======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 3 March 2016 ISSUE #146 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Wow, can you believe it's March already? Do you know what that means? Spring is just around the corner and we’re just a little more than a month away from the premiere of Cirque du Soleil’s newest big top production – Luzia. The closer we get to premiere now the more information that seems to trickle out about the show – from pictures of costumes to glimpses of the acts themselves. But perhaps the most important element about the show’s creation is the house it’s going to play in. On Thursday, March 3rd, Cirque raised Luzia’s big top in the old port of Montreal, and we had web-side seats to the goings-on there via the Snapchat and Facebook social media apps. Although we were in the dark more often than not (those technical glitches can get ya!), it was still quite exciting to speculate about the new big top’s design while we waited... would it be the traditional blue and yellow striped tent? Would it be one of the blue and yellow swirled tents instead? Or would Cirque put up something totally fresh and new, as we were lead to believe? Yes! They’ve got a brand new white tent (representing the moon) with yellow concentric circles swirling about (planets) and an all-yellow tent with white lines swirling about sitting behind it (representing the sun). In the FOTOS area of our OUTREACH section this month is where you’ll find all the links to pictures we posted from Luzia’s tent raising, as well as those little bits and bobs that leaked out over the last couple of weeks. So check them out, it's quite exciting! * * * The following evening – Friday - my wife and I had an amazing time with KURIOS here in Atlanta. OH EM GEE, it was one of the best experiences at Cirque ever – the artists were firing on all thrusters! KURIOS literally left us breathless. Nicole and I fell in love with the show at premiere, watching it take its first tentative steps in Montreal. We found it to be one of the most immersive shows to come out of Cirque in a long, long time. Everything about it seemed right – its cohesive and self-contained universe is simply perfect. I mean, there’s nothing about it that seems out of place – musically or aesthetically – that plagues some of the Cirque’s other productions. It simply works very well together. Michel Laprise, who was in attendance that evening, has put together a kick-ass show... And it's still kick-ass, if you’ll excuse that colorful metaphor. Friday night was the first time Nicole and I had a chance to catch up with the show since premiere and we couldn’t have been more ecstatic or pleased. The “new” Russian Cradle duo - Anny Laplante and Andrei Kalesnikau – we're simply fantastic together. Top notch artists! (Off course, they just won the gold medal at the Festival Mondial du Cirque de Demain – Paris.) Both our jaws hit the canvas when they came out swinging and flipping doubles right out of the gate. I even found myself holding my breath, fearing for her life on more than one occasion - a sensation I hadn't felt since Maxim "Mad Max" Levantsevich ripped off his head- dress at Varekai's premiere in 2002 and leapt between the two Russian Swings as if it were an every-day occurrence. Anny and Andrei literally gave me heart palpitations! Andrii Bondarenko's balancing on chairs routine was phenomenal as well (we saw Rokardy in Montreal) - we got a huge kick out of the Atlanta audience coming to the realization that they're mirroring the entire routine up in the cupola, which was a huge surprise for us at premiere. (The act *IS* called “Upside Down World” after all!) Rola Bola was awesome as always. I mean, what else can you say about his act? There aren’t enough adjectives in the English language to describe what he does. He *IS* the fearless aviator! Eirini Tornesaki sang brilliantly, of course (we love her). Kit Chatham and the rest of the 11:11 Clown Voodoo Band was in excellent form too. The casts of the Acro Net and Banquine numbers were living it up as always (and managed to make me ask: what on earth are they doing?!) Anne Weissbecker, and the Siamese Twins took to the air dazzlingly in their acts, as they do. Nico and his hand puppets were excellent. And the clown was as funny as ever with his Invisible Circus and Animal Mime routines. But out of the entire show there was one performance we hadn’t the opportunity to see at premiere: “the yo-yo guy”. I wasn’t sure what to expect out the routine at first, because when he takes the stage and brandishes a simple yo-yo, you can’t help but wonder what kind of simple filler performance you’re about to receive. What can you do with a yo-yo to make it Cirque-y, you know? Well, hellooooo! Let me assure you this is not play-time; we're far from "Walking the Dog" and "Around the World" here. He came out with some skills, man! We were watching 1A and AP World Champion Tomonari "BLACK" Ishiguro, who left his highly successful yo-yo competition career to focus on performing arts. He managed to impress Cirque du Soleil during an audition back in 2009 and here he is, living his dream in Kurios, where Ishiguro is nothing short of phenomenal! And I wasn’t the only one impressed… the entire audience fell under his spell as well! At the end of the performance we exited the Grand Chapiteau so euphorically high we could barely contain ourselves. I could have gone to see Banana Shpeel right after and proclaimed it the second-best thing ever without skipping a beat! (I must be joking!) So a huge heart-felt thank you to the cast and crew of KURIOS – you guys rock! * * * The press in Las Vegas have been busy this month covering all the changes to LOVE - both musically and acrobatically. We've collected the most relevant pieces from the Las Vegas Sun, Las Vegas Review- Journal, and Las Vegas Weekly into one piece in our FEATURES section for your perusal. However, should you not be interested in reading through all the Q&A's and other reviews for details, here's the TL;DR (if you'll forgive the internet parlance) version; a summary: - Every aspect of the show has been looked at and touched. - There's going to be a lot of new projection content. - Choreography, costumes, and lighting have been addressed. - The show is going to be brighter, more colorful. - "I Am The Walrus" is out, "Twist and Shout" is in. - "I Want You" is also being added, with choreography. - Choreography for "Yesterday" has been updated to acrobatics. - "Revolution" and "Hold Your Hand" have more trampoline, more acrobatic flips, and more set pieces. - They're about 70 percent complete with the changes, which have gone live February 25th. - More changes and tweaks will come in as the show nears it's 10th anniversary celebration this July. - Musically, the show has been totally remixed again. - All of the seat speakers were replaced to accommodate new technology. There's plenty more to read about Cirque in this month's issue too: with the debut of the new E-boutique we thought it was time to have a talk with Cirque about merchandise. So Keith reached out to Ann Paladie, Las Vegas PR Director, who put him in touch with Audrey Tillman, Director of Merchandising and Operations, Resident Shows Division, (Las Vegas). You won’t want to miss their conversation. And we continue to explore Guy Laliberte’s Poetic Social Mission with “Moving Stars and Earth for Water”. And more! 