 11, 2016 o July 6, 2016 o September 10 – 14, 2016 o November 9, 2016 Special / Limited Performances: o March 12, 2016 (7pm Proceeds Donated to One Drop) o June 18, 2016 (Only 7pm performance) o June 19, 2016 (Only 7pm performance) o December 29, 2016 (Two Shows) "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 10:00pm 2016 Dark Dates: o February 7, 2016 o March 18 o April 11-19 o June 12 La Nouba: Location: Walt Disney World, Orlando (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two shows Nightly - 6:00pm and 9:00pm 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) 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) 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) CRISS ANGEL BELIEVE: Location: Luxor, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm ZARKANA: Location: Aria, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm ** UNTIL APRIL 30, 2016 ** 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 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) ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) FOTOS -- Images From Cirque & Other Photographs o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) NEW: C-LAB WORKSHOP In the Workshops series – Presented by C:LAB, Cirque du Soleil explores a new acrobatic repertoire by reaching out to athletes from other disciplines. o) EPISODE 1: RUSSIAN SWING 1 January 11, 2016 High-level half-pipe skiers try their flips and jumps on the Russian swing. At first they use safety lines, but as they quickly adapt to the apparatus, they get into some their more intricate moves as the Russian swing takes on a whole new dimension. LINK /// < https://youtu.be/rhdOQsMZPTU > o) EPISODE 2: RUSSIAN SWING 2 January 11, 2016 In this video, halfpipe skiers take their tricks on a lake where they leap off a Russian swing and land in the water. Watch as they work hard to overcome hurdles and master the technique, taking the Russian swing to a whole new level. LINK /// < https://youtu.be/8ARAYEFoAUQ > o) EPISODE 3: HISTORY OF RUSSIAN SWING January 18, 2016 Listen to Bernard Petiot, VP of Casting & Performance, and Senior Head Coach Gergely Boi talk about the Russian swing as a springboard for renewal – its history, uses and untapped potential. LINK /// < https://youtu.be/wdQNoJuE1hU > o) EPISODE 4: BIO MITCH HEAD, ACROBATIC COACH January 22, 2016 (December 14, 2015) LINK /// < https://youtu.be/NSp2vKPmHgM > o) EPISODE 5: BIO BERNARD PETIOT, VP OF CASTING & PERFORMANCE January 22, 2016 (December 10, 2015) LINK /// < https://youtu.be/7P4HA35naYU > o) EPISODE 6: RICHARD LEPAGE, COACHING & PERFORMANCE DIRECTOR January 22, 2016 (December 10, 2015) LINK /// < https://youtu.be/UtrJYuCJ0dE > o) EPISODE 7: GERGELY BOI, SENIOR HEAD COACH January 22, 2016 (December 10, 2015) LINK /// < https://youtu.be/SPrkHkhTL0s > o) EPISODE 8: SERGEY VOLODIN, COACH January 22, 2016 (January 6, 2016) LINK /// < https://youtu.be/86Z6UFj6-BM > *) KURIOS ABOUT... o) EPISODE 7: FRIENDS AND FAMILY January 19, 2016 How does one tumble, toss, and juggle the balance of Family, Friends and Relationships while on tour? Find out, in our latest episode, how our 109 person strong, travelling village makes life as real as reality will allow! LINK /// < https://youtu.be/-WTK1OFU36Q > *) KA: BEHIND THE BLOCKBUSTER o) EPISODE 4: BATONS & FLUTES (PROPS) January 8, 2016 In this episode, JanNelle, KÀ’s Head of Props & Puppets, explains the multiple ways in which flutes are incorporated into the performance, used as swords by the Imperial Twins and as batons by the Chief Archer’s daughter. LINK /// < https://youtu.be/e-5MK1UVHOA > o) EPISODE 5: HEADSCAN PROCESS January 15, 2016 The KÀ team has replaced the old-fashioned plaster head molding process with the technique of 3D headscans, which not only makes the process more efficient, but also allows the team to recreate a prop at any time. Karine explains the headscan process in detail. LINK /// < https://youtu.be/2L48Gfs6GoE > o) EPISODE 6: WEAPONS January 22, 2016 Martial arts plays a large part in not only the opening scene, but the entire story of KÀ by Cirque du Soleil. In this video, JanNelle demonstrates some of the weapons used in these highly energetic performances such the opera stick in the Pageant act, and the variety of arrows and spears used throughout the show. JanNelle reveals details from the production process behind each of these unique weapons. LINK /// < https://youtu.be/_BEQ81rdQEw > *) OVO: BEYOND THE GOLD MEDAL Get a sneak peak into the lives of former Olympians who performed with OVO in this 4 part series! #1: https://www.facebook.com/OVO/videos/10153961914024614/ #2: https://www.facebook.com/OVO/videos/10153967797429614/ #3: https://www.facebook.com/OVO/videos/10153976813959614/ #4: https://www.facebook.com/OVO/videos/10153981810974614/ --------------------------------------------------- FOTOS: Images From Cirque & Other Photo Links --------------------------------------------------- AMALUNA -- https://goo.gl/6G0e2c -- Royal Albert Hall Setup AMALUNA -- https://goo.gl/Ec9CIC -- Artists Rehearsing in London AMALUNA -- https://goo.gl/Ody1g6 -- Artists Rehearsing in London AMALUNA -- http://goo.gl/d8gJmY -- Amaluna in Pictures AMALUNA -- https://goo.gl/Wz34h9 -- Backstage in Pictures KA -- https://goo.gl/XdwjPS -- The Stage KOOZA -- https://goo.gl/1d0hXl -- Bash Training KOOZA -- https://goo.gl/Xqtdrb -- Bash Training KOOZA -- https://goo.gl/L4k85D -- Bash Training KOOZA -- https://goo.gl/npGBHW -- Press Conference in Santiago KOOZA -- https://goo.gl/kEKgQn -- Uses more than 160 Hats KURIOS -- https://goo.gl/iPxjDB -- At KCAL 9 CBS Newsroom KURIOS -- https://goo.gl/yWDyfO -- Pictures of our LA adventure! KURIOS -- https://goo.gl/LZAm4k -- Nacion ESPN Visit KURIOS -- https://goo.gl/zA6xGz -- Nacion ESPN Visit LA NOUBA -- https://goo.gl/FtbTOc -- Shoes LA NOUBA -- https://goo.gl/0IZO7a -- The Green Bird Costume LUZIA -- http://goo.gl/lF1nzV -- Costume Teaser LUZIA -- http://goo.gl/KCc8gs -- Gets a New Logo MJ ONE -- https://goo.gl/APbZhE -- Finale Ensemble O -- https://goo.gl/hz1OQt -- The Carousel and Téléphérique PARAMOUR -- https://goo.gl/w2ogZm -- Rehearsals PARAMOUR -- https://goo.gl/yNLycr -- Rehearsals PARAMOUR -- https://goo.gl/BVWKiW -- Rehearsals PARAMOUR -- https://goo.gl/dSL1DF -- Introducing the Atherton Twins! PARAMOUR -- http://goo.gl/tSxqvP -- Up On the Marquee! PARAMOUR -- https://goo.gl/uE3DnL -- Meet Bradley Dean PARAMOUR -- https://goo.gl/nANw92 -- Our Acrobats move Cinematicaly PARAMOUR -- https://goo.gl/3VtQ3W -- Meet our Piano Man, Ryan Vona PARAMOUR -- https://goo.gl/BSTgX5 -- Meet our Piano Man, Ryan Vona PARAMOUR -- https://goo.gl/9OC2Vn -- Cast Member Reed Kelly Rehearses TORUK -- https://goo.gl/omrd58 -- A Different View of a Load In TORUK -- https://goo.gl/YmW9q5 -- An Impressive Birds-Eye View TORUK -- https://goo.gl/VVlSK5 -- Important Set Piece? TORUK -- https://goo.gl/r98mt2 -- The Tree of Souls TORUK -- https://goo.gl/xmkIOb -- Tsyal & Direhorse TOTEM -- https://goo.gl/m6QCde -- Odaïba Big Top is all setup! TOTEM -- https://goo.gl/vC92Q3 -- Scorpion Bridge is all Set up TOTEM -- https://goo.gl/xfPQWW -- Odaiba Big Top in the Snow! TOTEM -- https://goo.gl/ilHQdT -- Programming Automation System TOTEM -- https://goo.gl/00Pxur -- Artists Have Arrived! TOTEM -- https://goo.gl/lbJfTm -- Backstage at JPN Promo Event TOTEM -- https://goo.gl/ecnm0p -- Backstage at JPN Promo Event TOTEM -- https://goo.gl/BNiQ7L -- Backstage at JPN Promo Event TOTEM -- https://goo.gl/MYS5Bi -- Carapace training VAREKAI -- https://goo.gl/9L4Lei -- In La Pedrera-Casa Milà VAREKAI -- https://goo.gl/5nZHf5 -- Teamwork at it's Best VAREKAI -- https://goo.gl/2qY3bR -- This is what the artists see VAREKAI -- https://goo.gl/jm4JH7 -- Thank You Valencia VAREKAI -- https://goo.gl/XKlT8z -- Starting Our Warm up in Malago VAREKAI -- https://goo.gl/9cTuzQ -- Ready for Show #2 of 3 in Malago ZUMANITY -- https://goo.gl/uBlaLs -- Undress to Impress --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- ACTIVEON "POV" SERIES --------------------- TEASER -- https://goo.gl/79fIfD -- Teaser Video MYSTERE -- https://youtu.be/bDAfwvo9vp4 -- Bungee POV KA -- https://youtu.be/mrAPOpBVi1E -- Battle POV ZARKANA -- https://youtu.be/fEZ7q7svSLg -- Wheel of Death POV O -- https://youtu.be/i6hJyYItiIk -- High Dive POV ZUMANITY -- https://youtu.be/Y3mEqdKx5zY -- Waterbowl POV LA NOUBA -- https://goo.gl/kAjBuE -- BMX POV LUZIA -- https://goo.gl/tZltPT -- Treadmills MOULDS -- https://goo.gl/DmRafm -- Head Moulds TOTEM: VALENTINO IN SINGAPORE ----------------------------- Catch Valentino from TOTEM - Cirque du Soleil as he ventures out of the Big Top in a trishaw to see the sights in Marina Bay. Before too long, the sight of a female jogger catches his attention. Will he win her heart? o) Part 1: https://www.youtube.com/watch?v=At2GPou4N0k o) Part 2: https://www.youtube.com/watch?v=FAKgB5cRZPU o) Part 3: https://www.youtube.com/watch?v=TfEec2C-iXg ERIC HERNANDEZ - CIRQUE LIFE ---------------------------- Eric Hernandez is currently Touring the world with TOTEM. He has been on tour since March 2012 performing the traditional Hoop Dance that he was taught from his uncle Terry Goedel when he