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 * "Extending the Experience: A Conversation about Cirque Merchandise" (Part 1 of 2) By: Keith Johnson - Seattle, Washington (USA) * "Getting Better? Inside The Beatles LOVE Changes" A Special Collection of Articles from the Press * LOOK BACK: Guy Laliberte's Poetic Social Mission PART 7 of 8: "Moving Stars and Earth for Water" By: Ricky Russo - Atlanta, Georgia (USA) o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Lúzia Posts a Few Costumes {Jan.02.2016} ------------------------------------------------------- Lúzia’s Facebook page posted up a very interesting teaser today – images of costumes sketches made for the show! And the image gives us a good idea of what kinds of acts we’ll see in the show. LINK /// < http://www.cirquefascination.com/?p=7499 > Notice: o) Hoop Diving o) Adagio o) Cyr Wheel o) Trapeze o) Hand Balancing (Equilibre) o) Football Dance o) Chinese Poles o) 360 Degree Swings o) Swing to Swing o) Aerial Straps o) Juggling o) Fish Parade { SOURCE: Cirque du Soleil } Cirque du Soleil’s Growth Strategy: 45 Degrees {Jan.11.2016} ------------------------------------------------------- Cirque du Soleil’s growth strategy under its new private equity owners centres in part on pushing the expansion of an in-house production business whose latest show uses no performers at all. The name of the unit is 45 Degrees, Cirque du Soleil’s corporate events and special projects division. Earlier this month, a show it produced for the Futuroscope leisure park opened in France. The novelty: Creators use a series of projections mixed with water and sound effects to tell a story without a single circus performer. There will be none of the traditional trapeze artists and contortionists the celebrated Cirque is known for in the 300 shows for Futuroscope. No jugglers or fire breathers. Just one actress walking around a 75,000-square-foot water stage and a whole lot of ingenuity and technology. It’s the first time the Cirque has developed a show without any circus performers, says 45 Degrees head Yasmine Khalil. “[This is the type of] vision we have of developing new types of content and pushing a little bit the limits of our creativity,” Ms. Khalil said in an interview ahead of another show the special events producer is putting on this weekend for the NBA All-Star Game in Toronto. That show, a five-minute spectacle during player introductions, will feature acrobats and dancers. Seven months after private equity firm TPG Capital took control of Cirque du Soleil with minority partners Fosun Capital Group and the Caisse de dépôt et placement du Québec in a $1.5-billion deal, the famed circus troupe has mapped out its strongest prospects for growth. One piece is jumping into new geographies, including Asia. The other is leveraging the Cirque brand and talent into money-making opportunities outside the scope of its core arena and touring shows. Enter 45 Degrees. Started about 15 years ago as Cirque’s marketing arm, the special events producer was spun out in 2014 as part of Cirque founder Guy Laliberté’s effort to recalibrate resources after a dismal financial performance two years earlier. With stated sales of between $25-million and $30- million for 2015, the wholly owned subsidiary is now aiming to quadruple that to at least $100-million by 2021. If it gets there, it would become a much larger part of Cirque’s overall business and profitability. In its infancy, the production house organized Cirque du Soleil show launches and staged private performances for the troupe’s sponsors. When the team created a performance for the Academy Awards in 2002, the business really took off. “I think what people saw there was the ability we had to create something from scratch and not just send in an act, a juggler, but actually take a theme, take somebody else’s message and objective and turn it into a performance,” Ms. Khalil said. Soon the phone started ringing constantly. Microsoft Corp. tapped 45 Degrees for the launch of its Kinect device. Fiat wanted help promoting its Bravo car. Even Andorra came calling; the group created an exclusive show for the Pyrenees principality to help bring in tourists during its slower summer months. The company now gets about 1,500 requests a year big and small, of which it rejects 90 per cent. Its minimum contract price, negotiated with clients, is about $400,000. Other gigs have included a two-hour opening ceremony show for the Pan Am games in Toronto and the half-time show at the 2012 Super Bowl. If there’s a problem with the business, it’s that it has largely relied on a series of one-time events, said Mitch Garber, Cirque’s chairman. That’s starting to change, as Ms. Khalil strikes longer-term deals, such as the one for a continuing dinner theatre show for Mexican resort operator Grupo Vidanta and a separate agreement with cruise line MSC Cruises. “If she can duplicate a recurring revenue stream and keep the major global events, then I think you have a business that will stand very solidly on its own,” Mr. Garber said. “We don’t shy away from the fact that we need to increase profit and grow the [Cirque’s overall business].” More than a profit opportunity, 45 Degrees is also a kind of incubator where Cirque can try out performers and ideas for its larger shows, said Patrick Leroux, a Concordia University professor who founded a Montreal working group on circus research. As with Cirque’s other subsidiaries, such as multimedia design firm 4U2C, it feeds into and draws from the larger Cirque mother ship, Mr. Leroux said. “In the long run, I think that this allows for a greater diversity of artistic and economic activity within the Cirque du Soleil group. They don’t have to rely on that one show doing really well. They now have various things going on.” { SOURCE: The Globe and Mail | http://goo.gl/5kcYDd } Pictures of QUIDAM’s Last Load-In {Feb.16.2016} ------------------------------------------------------- Via Quidam’s Facebook Page: Ladies and gentlemen, for the first time ever in Christchurch and the very last time in the World, our remarkable crew loaded in QUIDAM. It took the team of 21 Cirque technicians & 60 local stagehands 10 hours to unload the 20 containers and install the 39 tons of equipment required to create the world of Quidam at the Horncastle Arena. LINK /// < http://www.cirquefascination.com/?p=7562 > { SOURCE: Cirque du Soleil } Beatles LOVE Performer Hurt After On-Stage Incident {Feb.23.2016} ------------------------------------------------------- A performer involved in the Cirque du Soleil production of The Beatles LOVE was sent to the hospital Monday night after an on- stage incident. Ann Paladie, public relations director for Cirque du Soleil, said a dress rehearsal for the show inside the Mirage hotel-casino on the Las Vegas Strip had to be stopped due to an injury to one of its artists. The performer was in stable condition and transported to University Medical Center for treatment as part of Cirque’s standard safety protocol, Paladie said. The company did not elaborate on the nature or the cause of the artist’s injury. The dress rehearsal was part of The Beatles LOVE’s revamping of its show ahead of its 10th anniversary this summer. An updated production is set to debut Thursday, but dress rehearsals were taking place ahead of it. The on-stage incident required the production to stop without resuming on Monday night. UPDATE: The Cirque du Soleil performer