was 10 years old. Eric documents his adventures - his Cirque Life - in between the rigorous 10 shows a week schedule he performs, posting his insights on his YouTube Channel. Follow Eric as he experiences life on the road in Japan for the very first time! o) "Love What You Do" -- https://goo.gl/1N4M18 o) "My New Home" -- https://goo.gl/mBQSQ5 o) "The Fuji Dome" -- https://goo.gl/SZEevn o) "Working Harder" -- https://goo.gl/xeJsSL o) "Learning Japanese" -- https://goo.gl/HcrHSN FACEBOOK VIDEOS --------------- AMALUNA -- https://goo.gl/oQUxRf -- Thank you Paris, Goodbye! AMALUNA -- https://goo.gl/XWLJU5 -- Almost to London! AMALUNA -- https://goo.gl/c0wa2V -- Saluting the Royal Albert Hall AMALUNA -- https://goo.gl/cLNzwl -- Chat w/Bob & Bill AMALUNA -- https://goo.gl/HUlwMC -- Backstage at London Premiere AMALUNA -- https://goo.gl/hLh1YR -- Backstage at London Premiere JOYA -- https://goo.gl/Tnye5M -- A New Trailer KOOZA -- https://goo.gl/XTTXNJ -- Celebrating the Musicians KOOZA -- https://goo.gl/g1ipJk -- High Fives After a Show KURIOS -- http://goo.gl/9b80rJ -- Yo-Yo Master on Good Day LA QUIDAM -- https://goo.gl/0bhSkv -- Practice Makes Perfect! QUIDAM -- https://goo.gl/UVazhP -- Luana "Quidamifys" herself #1 QUIDAM -- https://goo.gl/f7nGn0 -- Luana "Quidamifys" herself #2 TORUK -- https://goo.gl/tQStHL -- Rituals of the Cast TORUK -- http://goo.gl/q4GOfk -- Chat w/Michael Ocamp TOTEM -- https://goo.gl/pSJleK -- Sneak Peek of Escalade Act VAREKAI -- https://goo.gl/ZpkLOQ -- Cast Wishes a Happy New Year! VAREKAI -- https://goo.gl/WkurpL -- Last Performances in Barcelona TRAINING -- https://goo.gl/0ZuuN6 -- How to do the perfect pushup FAN FINDS --------- - https://goo.gl/kS1zbc -- Cyr Wheel in Amaluna - https://goo.gl/IlZfgK -- Ruby Lewis Likes Bread! - https://goo.gl/o1EIoD -- La Nouba Clowns Entertain the Media - https://goo.gl/ulLBGW -- Really Cool Cyr Wheel! - https://goo.gl/k8soXI -- Old Video of Brian Dewurst Performing - http://goo.gl/7QTB55 -- Mystere Performs on Today Show - https://goo.gl/qNAxQh -- Zumanity Cast at RuPaul's DragCon 2015 - https://goo.gl/A7eOkj -- Andrii Lytvak as John/Mark (Act 1) - https://goo.gl/3ebySq -- Andrii Lytvak as John/Mark (Act 2) - https://goo.gl/tCgIda -- Kurios' Handbalancing on Canes on TV - https://goo.gl/nlhLYr -- 12 Kurios Tracks in 1 (Keyboard) - http://goo.gl/CKxC1G -- Kurios: Breaking Records (Fox News) - https://goo.gl/Aq263S -- Disney Blog Highlights New La Nouba Acts - https://goo.gl/zIOXVU -- Secrets of Mystere, Part 1 (2009) - https://goo.gl/0E0sDq -- Secrets of Mystere, Part 2 (2009) - https://goo.gl/qYcbXN -- La Nouba's B-Boys Shoot a Commercial - https://goo.gl/I82Pl7 -- Kurios Contortion on Late Late Show - https://goo.gl/ezuUPM -- Atherton's Varekai Farewell (2010) ======================================================================= FASCINATION! FEATURES ======================================================================= o) SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT" By: Cirque du Soleil (Press Kit) o) LOOK BACK: Guy Laliberte's Poetic Social Mission PART 6 of 8: "Departure for Baikonur" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ SPECIAL /// "ALL ABOUT TORUK-THE FIRST FLIGHT" By: Cirque du Soleil (Press Kit) ------------------------------------------------------------ TORUK – The First Flight is a live immersive multimedia spectacle that brings to the stage the breathtaking world of James Cameron’s AVATAR like you have never seen it before. Through a riveting fusion of cutting-edge visuals, puppetry and stagecraft buoyed by a soaring cinematic score, Cirque du Soleil applies its unique signature style to James Cameron’s imaginary world and “makes the bond” between two kindred artistic visions that capture the imagination. This live immersive experience also bears the distinct signature of directors and multimedia innovators Michel Lemieux and Victor Pilon. It is a living ode to the Na’vi’s symbiotic coexistence with nature and their belief in the basic interconnectedness of all living things. Narrated by a “Na’vi Storyteller” and populated by unforgettable characters, TORUK – The First Flight is a mythical tale set thousands of years before the events depicted in the film AVATAR, and before any humans ever set foot on Pandora. When a natural catastrophe threatens to destroy the sacred Tree of Souls, Ralu and Entu, two Omaticaya boys on the brink of adulthood, fearlessly decide to take matters into their own hands. Upon learning that Toruk can help them save the Tree of Souls, they set out, together with their newfound friend Tsyal, on a quest high up in the Floating Mountains to find the mighty red and orange predator that rules the Pandoran sky. Prophecy is fulfilled when a pure soul rises among the clans to ride Toruk for the first time and save the Na’vi from a terrible fate. And now we can explore this show in more detail thanks to the show's Press Kit! Here’s what you’ll find within: o) About Toruk - The Main Characters o) ABOUT TORUK: Projections & Multimedia Content o) ABOUT TORUK: Set Design & Props o) ABOUT TORUK: Costumes & Makeup o) ABOUT TORUK: Puppets o) ABOUT TORUK: Acrobatic Performance & Choreography o) ABOUT TORUK: Movement-Kites o) ABOUT TORUK: The Na’vi Sound (Music) o) ABOUT TORUK: The Na’vi Spoken In The Show MAIN CHARACTERS --------------- Ralu, Entu and Tsyal are the three main protagonists of TORUK – The First Flight, which is narrated by a “Na’vi Storyteller.” They are joined by the Shaman and the Chief of the Omaticaya clan as well as members of five Na’vi clans: Omaticaya, Tawkami, Anurai, Tipani, and Kekunan. The black-clad, shadow-like puppeteers personify the spirit of Eywa, the Na’vi’s guiding force and deity. RALU -- Member of the Omaticaya Clan, is the son of a formidable hunter who taught him exceptional focus and discipline. Ralu is a sensitive and compassionate boy on the brink of adulthood. Although he is only 14 years old (in Earth years), there is a calm and quiet force about him that underscores his carefree attitude. Always on the lookout for his childhood friend and protégé Entu, Ralu is a natural born leader. Whenever the going gets tough, he channels all his energy and skills into the challenge at hand and invariably gets the job done. Just ask Entu, whom Ralu once saved from certain death by luring away a Thanator during archery practice deep in the rainforest. No wonder everybody rallies behind Ralu – his is a doer and a thinker with a heart of gold! ENTU -- Member of the Omaticaya Clan, lost both of his parents early in life in a freak attack by a Thanator. He is the same age (14 years old in Earth years) as his lifelong friend Ralu – his mentor – with whom he has always engaged in a healthy competition that has definitely kept him on his toes. Spunky and intense, Entu is fully in touch with his emotions and knows to follow and trust his instincts. One day, when a member of his clan ventured too far out on a cliff edge and was left dangling on a limb, Entu instantly concocted an ingenious counterweight device using his pack, a sturdy branch and some vines to lower himself down the mountain face and save the boy, showing total disregard for his own safety. With his quick wit and dauntless spirit, Entu is eager – and ready – to dive headlong into the adventures that lie ahead. TSYAL -- Member of the Tawkami Clan, is the only child of a village chief who lost her mother at a tender age. She was raised by her grandmother with the help of other members of her clan, as is the custom among the Na’vi. Highly proficient in herbal lore, her grandmother was a chemist widely revered among the Tawkami for her unique remedies and concoctions. Tsyal’s clan is renowned throughout the land for their knowledge of chemistry and alchemy, and the abilities she inherited from her grandmother are transmitted every two generations through a special bond among clan members. Spurred by her grandmother’s legacy and wanting to live up to the expectations bestowed upon her, Tsyal has taken great pride in creating innovative mixtures and recipes of her own. True to her clan nestled deep inside the primeval forests of Pandora, this easygoing, sprightly girl with an indomitable spirit has a cheerful nature and loves to play tricks. With a mere seed, she can put the fiercest beast to sleep; with the frailest-looking flower, she can induce the most beautiful dreams or provoke the most terrifying nightmares. Such is the tremendous power of the natural elements that Tsyal and her clan have learned to understand and harness. THE STORYTELLER -- There is an aura of mystery about the Storyteller – a wanderer who roams the land, going from village to village and from clan to clan, in constant touch with his people. Wrapped in his beautiful, weathered mantle, the wise yet unassuming Storyteller exudes wisdom and compassion. As for his age, nobody knows for sure. Time seems to stand still for those who experience life-changing events of the highest magnitude. Regardless of the clan he was born into, the Storyteller’s soul contains the joys and sorrows of all his Na’vi brothers and sisters. He is a guide and a connector – a messenger of peace and unity. Long ago, the Storyteller earned a special place in the hearts of his people, and that is where his true home is. PROJECTIONS & MULTIMEDIA CONTENT -------------------------------- Lemieux and Pilon, who also wrote the show, sought to convey the awe- inspiring beauty and vital impetus of the world of Pandora – its rich textures, lush flora, and youthful buoyancy. The multimedia projections that evoke the awe-inspiring landscapes – from the Floating Mountains and the Omaticaya Hometree, to the Anurai’s animal sanctuary and the lush jungles where the Tawkami live – create a visually stunning environment for the performers. So do the large- scale effects that come from the storyline, such as the earthquake and volcano eruption, the rivers of lava rising from within, and the Shaman’s visions projected on a huge floating, ethereal veil. Some video effects are synched with the performers’ movements, such as the bioluminescent trails they leave in their wake as they meander through the forest. Some effects are mere evocations meant to create mood, like the creatures circling the sky appearing only in shadow form on the ground. Video projections sometimes overflow beyond the set and right into the audience, giving spectators the feeling they’re not merely gazing at Pandora, but they’re actually ON Pandora. At one point, waves start in the audience before washing up on shore on stage; in another scene, a starry sky is projected all over the arena, virtually turning it into an upside-down planetarium. Lemieux and Pilon are masters at creating virtual spaces on stage. In TORUK – The First Flight, they transform the set into a giant screen where Pandoran landscapes materialize. “Set changes, which sometimes occur in the wink of an eye, are not mechanical, but optical,” says Michel. “It’s the language of film applied to the performing arts,” adds Victor. “And we alternate between large-scale, spectacular effects and more intimate moments that evoke emotion.” In a projections-rich production, lighting is crucial to adding volume to the performers, set elements and props. It focuses the audience’s attention on story. In TORUK – The First Flight, a state-of-the-art tracking system is used in unprecedented ways to help with this task. Hidden in their costumes, the artists wear a tracking device linked to follow spots and video projectors that react to their movements in real time. Projections Closeups: o) Total projection surface, excluding projections that reach out into the audience, is approximately 20,000 square feet, more than five times the size of a standard IMAX screen: 12,750 for the stage, 3,600 for the two lateral screens, and another 3,600 for the two columns of Hometree. o) There are 40 video projectors in all: half are 30,000-lumen each, the other half, 20,000-lumen. o) 22 video projectors are used for projections on the ground; 6 projectors send video images on Hometree; 2 projectors are dedicated to the two lateral screens; and 8 projectors are used for immersive projections into the audience. SET DESIGN AND PROPS -------------------- Pandora is a fictional moon orbiting the gas giant Polyphemus in the Alpha Centauri system, the closest star system to our sun. It is home to the Na’vi, a highly spiritual people with a deep connection to nature. The moon’s environments range from tropical rainforest and equatorial desert to boreal forest, mountains, ocean shorelines, wetlands, and archipelago. Nature galore! As there are no constructions on Pandora, Set Designer Carl Fillion made it a point to avoid straight lines and to use only curvy, organic lines in his designs. Five main elements make up the set – Hometree, the Island, the Green Belt, the Dream Catcher, and the two Lateral Screens. The Omaticaya Hometree – On Pandora, Hometrees are two to three times the height of the redwoods that once covered the Pacific Northwest on Earth. The bottom part of the columns of the Omaticaya Hometree loom 25 feet above the stage floor. Amid the bustle of daily life inside Hometree, one can see a Giant Loom – a kind of weaving machine that plays an important role in the daily lives of the Omaticaya. The Island – There is an “island” at the center of the stage on which performers move about. The Island also houses a Fire Pit, a Circular Drum as well as the Tree of Souls, an inflatable structure stashed in a tiny trench under the stage floor. The tree structure is inflated as it is hoisted from the trench using cables attached to the structure above the stage. The branches of the tree are covered in thousands of LED lights. The Green Belt – The terrain on Pandora is neither smooth nor flat. To create a fragmented topography that evokes the uneven landforms on Pandora, the Set Designer created an elevated, padded bank – or Green Belt – all around the stage on which performers can climb and move around. The Green Belt ensures that images projected on the ground look more three-dimensional. It also doubles as a cover for the rink board. As Pandora is a world lush with vegetation, three dimensional retractable plants pop out of the Green Belt during scenes to evoke the forest environment. The Dream Catcher – The Dream Catcher is a structure suspended 45 feet above the Island. It houses several props and set elements, including a huge plant 35 feet in diameter that serves as an acrobatic device. The structure recalls the Aboriginal dream catcher. The Lateral Screens – The two large projection screens flanking the Omaticaya Hometree on each side extend the projection surface further out into the audience. Set Closeups: o) The stage is 85 by 162 feet. o) The show’s performance area is based on the Fibonacci spiral. This shape is determined by the ancient number sequence in which each number is the sum of the two preceding numbers. It is said that botanists on Pandora have recognized this mathematical pattern in many botanical specimens with a fiddlehead shape. If one were to place the design of the Fibonacci spiral on the stage, the Tree of Souls would be in the exact spot at the heart of the spiral. o) Hometree is 80 feet wide by 40 feet high. The structure is equipped with wheels and stands on nine pivots. It can be moved by hand. o) The fabric that covers the entire performance area used as a projection surface during the Prologue comes in two parts, each measuring 200 by 90 feet wide. COSTUMES AND MAKEUP ------------------- When she took on the challenge of interpreting for the stage the animated characters in AVATAR through costumes, Costume Designer Kym Barrett set out to respect the dress codes established by James Cameron’s team without copying exactly what was done in the movie. “While we worked within the parameters of Pandora, we had room to create our own version of the mythical first flight,” says Kym. Since the movie is set 3,000 years in the future in relation to TORUK – The First Flight, the Costumer Designer needed to determine how the Na’vi’s clothing culture had changed over that period of time and, working backwards, create her designs accordingly. The Omaticaya’s domestic culture revolved around weaving and bead-making and using the things they found in their natural surroundings – from seeds and vines and leaves, to bones and precious stones. One look at the Storyteller’s mantle is enough to know that he is well traveled and has received various tokens from other clans over time. Likewise, the Shaman’s costume suggests that travelers to and from the Omaticaya’s home have brought her ornaments and treasures that she has incorporated into her ceremonial robe. The costumes should look like they were made by Na’vi hands, hence the organic, handmade look to the wardrobe. Textures and prints were designed to overcome the fact that there are no fabrics on Pandora. The artisans in the costume department sought out materials that potentially looked like they were naturally available to the Na’vi in their environment. They “invented” Pandoran fibers that do not exist on Earth. Some varieties of “extraterrestrial flora” used in the costumes are in reality cut-outs of loofah sponge or molds from cabbage leaves. A loincloth that looks like it was made from leaves is in fact made of crinoline, an open-weave horsehair and linen fabric usually stiffened and used for interlinings, skirts or underskirts. Given the size of the performance space, great care has gone into ensuring the costumes look authentic. They are detailed and subtle enough to look handmade up close, but they look organic while remaining lustrous from afar. Creating the Na’vi Skin – Before designing the first elements of the clan couture however, the team needed to address the epic challenge of reproducing the look of the Na’vi’s skin convincingly in terms of color and skin tone. With its long, prehensile lemur-like tail, the body of the Na’vi is leaner and taller than a human’s. Acrobats do not generally fit this mold. By and large, performers in the circus arts world are more of a medium stature and more muscular than thin. The team had to start by establishing the muscle structure and the base print colors then create the Na’vi body stripes. They elongated the thorax as much as possible in order to replicate the