who fell about 20 feet during a limited-access dress rehearsal Monday night is on the mend, officials said. The performer fell through a hole on stage and was taken to University Medical Center, per the show’s standard safety protocol. The rehearsal was stopped and did not resume that night. The second dress rehearsal is still on for Wednesday as originally scheduled. It is not clear if the injured performer would be able to take part in that show. The new “Love” show will debut to the public Thursday. Another Fall – at Zarkana! {Feb.24.2016} ------------------------------------------------------- A Cirque du Soleil performer fell Tuesday night — just one day after a performer at another Cirque production fell during a dress rehearsal Monday. The Tuesday fall happened during a 9:30 p.m. performance of “Zarkana” at the Aria, and the performer was taken to University Medical Center per the company’s standard safety protocol, spokeswoman Ann Paladie said. She did not explain the extent of injuries but said the performer is in stable condition. “Zarkana” was stopped briefly after the fall, but Paladie said the show resumed shortly after. { SOURCE: Las Vegas Review-Journal | http://goo.gl/an8o88 } CirqueCast is Here! {Feb.25.2016} ------------------------------------------------------- What is CirqueCast? CirqueCast is a Vodcast (that’s video podcast) for Cirque fans by Cirque fans – featuring artist interviews, Cirque headlines, and the inside scoop to your favorite Cirque du Soleil shows! Join your hosts José Pérez (TheChapiteau), Richard “Richasi” Russo (Fascination!), Ian Twitch Rents (Hardcore Cirque Fans), Dario Shame, and Grant Palmer, as we bring you a behind-the- scenes look into Cirque du Soleil, complete with discussions and the latest Cirque news. Our first episode is now available! EPISODE 1 – LIVING IT UP AT LA NOUBA Join us for a behind the scenes look at La Nouba, Cirque du Soleil’s resident show in Orlando, FL. Also get updates on what’s going on at Paramour and Toruk, along with other Cirque headlines. And as a special treat, find out how you can get an exclusive look into the 1987 tour press kit. This and much more on our premiere episode! VIDEO /// < https://youtu.be/ViiGoQu-Yms > Follow us on Instagram, Twitter and Facebook for even more exclusive content! o) Website — http://www.cirquecast.com/ o) Facebook — https://www.facebook.com/CirqueCast/ o) Twitter — http://www.twitter.com/CirqueCast o) Instagram — https://instagram.com/CirqueCast o) YouTube — https://www.youtube.com/CirqueCastShow More to come! { SOURCE: CirqueCast } Young Dancers Set to Steal Spotlight at ONOD {Feb.26.2016} ------------------------------------------------------- Two youngsters are set to steal the “One Night for One Drop: Quest for Water” benefit show staged by Cirque du Soleil despite the fact that the big star power will shine with Grammy- nominated singer-songwriter and pop princess Leona Lewis. Audiences will leave the Smith Center on March 18 after they’ve seen Miles “Baby Boogaloo” Brown and Fremont Street Experience performer Drew “Redtro” Arce saying, “A star is born.” In advance rehearsals, hardened showbiz execs and veteran performers were mesmerized by the extraordinary contortions of street-dancer Drew and captivated by 11-year-old Miles, Jack Johnson on ABC’s hit comedy “Black-ish” starring Anthony Anderson and Tracee Ellis Ross. First let’s meet 16-year-old Redtro, who takes the bus daily to Cirque rehearsals. “I’m dedicated, man,” he told me in the Zarkana theater at Aria. “I actually just got a car and now I have to get my permit, but from the beginning of rehearsals, I was taking the bus, then going back to make money dancing on Fremont Street.” He started his unique dance moves on Fremont Street when he was 12 and saved all the money thrown by pedestrians into his bucket to put himself through school and now four years later admits: “I could buy a couple of cars. I used it wisely. I didn’t want to waste it on stupid stuff. I wanted to invest in stuff that would make me better and help me grow in what I love to do.” His act is freestyle: “I started off as a classical dancer. I took ballet, contemporary, jazz, I took all of that, then I gradually went into this freestyling, and I taught myself everything I know. I taught myself to do the contortionism, I taught myself popping, locking. Everything I know, I taught myself.” Redtro moved to Las Vegas with his father and younger brother from Brooklyn, New York, to go to the performing arts K.O. Knudson Middle School. “They accepted me because I came to Las Vegas strictly to dance,” he said. I asked him when he discovered his unique contortionist talent: “To be honest with you, I taught myself that, as well. It was a lot of stretching and yoga. I taught myself the stretches, and I did them daily. It doesn’t really hurt except like the day after if I’m sore. That’s the only time. But with my arms twisted like this behind me, I could throw myself out. “You just called me rubber bones, but basically I’d seen contortionism on TV or on YouTube or any type of social media outlet, and it was crazy to me. But I really liked it, and since I was already dancing, I felt like I wanted to add something different that not a lot of people do. “I get told 1,000 times a day that people wince when watching me twist my arms behind me, but I love it. I love that effect that it has.” I wanted to know at 16 years of age how it felt for him to go from being a street performer to joining the biggest dance acrobatic troupe in the world on their biggest night of the year. “It really makes me happy. I can’t think of anything that makes me happier other than this,” he answered. “The only thing that makes me happier than this is family and life in general, and this is second on the list. “This is beautiful to me. I want to do this for the rest of my life. This is not a dream anymore. This is real. To be honest with you, I don’t even remember my dreams. It’s all life now; it’s all real. “I hope by doing ‘One Night for One Drop’ that it leads to a full-time gig with Cirque. Definitely. I did a job at Beacher’s Madhouse in MGM Grand for a little bit, but I was also street performing at the same time, so I’m a very busy person. I like to keep myself occupied because I like to be productive. “This hopefully turns into a full-time gig. I’m already listed for ‘Michael Jackson One’ at Mandalay Bay for when I’m 18, but I want something they can give me now. I have a worker’s permit, and I’m pretty legal to work anywhere. “Like I’m working here, so there’s somewhere else I know that I can work. I just need that key. I know there are younger kids at ‘The Beatles Love,’ so I’m considering that. I’m actually in the system now for Cirque jobs.” He says that Hassan El Hajjami, director of this fourth edition of ‘One Night for One Drop,’ spotted him performing on Fremont Street. “I believed him with all my heart immediately because he was with a friend of mine. They talked to me about ‘One Drop’ and to my father, my manager. “They said they wanted me, and it would be a door to many more things because it’s a huge event. It’s going to be big on my resume. I believed him, and I just went 100 percent with it.” The director also called upon a longtime friend from when they both performed as rivals on “America’s Got Talent” six years ago. They wound up together on a European dance tour in Paris where they shot a music video