Na’vi’s body form by raising the chest design a few inches on the costume in relation to the artist’s own chest. Kym chose four different blue base skin tones to account for natural DNA variations among the Na’vi people. These skin colors had to work on all performers, regardless of their complexion. Twenty-five different variations were created for the Na’vi base. The base skin fabric, an optical white synthetic fiber, was silkscreened to create the muscle and distinctive stripes. The bioluminescent effect is created using a product that reacts to the light filters used in the show. The “Spirits of Eywa” - The exotic fauna of Pandora is personified on stage through state-of-the-art puppetry. The challenge for the costume team was to determine how the puppeteers would manipulate the puppets without being identified as Na’vi, while remaining connected to the world of Pandora. To address this challenge, an all-black Na’vi costume was created. Make-up and morphology – Although they are morphologically similar to humans, the Na’vi have a wider nose and larger eyes. To suspend the audience’s disbelief and create the illusion that the 35 performers on stage are in fact Na’vi, the make-up artists in the costume department needed to “remodel” the artists’ faces. In addition, countless hours were spent finding and creating unifying bioluminescent patterns that pass seamlessly between the printed fabric of the costume and the make-up, which is a unique foundation color that was created specifically for the show. Costume Closeups: o) As the base costume represents the bare skin of the Na’vi, the footwear has to imitate bare feet. The artists wear shoes contoured to the shape of the human foot, including visible individual sections for the toes. o) The flowers of the Tawkami costumes require 437 yards of fabric and 120 fishing rods. o) Some costumes are made with parts of hammocks. o) Bones were used as an inspiration to sculpt the Anurai decorations and to adorn the corset of the Storyteller. o) A drill or a hand mixer is used to prepare the wool materials that make up the braids in the hair of the Omaticaya characters. o) As turquoise silkscreen inks are extremely sensitive to sunlight, all costumes with this feature need to be covered with a black garment bag during storage. o) The black-clad, shadow-like puppeteers who personify the spirit of Eywa are a direct reference to the shadows in Plato’s “Allegory of the Cave.” Shadow play is a precursor of cinema. o) There are 115 costumes in the show, an average of 3.3 costumes per artist. The costume department produced more than 1,000 items in all, including shoes, headpieces and necklaces. PUPPETS: THE CREATURES OF PANDORA --------------------------------- When he dreamed up AVATAR, James Cameron created a coherent, highly structured world with its own set of codes and natural laws, including a living, breathing ecosystem with an exotic fauna. When the creators of TORUK – The First Flight decided to evoke the creatures of Pandora on stage through the art of puppetry, they could easily have turned to animatronics – animal figures animated by means of electromechanical devices. Instead, they chose to create bona fide puppets where the strings, rod or controls are intentionally left visible and the puppeteers are in full view. Regardless of the technique, the goal remains to urge the spectator to suspend disbelief for a moment – to create the illusion that these are not mere objects made of metal and cloth, but living beings from a faraway moon. “On Pandora, the animals are strange, menacing and beautiful all at once. These six-legged muscular creatures exude a sense of grace and nobleness, which I wanted to convey. I wanted my designs to be a tribute to nature, as is the show,” says Puppet Designer Patrick Martel. In TORUK – The First Flight, 16 puppets represent the creatures of Pandora: six Viperwolves, three Direhorses, three Austrapedes, one Turtapede, two swarms of Woodsprites, and one Toruk. The two swarms of Woodsprites are actually mobiles manipulated by puppeteers. While the Viperwolves and Direhorses are directly inspired by the movie AVATAR, the Austrapedes and the Turtapede were created from scratch. When the creative team took on the challenge of imagining a show based on a pre-existing world – Pandora –, they dove head first into James Cameron’s world and used it as a springboard to explore uncharted territory. This meant creating new creatures as well. “Not only did we want to please AVATAR fans, we wanted to surprise them too,” says Patrick. But the responsibility of adding new species to Pandora’s fauna was not taken lightly. The features of these new six-limbed creatures had to be consistent with the morphological standards of Pandora. And they are. It was a matter of respecting James Cameron’s work. Puppet “Biology” – Since weight is an important factor when building large-scale puppets, most structures are made of aluminum or, whenever possible, carbon fiber, a material as flexible as it is lightweight. The inside of the puppets is Plastazote, which is ultra-light polyethylene foam. Stretch fabrics such as Lycra are used for the creatures’ skin, while the wings of Toruk are cut from polyester silk. The textures and patterns on the outside were printed using a technique called sublimation, which fixes the images in the fibers of the material. Beware the Viperwolf! – With its low-slung head and snakelike jaw, the Viperwolf is a swift, fiercely intelligent animal that hunts in packs. The puppeteer uses his hands to control the upper body and articulated head of the Viperwolf, working each of the four front legs with his hand. The puppeteer moves the animal’s hind legs by giving the puppet a specific swinging motion. The Viperwolf puppet has green luminous eyes, is illuminated from the inside, and glows red and blue. The swift and nimble Direhorse – The Direhorse is a wild, frisky animal. Two puppeteers work in unison inside the structure. The first controls the front part, including neck and head; his legs become the creature’s two front legs. The second puppeteer controls the middle legs with his hands; his legs become the animal’s hind legs. The puppeteers stand on platform shoes to better convey the creature’s impressive size. The Austrapede, a cross between an ostrich, a pink flamingo and a dinosaur – With its long, thin neck and tail and its long, narrow bill, the Austrapede is a relatively small creature by Pandoran standards. The Austrapedes are impulsive, fidgety creatures whose emotions spread quickly from one individual to the other by a form of mimicry. A single puppeteer housed inside controls the neck and head with one hand, using his other hand to work the wings, which start flapping whenever the Austrapede is frightened. Perched on 7-inch-high platform shoes that give the animal its distinct hop, the puppeteer can see through the animal’s gills, which are a common feature of Pandoran fauna. The Turtapede, a turtle and a shark folded into one – With its large dorsal fin and tail, the Turtapede is agile in shallow water. The puppeteer moves the sea-dwelling creature by pushing on the structure. He uses his arms to move the creature’s legs. The shell of the Turtapede has iridescent patterns that shimmer. The Woodsprites, sacred seeds of the Tree of Souls – Two mobiles inspired by the work of sculptor Alexander Calder evoke the Woodsprites in all their aerial lightness and elegance. To reproduce their bioluminescent glow, each of the 20 seeds is equipped with a DEL light. The Toruk, or Great Leonopteryx – The fierce and noble Toruk is an oversized marionette with a 40-foot wingspan. This type of traditional string puppet is usually much smaller and works upside down: the strings are normally manipulated from above instead of from below. The show’s Toruk works by reverse gravity and is suspended from a cable attached to an automation system that controls the creature’s movements in space. Six puppeteers on the ground control the other movements of the creature. It takes one puppeteer to control the head, two to direct the shoulders, two to work the wings, and one to control the tail – all in a synchronized aerial choreography. Fourteen additional puppets appear in TORUK – The First Flight to evoke various animals on Pandora. These more rudimentary and impressionistic puppets, handcrafted by the Na’vi, are used in various rituals and ceremonies. Without the puppeteers, the fauna in the show would be inert and lifeless. They are the ones who breathe life into the creatures, hence the moniker “Spirits of Eywa.” Puppet Closeups: o) The two Woodsprite mobiles deployed at the end of 19-foot poles each contain 20 illuminated “seeds.” o) The puppeteers are equipped with microphones and make their own animal sounds for perfect synchronization with their movements. ACROBATIC PERFORMANCE & CHOREOGRAPHY ------------------------------------ One of the biggest challenges during the creation of TORUK – The First Flight was to figure out how to portray the Na’vi in their “natural” environment in a credible way. Hence the idea of developing a different acrobatic language for this show. Acrobatic Narrative -- The creative team wanted to convey the strength, physicality and agility of the Na’vi in a setting that takes into account Pandora’s weaker gravity compared to Earth’s. Acrobatics are embedded in the storyline and the artists’ every move – from leaps and tumbles, to flips and somersaults. The stage floor was specially equipped with rebound surfaces to allow the artists to generate thrust and build momentum. During the creative process, artists had to “unlearn” movements and gestures they had spent years assimilating in their training. They had to shun the laws of human biomechanics and learn how to move like the Na’vi. This new gestural language produced what Acrobatic Performance Designer Germain Guillemot calls “a music of the body.” Over time, the artists-cum-Na’vi began to look and behave like they had just walked out of the big screen. Group Dynamics -- Each of the five clan in the show has features and skills that sets it apart from the others. To reflect this, the creative team assigned a distinct performance or movement signature to each clan. o) Omaticaya – Giant Loom & Vines: The giant loom that holds a special place in the everyday lives of the Omaticaya doubles as an apparatus. Artists climb up the structure and leap from one bar to the other, performing moves that borrow from various aerial acrobatic disciplines. o) Anurai – Thanator Sculpture: An apparatus that recalls the skeleton of a Thanator – Palulukan in the Na’vi language – was created for the noble Anurai. The artists climb on the structure and perform a balancing ritual in its honor. o) Kekunan – Kites: The art of indoor kite flying is used to evoke a colony of Mountain Banshees during the scenes featuring the Kekunan, a clan that lives near the creatures’ breeding ground high up in the mountains. In certain scenes with Ralu, Entu and Tsyal, the kites become characters in their own right. o) Tipani – Poles and Staffs: Valiant warriors, the Tipani are deft at manipulating poles and staffs during symbolic or ritual battles. o) Tawkami – Pandoran Flora: As for the Tawkami, proficient botanists known for their vast knowledge of plants and their healing properties, the oversize flora of Pandora serves as a showcase for the clan’s special abilities. Searching for potent seeds, Tsyal climbs up the pistils of an enormous flower suspended from above and performs moves that have all the earmarks of an aerial silk act. During the Tawkami scene, members of the clan celebrate the harvest by performing a balletic “floral” choreography: they manipulate banners made of ultralight fabric that evoke colorful leaves, plants and flowers, creating huge volumes that flow and undulate gracefully in space. Choreographing Life on Pandora -- During the creative process, co- choreographers Tuan Le and Tan Loc spent a lot of time with the cast exploring the show’s physical and acrobatic vocabulary in order to help drive the emotional momentum of the narrative. Using the film AVATAR as a creative springboard, they drew inspiration from the energy of the Na’vi to spark the creativity of the cast. Their goal was always to create individual or ensemble movements that look and feel “authentic” in order to persuade the audience to suspend disbelief. Actress and former competitive gymnast Julene Renee was brought in to teach the artists how to move like the Na’vi. Known for her role in James Cameron’s AVATAR, she also worked with the actors of the film as a movement coach. Not only did Renee teach the artists the basic catlike movements of the Na’vi, she also explored with them the philosophy, language and sounds that are part of daily life on Pandora. MOVEMENT: KITES --------------- In the show, vigorous multicolored kites glide gracefully up above then swoop down, banking hard right and left in the blink of an eye, rising up again in power climbs before falling into spins and pulling out mere inches from the ground. On stage, these ingenious contraptions are the physical manifestations of the Banshees that roam the Pandoran sky. In essence, the kites in the show are the avatars of these winged predators. They are not mere tethered constructions; they are creatures of Pandora involved in the story. As such, they need to connect with the audience on an emotional level, particularly during the scenes with the trio. Kite Closeups: o) There are 18 kites in the show: 6 quads (kites equipped with four- line), 11 kites on poles, and 1 giant traction kite. o) During the scene in the Hallelujah Mountains, the 64.5-square-foot giant traction kite flies out over the audience. Spectators sitting up close can feel the gust of wind the kite makes as it whooshes by overhead. o) Traction kiting is an extreme form of kite flying. A traction kite is typically large enough to pull a vehicle on land, snow, ice or water. Since there is no wind indoors, it is the flyer who must generate the energy required to fly the kite. Interestingly, a traction kite that is flown indoors has the ability to glide forward just like a paper plane. o) During the Kekunan Clan scene, a group of 12 kite flyers perform simultaneously on stage. THE NA'VI SOUND (MUSIC) ----------------------- Composers and Musical Directors Bob & Bill had to meet the challenge of creating otherworldly music that captures the vibe of Pandora, in addition to composing cinematic-sounding transitions between scenes that blend perfectly with the “Na’vi” sound. The composers lugged their equipment out in the woods to record the beats for the show’s soundtrack in order to achieve as natural and organic a sound as possible. Instead of using drumsticks to compose the different rhythmic patterns, the composers used objects or phenomena in nature – footsteps on dry leaves, a stick hitting the trunk of a tree, a branch slapping the ground, etc. Many of the beats recorded in the woods were used as is, and not as mere samples doctored in the studio. In addition to coming up with an overall show sound, Bob & Bill created a specific signature for each of the five clans, each with its own theme, timbre, instruments and voices. Even the fierce predator Toruk has its own unmistakable two-note theme. The composers turned to Paul Frommer – the linguistics expert who invented the Na’vi language for James Cameron’s AVATAR – to translate into Na’vi the lyrics to all of the songs written for the show. Bob & Bill also drew inspiration from the musical instruments and theory explained in-depth in the Pandorapedia, James Cameron’s official field guide to the world of AVATAR. TORUK-THE FIRST FLIGHT CDSMCD-10052 01: "Omaticaya Clan".............. (4:29) 02: "Lu Aw Navi".................. (4:38) 03: "Shaman Story"................ (4:40) 04: "Tawkami Clan"................ (4:03) 05: "The Anurai Clan Sanctuary"... (4:23) 06: "Viperwolves/Timpani Clan".... (4:18) 07: "Direhorses".................. (4:22) 08: "Kekunan Clan"................ (4:00) 09: "Hallelujah Mountains"........ (4:00) 10: "The Toruk"................... (4:47) 11: "Luminous Reunion"............ (4:09) Run Time: 47 minutes Music Closups: o) For the forest-dwelling Omaticaya, wood instruments, flutes and the everyday sounds of the village were used to create beats. o) World renowned countertenor Daniel Taylor lent his voice to create the signature sound of the noble Anurai. Hollow sticks were used to create beats associated with these hunters who live in an animal sanctuary littered with animal bones. o) A female singer and a male percussionist perform live on stage along with the pre-recorded soundtrack that makes up the show’s soaring cinematic score. NA'VI SPOKEN IN THE SHOW ------------------------ Oel ngati kameie. | I see you. Stä’nì oet, txo tsun! | Catch me if you can! Mawey, ma prrnen, mawey. | Calm down, my child, calm down. Uvan si mì sengo alahe, ma eveng. | Go play somewhere else, children. Pxoeng tìkangkem si ko! | Let us work! Tìng tsat oer! | Give it to me! Ngaru fì’ut! | Here it is. Vitrautral! Vitrautral! | The Tree of Souls! The Tree of Souls! Ngari frawzo srak? | Are you all right? Oe ngar srung sivi ko. | Let me help you. Lu hasey. | It is finished. Ma Tsahik! Ma Tsahik! | The Shaman! The Shaman! Fko kxap si Vitrautralur! | The Tree of Souls is in danger! Zene pivllhrr ayolo’ur alahe! | We must warn the other clans! Kä tsatseng… nga ne tsatseng… Kivä! | Go there! You, over there! And there! Go! Ma Entu! Kempe si nga fìtseng? | Entu! What are you doing here? Tätxaw ne kelku! | Come back home! Fwa fìtsengmì ’ì’awn lu lehrrap! | It is dangerous to stay here! Kawkrr! Oe kawkrr ke tätxaw! | Never! I will never go back! Toruk nì’aw tsun srung sivi fte Vitrautralit zivong. | Only Toruk can help to save the Tree of Souls. Oel ngati kameie. Oeru syaw Ralu. | I see you. My name is Ralu. Oeru syaw Entu. | My name is Entu. Fyape fko syaw ngar? | What is your name? Oeru syaw… Tsyal. Lu oe hapxìtu Tawkamiyä! | My name is… Tsyal! I am a Tawkami! Lolu moeyä Tsahìkur äie. | Our Shaman had a vision. Fwew moel Torukit. | We are looking for Toruk. Fäza’u! | Come aboard! Irayo! | Thank you ! Irayo, ma Tsyal! Oel ngati tse’eia nìmun. | Thank you, Tsyal! I am happy to see you again. Sran! Tse’a nìprrte’ nìtxan. | Yes! Very happy! Tìng nari, tanhì