together. When Hassan landed the creative and directorial duties for this year’s “One Night for One Drop,” he remembered his young friend, Miles “Baby Boogaloo” Brown, who now stars on “Black-ish.” Said Miles: “When I got the call from him for this, it was really cool. I’ve always wanted to do Cirque du Soleil. I’ve been to all the Michael Jackson shows because I’m a big fan. I just love all of the Cirque acrobats and all of their stories that they tell.” Hassan said: “Back in Morocco, my grandmother and I had to walk for water every day because there was none in her village. When I was chosen for this year’s ‘One Drop’ show, I immediately thought of my good friend Miles. “I knew that he would be the perfect representation of my younger self. We are grateful for his visible enthusiasm and willingness to star in our show.” Miles continued: “I’ve known the artistic director and creator for over six years, and we just love to dance. He called me because they needed a little boy for his story, and now I’m playing him when he was a young boy in a Moroccan village in search of water for his grandmother. “I love the story because most of it is completely true. I love lots of different stories, but especially this one because it has to do with real life. I can imagine how really hard it was to live without water. It happened to me once for a little bit. “It’s a really crazy feeling because it’s an honor to be doing Cirque on one of the stages. A real honor. I can’t wait to meet Leona. Our rehearsal schedules haven’t synched up yet. But she sent me a message saying she watches ‘Black-ish.’ I can’t wait to meet her. Everybody tells me she’s cool, a nice lady from England. “I haven’t seen the Smith Center yet where we’ll do the show. I heard it’s like an opera theater. I used to be nervous the entire time I was onstage, but now once I get onstage, it’s over. “I get nervous a few seconds, my knees are like jelly, before I go on, then I’m ready. It’s different on television because there are no nerves. We feel like a real family, and it’s really comfortable to be there.” Miles said he was 5 or 6 when he decided that he wanted to be in show business: “I was dancing before I was acting . My friend does this TV show on Nickelodeon called ‘Yo Gabba Gabba,’ and he said I could dance on it. “I did that, and I didn’t realize that I was really acting. I thought I was just dancing onstage. That converted me over to acting. I love acting, but I still dance in the meantime. I still do that. It’s really cool. “This is very exciting for me.” { SOURCE: The Las Vegas Sun | http://goo.gl/b6IxnI } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Meet: Brandon Livanos, TORUK Acrobat {Feb.04.2016} ------------------------------------------------------- Brandon Livanos started life in Rynfield, but has ended up touring the globe with Cirque du Soleil, one of the largest theatrical producers in the world. He said he feels privileged to have made a career of his passion, which started with the local Eagle Tumbling Club, where he was coached and mentored by owner Cindy McCall-Peet. “I think I always wanted to do acrobatics; since age eight when I started, I have not stopped,” said Livanos. “For me it was the only thing I ever wanted to do. As a kid I remember being obsessed with it, I could not get enough of going to tumbling classes at John Barrable Hall; I had all my friends there. It was just the most awesome place for me to be and that kind of stuck with me all my life, as I still feel that way and now my home is with Cirque du Soleil, on stage in front of thousands of people a week.” Although he was born in Germiston, Livanos described Rynfield as being his first home, where he lived until his teenage years. The traveller attended Arbor Primary School as a child and then went on to Benoni High School. After high school, Livanos focused more heavily on acrobatics, which led him to this point in his life. His mother, Gail, boasted about her son having travelled the world and explained how thrilled she is that he is living his dream. “He’s worked very hard since he was young and has achieved so much by now,” she said. Asked how his travelling career affected her, the mother said: “It’s difficult, as he’s abroad so much, but he’s coming back home for a few weeks now; he arrives on January 26.” “Life on tour can be challenging, as we move every six days,” Livanos said. He explained that the troupe arrives in a different city every Monday, with preparations lasting till Wednesday, followed by several shows from Thursday to Sunday. “We fly out of the city straight after the show on Sunday evening and repeat the cycle for 12 consecutive weeks before having a week off,” he added Livanos said he worked as a stuntman before he joined Cirque du Soleil, often doubling for actors in Hollywood movies. “I have worked on The Bang Bang Club, as Ryan Phillippe’s stunt double, on Chronicle as Dane DeHaan’s stunt double, as well as Tom Felton’s stunt double on Labyrinth,” he said. The stuntman added that he had also performed in Dredd and Death Race Three. In addition to his impressive lineup of roles in film, Livanos listed the countries he has travelled to with the circus: China, Singapore, Thailand, Philippines, Europe (most countries in the continent), Russia, USA, Canada, Australia, New Zealand and South Africa. “My favourite place, I would have to say, is probably Cape Town,” he reminisced. “I think it is one of the most beautiful cities I have ever been in and I feel there is so much potential and beauty there and opportunity for some wonderful things. “My plan is to open up a performing arts school and international circus space in Cape Town one day. “Through that I’ll help as many South Africans as possible to reach the dream I have been so blessed to live.” Livanos performs as an acrobat and two characters in the circus’s running show, Toruk – The First Flight, inspired by James Cameron’s Avatar. “The character I play is a member of the Omaticaya Clan, which is the original clan we see in the movie,” he said. “I am also a member of the Kekunan Clan, which is a group who mainly fly on Banshees, the bird-like creatures the Na’vi use to fly.” He explained the tour would take him and his colleagues through Canada and the USA until next year, when they will head to Europe and Asia. “I would like to continue my acrobatic career as long as possible, however this career does have a shelf life,” the acrobat said. “There are already future plans in the making for that day, however, I absolutely love performing and will ride this wave as long as I possibly can.” { SOURCE: Benoni City Times | http://goo.gl/y49P2H } Seven Questions for Mystere’s Brian Dewhurst {Feb.09.2016} ------------------------------------------------------- Q. You left school when you were 13 and traveled throughout the world with your family in the circus. Did you think you’d still be performing 70 years later? It’s never occurred to me not to be performing. My dad worked until his late 80s. He had a dog act, counting numbers, that kind of thing. I guess my family were long-lived performers. Q. What were those early days like? When you start in the circus, you tend to learn lots of things— juggling, horse-riding, stilt-walking, rope-spinning, acrobatics. Eventually I became a wire-walker. I did that into my 60s. I did a couple of Ed Sullivan Shows in the ’60s with dancing and comedy and falling about. They were