a tswayon. | Look, a shooting star. Lu lor. | It is beautiful. Lu lor poe. | She is beautiful. Ma Palukan! | Thanator! Kä neto, ma Palukan! | Go away, Thanator! Aynantang! | Viperwolves! Tul! | Run! Tul fte rivey! | Run for your life! Pxenga! | You! Pxengal tok kllpxìltut ayoeyä! | You are in our territory! Kä mefo pxengahu ne sray pxengeyä. | We will escort you to your villages. Za’u! | Come! Za’u, ma pa’li! | Come, direhorse. Fìtxan yaymak menga lu. | You are so foolish. Tsurokx awnga fìtseng fìtxono. ! | We stop here for the night. Tsun oeng fäkivä sìn tskxe. | We can climb on the rock. Kin awngal Torukit! | We need Toruk! Mefo lu ftxawneytu. | They are the chosen ones. Srung si pxoer(u)! | Help us! Tìsrese’a! | The prophecy! Awnga zene kivä peseng? | Where do we go? Ne taronngip Torukä. | To Toruk’s feeding ground. Tsyivìl ko! | Let’s climb! Toruk Makto! | Rider of the Last Shadow! ------------------------------------------------------------ LOOK BACK: Guy Laliberte's Poetic Social Mission PART 6 of 8: "Departure for Baikonur" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ Six years ago, on September 30, 2009, a civilian became a spaceflight participant aboard Soyuz TMA-16, a manned flight from the Baikonur Cosmodrome in Kazakhstan to and from the International Space Station (ISS). Joining two members of the Expedition 21 crew – Russian cosmonaut Maksim Surayev (Commander, from the Russian Federal Space Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer) – was Guy Laliberté, who paid approximately $35 million USD for his seat through the American firm Space Adventures, becoming the first Canadian space tourist in the process. Besides fulfilling a life-long dream, Laliberté’s spaceflight was dedicated to raising awareness on water issues facing humankind on planet Earth, making his spaceflight the first – in his words – “poetic social mission” in space. And much of this experience was captured on film and recently spun into a feature-length documentary entitled TOUCH THE SKY. While the documentary is a compelling visual look into the experience, the adventure was also captured by Laliberté himself in the form of an online journal. At the time these events were originally taking place, we here at Fascination were more concerned with the happenings here on Earth – with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL – so we didn’t give much thought to this endeavor. However, thanks to the recently discovered documentary (the aforementioned TOUCH THE SKY), we recently re-discovered a text-copy of this journal in our archives, which allows us to explore this extraordinary time in Cirque du Soleil’s history in more detail. Thus in this series we’ll be taking a look back at Guy’s Poetic Social Mission through his eyes, from the journal, in monthly installments, taking you through the initial steps Guy undertook all the way through to the launch and landing. In Part 1, "The Countdown Begins" we listened as Guy took us through his first steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and passed a few essential tests. In Part 3, "Getting My Hands Dirty", Guy gets down into the nuts and bolts of his training. In Part 4, “From Training to Reality”, Guy gets a bit more hands on with the actual equipment he’ll be flying in. In Part 5, “T-30 Days and Counting”, Guy rushes to complete his training with only a few precious days remaining until lift-off. And now we continue with September’s logs, and Guy’s departure to the Baikonur Cosmodrome, Russia’s launch facilities located in the desert steppe of Kazakhstan. # # # POST 73 | DAY 174 - SEPTEMBER 17, 2009 DEPARTURE FOR BAIKONUR On Thursday, September 17, we started the day with an official ceremony that involved a series of champagne toasts with the astronauts and their family, the main instructors and the Star City officers. Some were drinking vodka, but I stayed away from it! The official photo was taken in front of one of the Star City monuments with members of the press until it was time to leave for the airport – escorted by military police! There were two planes: one for the main crew and certain officers, and another for the backup crew, my coordinator and part of my film crew. The flight lasted about 3 hours during which more vodka glasses were raised to this and to that! Luckily, I was able to discreetly escape for a little power nap on one of the couches. Phew! As soon as we landed, we were greeted by the Baikonur officers. Members of the press were also present and more pictures were taken. We then waited in the bus for the passengers of the second plane to land and get on their bus. These buses will be transporting us during our entire stay here and they are specially designed to meet our needs (for example, there is an air inlet for our spacesuits). We checked into our rooms and barely had time to unpack our luggage that it was already time for dinner. During the meal, we were also given information on what to expect here. I then went back to my little room and slept for 8 hours. My, that felt good! * * * POST 74 | DAY 175 - SEPTEMBER 18, 2009 TRYING THE SOYUZ ROCKET On Friday, September 18, after our breakfast, the buses brought us to the area where our Soyuz has been assembled. The atmosphere there was a bit odd, very much like a hospital, with everyone wearing medical face masks and lab coats. (There’s no fooling around with germs!) We put our training suits on and sat down in a little room while one of the officers explained to us, on the other side of a glass panel, what our activities would be in Baikonur. Members of the press were also present. First, we (the main crew) were led to a large hangar where all the dismantled pieces of the Soyuz and the habitation module are kept. We slowly started discovering our cabin, which would be our new home for a little while. This was a very emotional moment. Even more so watching Max. He’s been training for this moment for 12 years and he was like a little boy who’s finally received the Christmas gift he’s been wanting for so long! We were briefed by the person in charge of the Soyuz, who handed us a list of things to do. Max and Jeff first went downstairs to verify a few things, then all three of us went into our Soyuz with our checklist in hand. We were glancing at each other like little boys, so happy to be living these moments. When it was time for lunch, it was the backup team’s turn to go through the same operations. After lunch, we performed a first leak check of our spacesuit, and then a second one, with our spacesuits on this time. We tested our seats, verified a few things on our checklist, then the backup team took over to repeat the same steps. While they were doing this, we had meetings concerning our payload, the telephones, etc. During all this, our doctors follow us wherever we go and keep anyone from coming into contact with us. An odd little group of chaperons! At least, they let us alone for our 2 hours in the banya (both crews, without Barbara!). We received such a lashing that Jeff and I still bear the scars! We then had dinner in the canteen, the only place where we’re allowed to eat. The others eat elsewhere and must have their temperature taken every morning before coming into contact with us. * * * POST 75 | DAY 176 - SEPTEMBER 19, 2009 THE RAISING OF THE FLAGS CEREMONY On Saturday, September 19, we were entitled to a late breakfast, followed by the flag-raising ceremony with local authorities. It was a solemn moment during which both crews raised their flags, as well as the Kazakhstan (Baikonur) flag. For our crew, this meant Russia for Maxim, United States for Jeff and Canada for me. We took a few pictures and had a brief press conference. I’ve started my training and my medical: a 30-minute tilt-table test along with the famous rotating chair—EVERY day (my worst nightmare!). In the afternoon, we continued training by going over each step (flight plan, safety, etc.). Our doctors also explained to us why we have been put in quarantine and what they expect from us. Each of us submitted our wish list (more fruit in the morning, being able to bring our own bottle of wine at dinner, seeing our family before lift- off, etc.) then promised that we would faithfully follow their instructions. And so, that evening, we drank a nice little bottle of wine! After dinner, I talked with my oldest son who told me how well he did at his go-kart race. He was thrilled (and so was his dad!) to have won his first race of the year. I was very proud of him. The doctors added levers at the foot of my bed so that I can sleep upside down and without a pillow. It took me a while to fall asleep because the blood was rushing to my head. I also woke up a few times with the feeling that I had turned over in my bed. I’m so glad I’m not a bat! Oh, by the way, I forgot to tell you! They change our bed sheets every day here and I was quite surprised to discover that, 2 days out of 3, I got exactly the same sheets as in Star City. You’d think that there’s only one store in Russia! * * * POST 76 | DAY 177 - SEPTEMBER 20, 2009 LIFT OFF IN 9 DAYS Sunday, September 20, was a very special day. My father, Gaston, turned 80! Happy birthday dearest dad! I woke up that morning feeling slightly stuffed up, which worried me. The doctor reassured me by explaining that this was a normal consequence of sleeping upside down. Phew! My day was relatively quiet so I took this opportunity to work out and do some interviews with my film crew. Each time they come and see me now, they have to get their temperature taken, wear a mask and keep a distance of at least 2 metres. Not the warmest of get-togethers, but quite amusing! I had another relaxing sauna in the evening and a good glass of wine. I tried to listen to how I was feeling deep inside and noted that what made me happy was my ability to concentrate and prepare myself mentally. And even though everything I’m living right now is very stimulating, I feel very calm and at peace. Jeff, Max and many others never hesitate to share information with me and I’m all ears when they talk. They tell me to walk a lot, eat well, rest well and so on. During my spare time, I watch films and documentaries on space to fully absorb myself in this environment and atmosphere. I’m so very much looking forward to the coming week. I’ve been told that it’ll be a relatively quiet one since it’ll really only get busy starting Friday. It’s crazy to think that in 9 days, I’ll be taking off. I truly am living a dream! What’s more, in such a desert as Baikonur, I’m reminded of the importance of water once again. And so, fulfilling this dream will take me a step further in reaching another objective: raising everyone’s awareness about this precious resource. * * * POST 77 | DAY 180 - SEPTEMBER 23, 2009 TRYING OUT THE SOYUZ VESSEL Monday to Wednesday (September 21 to 23): Our days at Baikonur blend into one another, as we fall into a light little routine for the week. In general, we eat breakfast at 10:00 a.m., followed by an information/review meeting and video presentation. Max and I do 30 minutes of tilt table and rotating chair. Since the rotating chair doesn't agree with me, I was able to negotiate with my doctor to do it only every two days. Yay! An hour a day, we have a signing session to autograph pictures and posters. I have never signed so many autographs in my entire life; boy, I don't envy the stars, not one bit! I honestly think I've signed thousands of them. It's part of the local tradition, whereby people like to collect pictures, posters, badges, flags, etc. It's also a way for us to thank everyone involved for all their support and hard work. Then, we usually have a bit of free time to work out and go for a stroll in the garden (which is highly recommended to us). We wrap up with a steam bath (bania) around 6:00 p.m., a little game of Russian pyramid and a beer. We come back for dinner and everyone enjoys the good wine I brought from my personal wine cellar! We have some great discussions all together (main crew and back-up). Still, we have to eat quickly because we're on a strict schedule, with everything timed to the minute! In the evenings, my routine is to read La Presse and Le Journal de Montréal and to surf the web to find out what's happening in the world. I also do interviews with the media and my documentary crew, and I take advantage of my time alone to read all the magazines I get and don't have time for during training. Of course, I also have work sessions with Fernand and make a few calls to make sure that the event on October 9 will run smoothly—everything seems to be falling into place. The weather is nice and warm during the day and cooler at night. As you know, we are holed up in a specific hotel with all the support staff. On site, there is a small bar, ping-pong table, and garden with a view of the steps and river at the very end of the grounds—it's peaceful. From time to time, you can hear a dog barking, but up to now, I've only heard a mosquito buzzing in my room once. I'm slowly working my way through the 3rd season of Heroes; I usually fall asleep while watching a show. Every night, I wake up feeling as though I've been swivelling in my bed. But I don't dream of space aliens kidnapping me or hiding under my bed, so I can at least be thankful for that! ;-) * * * POST 78 | DAY 181 - SEPTEMBER 24, 2009 MEDIA DAY On Thursday, September 24, we had our media day. Journalists were invited to spend a very busy day watching how quarantined astronauts live (with our doctors standing close by, of course!). As a result, they got a peek of our meetings, video presentations, simulations and so on. It actually gave me the opportunity to do a docking on the simulator as my two shipmates watched attentively and proffered sound advice. The journalists then looked on as we played pool and ping- pong, and saw us agonize through the tilt table and rotating chair. In the afternoon, we planted a tree along the garden path—a tradition that started with Yuri Gagarin. Since then, every cosmonaut has planted a tree before launching into space. I planted one made of clown noses, to add a little colour to the path! We then had a series of interviews with the press. All in all, our day was packed, but nothing out of the ordinary. We ended the day with a BBQ (with both crews). I don't know if it's our fresh astronaut blood or the smell of the shashlik, but there was a mosquito infestation as the sun set. Maybe our doctors had something to do with it. . . Either way, it worked! We were back in our room and to our regular routine in no time! A little anecdote about the rotating chair: This week, I told my doctors just how deeply I hate this exercise. I don't understand why they insist on putting me through something that leaves me feeling miserable and sick. It won't stop me from being sick in space, so why even bother with this on earth? I was told that I need to be prepared mentally, but believe me, this exercise does nothing to lift one's spirits! To my great pleasure and relief, they've taken the rotating chair off my schedule. * * * POST 79 | DAY 182 - SEPTEMBER 25, 2009 SECOND VISIT TO OUR CAPSULE Friday, September 25, was just a regular quiet day. On the other hand, Saturday, September 26 was a big day. We woke up early to visit our capsule for the second time and do a final check. It started with explanations of the experiments we will be conducting in space. We had more discussions with the committee and the traditional drink with the directors. We also enjoyed little cookies, little cakes and little sandwiches. We then went to the huge building next door, the one that houses all the parts of our Soyuz spacecraft. It's pretty impressive! The parts are now assembled, but the Soyuz itself is still in three pieces. Everything is packed and ready to go! We also took the traditional museum tour given by the museum director, and we signed the official books. We got to visit Yuri Gagarin's old house, as well as the houses where other cosmonauts lived in quarantine at the time. We ended the day brilliantly with our last bania for a while (boohoo!). . . so we made the most of it! * * * POST 80 | DAY 184 - SEPTEMBER 27, 2009 FAMILY AND FRIENDS VISIT On Sunday, September 27, we all woke up very excited because our families, children and friends were set to arrive today. And since we are taking off in only three days, we are also in the final sprint to finish all our paperwork. The excitement in the air was palpable! To prepare them for their arrival, we started with a video of my training bloopers, which generated quite a few chuckles. Afterwards, from behind the glass, I had the opportunity to see all my guests (about 50 people in all, including my family). Everyone's skin was a bit pale, showing their fatigue after the long trip, but they were all sporting big smiles anyway! I was really happy to see them, and their support of my adventure warmed my heart. The heartbreaking side of this experience is to watch my children who want to give me a kiss, be in my arms, but not being able to due to the glass pane between us. But I was happy to at least see and talk to them and the atmosphere was quite cheerful. However, I got to see my 3 oldest outside, with my love and Julie Payette, but with a good 10 feet of distance between us. Unfortunately, they would not allow me to see the other two because they are too young, therefore more likely to transmit a virus. Later, Julie returned to the hotel with the children and Claudia and I enjoyed a tête-à-tête in the cosmonauts' private room. We had a drink, we talked ... it was a beautiful moment. Both crews then returned to our quarantine quarters to polish off our bottles of wine, our hearts full of emotion. Blast-off is just around the corner! As I told you earlier, I have had quite a bit of time since I came to Baikonur to go through my stuff; including reading the comments and questions you've posted on my blog since June 4th! During my months of training at Star City, I tried to do as much as possible in a day. I knew that there were a lot of you following my adventures on the blog but unfortunately didn't have time to read everything and especially to reply to everyone. These comments come from friends, family members, people I've met over the summer, and people I don't know and probably won't ever meet, but you all have one thing in