exciting times. If you go on The Ed Sullivan Show, you know you’ve made it. Q. How did your relationship with Cirque du Soleil begin? I was performing in the opera Carmen on the wire in the opening overture, and while I was in Vancouver in 1986. I was sitting in an apartment and looked across the river, and they were setting up a tent of some kind. I walked over one afternoon, and it was Cirque du Soleil. I got free tickets because I said I was in the circus, went to opening night and was impressed. Back in England I had started an alternative circus, very much like Cirque du Soleil but on a much smaller scale. We had 12 artists, including musicians and my son, Nicky, and daughter, Sally. Sally wrote to Cirque and said if they’re coming to London, we are with Circus Senso. Cirque’s Guy Laliberté and Gilles Ste-Coix turned up in London, came to see the show and came back every night. They asked if we were interested in doing a workshop in Montreal [related to] a production called Eclipse. Production of Eclipse was canceled, but it led to Nouvelle Expérience in 1990. Q. You were the resident artistic director for Mystère when it opened at Treasure Island in 1993, and then for O at Bellagio and other Cirque du Soleil productions. How did you come to be the clown? Being on the administrative and creative side, I wasn’t enjoying it as much as performing. I felt like I ran out of energy and interest . ... The [previous clown in Mystère, a friend of mine, got a bad knee injury and wanted to leave. Cirque asked if I would be interested in taking over for him. I said, “Let me try it for a couple of months, and if you’re happy and I’m happy …” That was 16 years ago. Q. How do you maintain consistency yet keep it fresh as an artist all these years? The boredom is getting into the car and coming to work. But once you go through the door at the top of the theater, it’s almost like Alice in Wonderland. You go through that door and “Oh, it’s another world.” It’s fresh, particularly what I’m doing now, because I work with the public and I have no idea what’s going to happen. It’s just so uplifting. You stop thinking about tax returns, all the mundane things in life that one has to do. Q. In the pre-show and as one of the focal points of Mystère, have you had any recent memorable fails? I take somebody out of the audience and put them in a box [so I can] sit with his girlfriend or wife. I got this guy up and he goes, “I’m a bit claustrophobic.” So I tell him “The back is open,” I get him in and shut the box. I’m about to walk away, and he knocks and [pleads], “Let me out.” I got him out of the box and took him back to his seat because I thought he might freak out. I never would have understood this except I had an MRI shortly after. I got into this large tube and got claustrophobic and said, “Sorry, let me out.” I suddenly realized what claustrophobia is. I’ve never had it before and since then, I know what it is. Q. What’s your favorite part of the job? The unpredictability of walking somebody around [pre-show]. I love the moment when they realize I’m not an usher taking them to their seat. We might have walked halfway around the theater and they go, “Why is the spotlight on us?” I enjoy it, and hopefully that communicates to the public that this is fun—I’m having fun, I’m not the suffering clown! { SOURCE: Paul Szydelko, Vegas Seven | http://goo.gl/i2H3rf From The Past… Q&A w/Voki Kalfayan, Quidam Clown {Feb.14.2016} ------------------------------------------------------- Voki Kalfayan spent four years in a private school in the Hudson Valley, and two years studying at Vassar, before he discovered his life’s ambition during an audition for Ringling Bros. Clown College. Kalfayan never looked back. He’s spent 15 years traveling the world as a clown, actor and humorist, and he’ll be back in the Capital Region on Wednesday night in Cirque de Soleil’s “Quidam” at the TU Center. He took a few minutes to talk with AOA last week about the myth of Krusty the Clown, the difference between East and West Coast clowns, and the serious business of being funny. Q. When did you know you wanted to be a clown? I did a little theater at the end of high school. I just kind of discovered it — very accidentally. I was a day student at The Millbrook School — a boarding school — and you got to stay over for free if you were in theater, and all my friends were there and I didn’t like going home. I wanted to be at school more — which is weird — so I ended up auditioning, and at the audition I thought, “I want to be an actor.” Then I went to Vassar for a few years, and after two years of that I auditioned for Ringling Bros. Clown College, and again — kind of at the audition, not even really knowing what it was — at the audition I realized “Ahh… that’s the very specific art for that I want to do.” Q. Umm… what did your parents say? My dad is a sculptor and my mom is a graphic designer turned yoga teacher, so they were like “Oh, clown. Yeah, that’s a good one. Go ahead.” They’ve always been super supportive and the acting came from being around art all the time. For me it was just about what specific art would I follow. Q. Why? What was so attractive about clowning? I was always very frustrated as an actor because you needed a director and a writer. I always wanted to try and write my own stuff, but I wasn’t a very good writer. I didn’t have the discipline to sit down and write. I’m very instinctual and very impulsive as a performer. So at this audition they said, “We’re going to do a scene now. You and you and you are going to do a scene — go.” So instantly I was writing my own material, directing it and starring in it. And that’s kind of what clown is — you really are everything. You write direct and star in all of your own material. It’s like improv comedy but it’s less intellectually driven and more — not to be too cheesy about it — more from the heart. You develop these characters for years and even though some wear makeup and others don’t, they all kind of stem from different aspects of myself. So when I’m improvising it’s coming from a very, very deep place. I don’t have to think, “What would be funny?” I’m really in the moment, reacting in an honest way as the character I do. Q. What’s different about working as a clown in Ringling Bros. and Cirque du Soleil? In Ringling Bros. you are trained that there are 10,000 people watching you, so it is much more projecting. The whole American style of makeup comes from that — the whole grotesque style of makeup, which was influenced by European style, they did do some of that — but it really is because 10,000 people need to see your face. Cirque du Soleil is much more intimate. “Quidam” is scripted, but it keeps evolving. It’s kind of in between a play and circus. I bring people up on the stage and if someone even coughs in the audience it will change my performance so it’s different every night. I react to the audience and I absorb what they are doing so it’s different every night. Q. Are audiences different? Do things go over differently in different places? We had been in Canada and we came back and the minute we got back to the States I instantly felt this connection with the audience. The level of laughter, the level of enjoyment changed … they got it. I am so specifically an East Coast American clown. Q. What does that mean? My aggressiveness and the way I deal with the audience is very fast, very honest, very aggressive. A West Coast clown is more like a beach clown. You know what I mean? It’s like “It’s cool.” When I walk with my West Coast friends I’m always ten paces ahead of everybody. That’s not just New York City, that’s the whole East Coast… we get things done. The Midwest clowns I know play on the character of the super-nice but a little bit ignorant person. The East Coast is like “We’re it. We’re it!” Q. Does spending so much time with circus people change your idea of what constitutes normal? Ha! Yeaaahh. I think the word normal changes into something that is not really a word. Because normal is all about judging — and we all do that — we judge a lot in everyday life. “What is this person doing, what is that person doing,” lifestyles. When you do this, judgement is something you don’t do as much after a while. My clown work all comes from that — a lack of judgment. I think to be a performer in the circus is really to let go of all that. We have 102 people from 20 countries working on “Quidam” and what’s normal in the US is not normal all over the world. There’s a great story of one of the acrobats. Her sister came and visited from Russia and after two days she was like “Uh, my face hurts from smiling at everyone all the time. Everyone wants you to smile at them all the time.” And you learn that in Russian culture you don’t smile every time you see someone — that is considered a little bit fake. But for us it’s, “Hey, hey we’re all good, everyone is smiling at each other we’re all good” They don’t do that in Russia. But they shake hands. Everyone’s hands. Traditionally when you get on the bus you shake hands — every single person’s hand. Q. What misconceptions do people have about clowns that you wish you could dispel? That we’re always funny and exciting all the time, that we’re not boring. Maybe I don’t want to dispel that. (laughs). Comedy is professional — the serious business of being funny. I’m outrageous on stage, and in real life I watch movies and go to bed early. I was out with a French acrobat friend of mine. After being on a show with me for a month we were out and she was dancing and I was having one drink and she said to me, “In your life, you are kind of boring, huh?” I was like, “Yeah, a little bit.” I’m analyzing it all the time as well. Classic comedians and clowns don’t laugh at each other, they go “Hmm, that’s funny.” It’s an acknowledgment of comedy, you know — so you always have that with other clowns, it’s always, “Hmm… that was funny what you just did… yeah.” Also, the image of the scary clown. I think that comes from clowns with a lot of makeup. The scary birthday clown smoking a cigarette. “You know ,I’ve got this great job where I make balloon animals and I juggle, you know — I do that — and then I smoke.” (laughs). That whole Krusty the Clown thing, you know, they’re in it to make money, not to entertain. That really has nothing to do with the art form of clown. They’re not performers. Putting on clown makeup doesn’t suddenly make you a clown. Q. So, would you recommend this life to someone? The life of a clown? Yeah. It takes balls — that’s the overall rule. Balls to the wall — which refers to ball bearings in an airplane, you push the pedal all the way against the ball bearings, to the wall. The same commitment to going out there with nothing on stage is what it takes, the guts to do it without fearing it — or fearing it and being OK with the fear. It’s the same thing as circus life. Can you live out of a suitcase? Are you OK with that for five years — to have all of your stuff in a suitcase? Once you do it you can’t go back. { SOURCE: All Over Albany, 2011 } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- Behind the Scenes – Quidam in New Zealand {Feb.01.2016} ------------------------------------------------------- With the flags of 24 countries hanging from the ceiling and hurried conversations peppered with fragments of Russian, French, and English, it feels like I could be at the United Nations. Except there are muscular, shirtless men, tiny women in various states of undress and partially made-up clown faces looking back at me. Welcome to the world of Cirque du Soleil, where show time for the final tour of the long-running stage show Quidam is getting close. Lithe young acrobats practice on blue carpet just behind the stage curtains, laughing and chatting while they effortlessly throw and catch each other to the unlikely background noise of industrial-sized washing machines. After each performance, every item of costume that touches the skin of a performer is washed in the portable laundry lining the backstage wall, touring publicist Jessica Leboeuf explains. “It’s great for us, because we live in hotels; we have a schedule to wash our own clothes,” she says with a laugh. But back to the flags. They aren’t there just to look nice. When Quidam was taken out from under the big top into arena venues, something felt like it was missing backstage, Leboeuf says. Fluttering around the edge of the big top was the national flag of each cast and crew member on tour. It was the initiative of Australian technician Simon Fox to replicate it for the arena tours in the same deliberate order. “The Cirque du Soleil flag is in the middle, then on each side we put the flags according to how many people are represented from that country,” Leboeuf says. “At the beginning of the arena tour, it’s been kind of a flag battle between Canada, the US, Russia, Ukraine and Brazil. “Usually, if one new person joins and the flag isn’t moved, the guys hear about it and at the next city it has to be moved; we take it seriously.” As Leboeuf effortlessly navigates me around the maze of temporary dressing rooms, offices, and meal areas backstage, it’s hard to believe the show rolled into town only a couple of days earlier. It feels so established and organized – there’s even colour-coded signage. Unlike the big-top tours that are their own self-sustaining entity, where everything is packed up – even the toilets – the arena tours take an existing venue and try to transform it into the Cirque world. Conversations backstage vary from issues with immigration to the latest injury niggle or laundry woe. Although English is supposed to be the official work language, cast and crew adopt words, expressions and mannerisms from each other and many speak with hybrid accents that are impossible to pick out. “Because we are in the performing arts … we speak with our bodies,” artistic director Marjon Van Grunsven says when asked if miscommunication is ever a problem. But cross-cultural differences can throw up some challenges, Leboeuf admits. “With the eastern European cultures, you never say ‘last’ … when they are training, they’ll never say ‘one last time’, because for them it’s fatalistic; it means it’s the last time you’ll ever do that,” she says. “So when you work with them and you want to get it over with, you say ‘one more’. It’s little things like that you must learn, and sometimes you learn it the hard way.” In another room, two women sit among racks of colourful clothing delicately repairing costumes in a 2500-piece wardrobe department that, Leboeuf tells me, is worth more than NZ$2 million. Another is rearranging one of the 300 pairs of hand-painted shoes that help wardrobe alone fill an entire semi-trailer when it goes on the road, along with 20 wigs made from real hair and 30 hats handmade in a workshop in Montreal to fit each performer