common; in your own way, you all tell me what you think, you encourage me, ask me questions and, above all, confirm that I have made the right decision in believing that with an idea, you can touch people and raise their awareness. That is what struck me most when reading your remarks. You have followed my stories for many long weeks now; with these stories— sometimes funny, sometimes serious—I wanted you to "train" alongside me, and you have been a part of my adventure with your encouragement, your questions and your creative, inspired enthusiasm. You have written poems, songs, funny little notes and fitting remarks, and I thank you most sincerely for your generosity. Support is more than just a financial affair: often it is the little things that count. I'm pleased to see that lots of closet poets have found their voice and artists have found inspiration. I have received messages from mums who tell me that the subjects of space and water have given them the opportunity to discuss things such as sharing, poverty and sickness with their children. I am glad that the subject of my project's relevance has inspired "mini-debates" among people. I agree that questions should be raised about the cost of this project, the intentions behind it and the results that it will bring. So many questions that I have indeed asked myself. You have taken the time to read what I've had to say, to write to me and to send words of encouragement. For me, it is important that I now, in turn, read what you have to say and give you a reply. It would be impossible for me to reply to you all individually, but as I believe in the community spirit, I'm going send a message to all of you together! When I founded ONE DROP, it was (or rather, it still is) desperately urgent to do something to protect water. Our objectives target action on the ground, educational projects (such as AQUA, which several cities have expressed an interest in) and raising awareness. I could have done all that in traditional philanthropic ways or even step by step as we did with Cirque du Soleil, but we don't have 25 years to save the cause of water! And besides, I wanted a different sort of foundation, something that sets us apart and incorporates art. ONE DROP is already acting in practical terms, but in the project of going into space, I saw an innovative opportunity, reflecting the image of Cirque du Soleil and my own image, too. Of course there is an element of risk, but that's in my nature—and taking risks is an integral part of my company's culture as well. Right from the start, I knew that such a project wouldn't get unanimous support, but I was willing to take the chance. And anyhow, I wanted to go into space! The stars seemed to be perfectly aligned so that I could take my gang at Cirque and ONE DROP along with me. What's more, the international coverage we are getting at the moment seems to support the fact that it's the right thing to do; I wouldn't have been able to reach so many people so quickly by doing things the traditional way. Beyond the audacity of the project, I know that this mission is upsetting some of you from an ecological point of view. I am already committed to respecting the environment in my everyday life, so of course I was worried about offsetting my carbon footprint for my flight into space. Celebrating the 25th anniversary of Cirque du Soleil in the same year was just perfect timing! I make no bones about it: of course this project gives the company high visibility as an events organizer. This free, worldwide event is in step with the humanitarian journey already embarked on by Cirque du Soleil. In fact, 1% of the company's income goes towards helping young people: Cirque du Monde, our status as donor to La TOHU and our assistance in the St-Michel neighbourhood—not to mention our support for young artists. As far as I'm concerned, this $35 M is another investment, one that has led to interesting partnership requests for ONE DROP. Will the end result be what we hoped for? In the short term, there are encouraging signs. In the medium and long term, we'll have to wait and see! However, I believe that the spin-off effects will make things easier for other projects out there that support the cause of water. Of course, it is thanks to my own financial situation that I have been able to experience such an adventure. And yes, I am also making a personal dream come true through this mission. I'm having an enriching experience with a fascinating community. And from your feedback, I am so happy to see that the drops are gathering together to create a magnificent wave! Not so long ago, I was counting the months, weeks, days, now it's just a matter of hours.... and I am ready! I don't know how I'm going to be able to continue my blog up there, but I'll do my best. In any case, rest assured that you will get to hear all about my life in space! Your support has given me plenty of propulsion energy, so Soyuz TMA-16 should have no trouble at all lifting off! I send my very best wishes to you all. I hope you always continue to dream and have the pleasure of reaching your stars, too. P.S. By the way, one way you can help me achieve my goal of making as many people aware about the cause of water as possible is to spread the word to everyone you know and make sure you are all tuned into the event on October 9th! Together, let's make the hugest wave possible! * * * POST 90 | DAY 185 - SEPTEMBER 28, 2009 2 DAYS TO GO - FEELING GOOD! On Monday, September 28, I was up at 5:00 a.m. so I went on the Internet and read the comments readers had left me on my mission log. Then, I had the usual quiet day: breakfast at 10:00 a.m., a signing session, a tilt-table test with Max and so on. At around 7:00 that morning, my guests attended the rollout of the Soyuz and sent me text messages on how spectacular it was. I was happy for them since the main crew couldn’t assist (but the backup team did!). During the evening, my guests called me again while they were taking part in a typically Kazakh event. Their comments made me laugh and I rapidly caught on that the vodka was having quite an effect on them! It was great fun getting phone calls from my gang all day, describing their activities and everything they were living. At 6:30 p.m., I spent 30 minutes with Claudia and my brother Jean in the garden. Then my 3 oldest sons and Julie Payette joined us, along with the Max’s wife, Jeff’s wife, and the kids. And guess what we ate? Delicious shashlik, of course! An army of mosquitoes attacked us once again but this time, we were well equipped with the right products… under our doctors’ strict surveillance! We had a wonderful evening, all thanks to them by the way. At 8:30 p.m., the kids went back to their hotel with Jean, and I was allowed another 30 minutes with Claudia. What a great day this was. * * * POST 91 | DAY 186 - SEPTEMBER 29, 2009 1 DAY TO GO - I'M SO EXCITED! On Tuesday, September 29, I woke up at 4:30 a.m. with a horrible backache, as if all the tension had built up right there. A good shower lessened the pain a bit and, with the crew, I presented myself in front of the big bosses for the commission’s last report. This is the final stage in the flight approval process and it took place behind a glass panel. (We wore our ties, of course!) On the topic of ties, during the first official event we attended, I had told Max and Jeff about my habit of “stealing” the ties of people I meet during my travels. I asked them to give me the tie they would be wearing during our last official meeting so that I could add them to my collection… and they did so good-heartedly! This was really nice of them. After this meeting, we gave a press conference for a number of journalists on the other side of the glass panel. We answered quite a few questions, with everyone in good spirits, as usual. Russian cosmonauts have another tradition as well: watching White Sun of the Desert with both crews the day before the departure. To add a little something to the screening, Max modified the poster by putting our faces on those of the 3 main actors. We even had our personalized T-shirts! This was quite a touch of humour that made everyone laugh. Once the film was over, a huge lunch awaited us. We could see that a special effort had been made to have us taste all sorts of special dishes. And I was able to visit all my kids outside. I sat in the grass, they stayed on the street, and we talked. Afterwards, Claudia and I were granted one hour together, so we sat on the picnic table and talked. These were beautiful moments filled with emotion. Max, Jeff and I had to be in bed by 8:30 that night since we had to get up at 4:30 the next morning… the big day!!! Thanks again for your good energy! # # # TO BE CONTINUED... Next month we’ll continue with “Moving Stars and Earth for Water” (On Orbit), and finishing up with “Back on Earth – Mission Success!” Stay tuned! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 16, Number 2 (Issue #145) - February 2016 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2016 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. { Feb.05.2016 } =======================================================================