perfectly. The cast and crew’s familiarity with one another and obvious comfort with living in close proximity on tour makes me feel like I’m among boarding school kids. But these aren’t the squabbling younger years, these people have reached the “family” stage of the graduating year and there’s the same mixed emotions as talk turns to their futures when the tour breaks up. The Australian and New Zealand tours mark Quidam’s last journey before it’s “put to sleep” in Christchurch at the end of February after 20 years, Van Grunsven says. Some talk of joining another Cirque show, and like many workplaces there’s a noticeboard with jobs up for grabs within the company; others want to pursue stunt work in Hollywood, and for some leaving their touring life behind for a fixed address is appealing. The show’s longest-serving artist, Mark Ward, has never missed a show in his 22 years with Cirque, and hopes to reach at least 25 years with the company. He tells me he is turning 50 in December, but he could easily still pass for his starting age of 27. Even after 17 years playing the same character in Quidam, he’s yet to lose interest. “My job is to travel around the world and put a smile on people’s faces, and people ask, ‘Are you bored?’, and I think, ‘No!’,” he says. “Each country you go to you have to reinvent yourself. Sure you do the same things, but they mightn’t get the same jokes … it’s always the same, but it’s different. “In Japan they love it but they don’t clap out loud … and you think, ‘They hate me’, but at the end of the show they give you flowers and gifts.” While Cirque’s “intense” casting process weeds out the people who aren’t suited to the lifestyle, Van Grunsven admits some don’t last as long as Ward. “You do have to sacrifice a lot of daily living … you are always away, you’re always touring,” she says. “There’s a beautiful aspect to that, you’re in hotels, you go to beautiful countries, you see the world for your job and you get paid for it, but it can be very lonely too because sometimes you see these beautiful places and you want to share them with your loved ones … and you can’t because they are on the other side of the world.” It’s common for cast and crew to couple up on tour and while Van Grunsven says it’s her job to keep the artists – who range in age from 19 to about 60 – inspired to do their best, she also helps look after their daily lives. “Sometimes that can be listening to a love story or a children story … they have their things to deal with and I’m basically their sounding board,” she says. “Every single [Cirque] group is a family, it’s a little community that travels together and once you’re in you can’t get enough of it. “Even though we’re all eager for a Christmas at home, we still don’t leave because what we experience here is so incredible and extraordinary you don’t want to throw that away.” It’s no surprise then, to hear that for her the high point of the show is the banquine Italian acrobatic act, where human ability is showcased at its best. “It’s a big group act where there are no apparatuses involved, no electronics … just human being strength. It’s like a human trampoline and it’s very impressive and beautiful,” she says. While the artists put their lives at risk every day, Van Grunsven says their skill and intense training mean the chance of injury is slim. They are also closely watched by technicians at all times. “[All the performers] really care about every move they make on stage, they take it very seriously,” she says. “You’ll see them come off stage at the end of their act and there’s the television and right away they’ll watch what they just did.” { SOURCE: Stuff.co.nz | http://goo.gl/aFJmFb } 45 DEGREES: “Journey of a Basketball Dream” {Feb.13.2016} ------------------------------------------------------- For the first time ever, the NBA All-Star was held in Canada and 45 DEGREES was very proud to have been selected to create and produce a unique Cirque du Soleil performance during player introductions. On February 14 at the Air Canada Center in Toronto, 45 DEGREES told the story of basketball through the lens of Cirque du Soleil. Weaving together acrobatics, dance and technology, the performance amazed the audience and took them on the journey of a basketball dream. “It will resonate with diehard NBA fans and spectators alike and engage them in the timeless tale of living your dream.” After approximately 1,300 rehearsal hours and over 5 months of work, 37 artists took center court to perform in the Show Opening of the 2016 NBA All-Star Game. Stage director & choreographer, Steve Bolton, created the performance as a tribute to basketball—the game, the dream, its heroes and the culture. “It’s a show within which we experiment a lot. We push the boundaries in terms of integrating several scenic elements, from dance to circus arts, to parkour, to projections, we try to tie everything together” explains Steve Bolton. In choosing the music for this performance Steve wanted high energy, unforeseen rhythms to accompany the performance. “It starts with traditional Cirque music, then it becomes a bit more tribal and connects with urban beats and metal. In the end, it’s a kick in the teeth, where we experience rock and hip-hop and culminates with music blasting throughout the stadium” added Steve Bolton. “On a technical side this is a very ambitious project! As multiple events will be taking place in one venue over 3 days, we are faced with many constraints, such as time, space and technology, but a great team with great morale will make this project possible” explained Martin Gauthier, Technical Director. “This is a great adventure combined with great talent from both the NBA & 45 DEGREES. We are proud to be a part of this first- ever All-Star game in Canada,” added Stephanie Vincelli, Production Director. 45 DEGREES was very excited to participate in this spectacular event. Through its theme, the music, costume and discipline, they created a unique performance to celebrate the Game. Team: o) Production Director – Stephanie Vincelli o) Technical Director – Martin Gauthier o) Stage Director/Choreographer – Steve Bolton Check out a video of the performance here: LINK /// < http://www.cirquefascination.com/?p=7529 > { SOURCE: 45 Degrees Blog | http://goo.gl/BgNCMO } Yahoo Parenting: ‘I Ran Away With the Circus and Came Back Home With a Wife and Two Kids’ {Feb.16.2016} ------------------------------------------------------- Juggling career and kids can be tricky — but for Karl L’ecuyer, it’s a literal circus because the Montreal native is raising his 2-year-old daughter and 4-year-old son on the road, while traveling to perform with Cirque du Soleil as a trampolinist and acrobat. It’s not the sleeping together in one room, the constantly packing and unpacking all of their belongings into just two bags each, or even having to negotiate play dates with kids who only speak Russian or Portuguese, though, that phases him and his circus-dancer wife. The father, 33, swears it’s the prospect of having to call their globetrotting quits that really stresses them out. “I ran away with the circus and came back home with a wife and two kids,” explains the performer — a star in more than 2,000 shows as part of Cirque’s KURIOUS and OVO tours — in a candid interview about parenting under the Big Top as part of Yahoo Parenting’s “What It’s Like” original video series. “Now, every day I’m wondering, ‘Should I go back home and settle?’” Karl left for the circus at age 25 with family far from his mind. “I used to be on the national team of trampoline in Canada and I always said that when I finish university, I would stop competing,” he says. “But my summer job was to do shows at the amusement park and I developed a taste for the stage. So the goal that I put on myself was that if I cannot reach the Olympics, I’ll hope that the level of acrobatics I could do was high enough to be part of Cirque du Soleil. Luckily, it was. When I finished university, Cirque du Soleil gave me a call to join their show OVO.” Preparing for the show in Montreal is where he met his wife, an independent performer. “Her background is ballet,” he says. “She can do contortion and aerial silks too. She’s a really versatile artist and when she hits the stage, she shines.” The couple “never really thought about kids or no kids,” he reveals. “I was just like, ‘I’m traveling. I’m discovering America. It’s going to be amazing!’” Then he says, “One day she was like, ‘Oh, I’m pregnant.’ And I was like, ‘Yeah, okay. Yeah, okay.’ Then we looked at the dates. She was going on another project in Germany [and I was in Mexico]. So we had to mix everything up and we just thought, ‘OK, that’s our life. We are just going to go with the flow and see where it brings us.’” Once her pregnancy prevented her from performing, she joined Karl in Mexico and he says, “That’s when our first child [son Raphael] was born, in Mexico City.” Two years later, they welcomed their daughter during a stint home in Montreal. “Since they were born, they’ve always traveled either with me or with my wife,” Karl says of his kids, tallying up their son’s trips so far to include the U.S., Mexico, Canada, Australia, Dubai, and Germany. For childcare, the family enlists friends. “We had a Canadian friend that had traveled with us after we met her in Australia,” says Karl. “She decided that she wanted to get out of Australia and we proposed to her, ‘Would you like to fly to Germany and then you can fly home?’ Being on tour, you talk with the people around you [to sort out help].” That friend has since decided to move on and now Karl explains that an Atlanta-based sister of one of the Cirque technicians has begun watching the kids on tour while he and his wife work. “I was like, ‘Hey, would you like to come to California and babysit my kids?’” Karl recalls. “She said yes.” There are, after all, many children who travel along with their parents on the road. “Depending on the time of the year, and how school is working, we can have almost 30 kids on tour from newborns to 15-year-olds,” he says. “The Big Top is like a village.” Typically each family bunks in an apartment. “We’ll have two rooms but we all sleep in one room,” explains the dad. “I have the crib for my daughter and a nice camping bed that I found, with suspension and all that, for my son. That’s the only furniture we have. The rest of the time we live in the living room where we have the TV, couches, and the kitchen.” The family doesn’t need more space because they don’t bring much stuff with them anyway. “Normally, when you’re on tour every person’s allowed two pieces of luggage,” he says. “We have a lot of toys in Montreal that stay in our main house, but we have two big plastic bins that we use for toys, books, small chairs, and their main toys that they like to have with them: a soccer ball or Ninja Turtle. The heaviest suitcases are the ones with books because the kids always like bedtime stories. You never realize how heavy books are until you travel.” In addition to the regular routine of bedtime books, the family manages to carve out playtime regardless of where they go. “We really try to challenge them by bringing them out in many of the cities where we are, instead of trying to stay locked in the apartment,” says Karl. “We try to use the chance that we are traveling to make them discover new things.” And it always starts at the park. “When we get to a new place the first thing they ask for is the playground because that’s how we discover a city now,” he says, noting that next it’s, “‘Where is the grocery store? Are they going to have the cart with the little car in the front?’ because they never go to the same grocery every month.” On days when Karl is performing in a show that starts later in the day, he says, “I have all morning with them, so we try to go to the park, have lunch, and what I really like to do is have the afternoon nap with them so that I can rest before my show.” The kid-focused routine is completely different from the way Karl and his wife lived on tour pre-kids. “I party a lot less now, for sure,” he laughs. “I go home [after work, which typically ends around 11:30 p.m.] to see that the kids are sleeping.” The children’s bedtime routine is also a bit different — from that of other kids. “I’ll say, ‘Let’s put on pajamas,’ and I turn around and they’ll be jumping on the bed,” he says. “When I ask, ‘What are you doing? We need to put on pajamas,’ they’ll say, ‘But Dad, I’m working right now.’ How can I tell them not to jump around when I bring them to the show where that’s what I’m doing?“ Do the kids love trampoline as much as he does? “I don’t know how much they love it, but I know they like it,” he says. “I know if they see a bed, a couch, they’re going to jump on it. I actually needed to teach my kids to be careful with other people, that they can do that kind of craziness only with me or their mother, because not everybody can catch them jumping off the couch. I play with them a lot and they are not afraid of heights,” he adds. “If my daughter feels that you’re holding her legs, she’s going to let herself drop backwards.” It was the costumes that Karl’s son didn’t initially like. It took Raphael about a week to understand the makeup part of performing, Karl says: “When I would show up over the crib or to the stroller and he saw me in makeup, he would stop. My daughter, she never had that problem. She would just try to take off my makeup thinking that it’s a sticker.” His son also had to learn to have confidence in his acrobatics. “He got scared once because I was training trampoline and I missed a little bit and I screamed,” the dad recalls. “I remember he started crying because he thought I got hurt. Now he understands that it doesn’t always go the way I want, and until I really fall to the floor, he’s good.” Watching their parents’ performances has helped the children get used to mom and dad’s death-defying maneuvers. “We do 10 shows a week and when I know they’re watching, I have a lot more energy,” says Karl. “Those two little persons give me a lot more energy than the 2,000 others watching. Even if I just hear one second of, ‘Papa,’ or their laughs, that’s a good moment.” There’s lots of good that the children get out of the experience of being on the road with the circus too. “At Cirque du Soleil within the crew we have 14 different nationalities,” Karl reveals. “And English is a second language for most of them. So let’s say they play Ninja Turtles, but the one that loves the Ninja Turtles the most is the Russian kid. They’re going to play it in Russian. Or if it’s about dancing, and it’s the Brazilian little girls that love the dancing. They’re going to switch and speak a bit more Portuguese. In everyday life, my children are getting exposure to all of these cultures.” “I hope that that is going to open something inside them,” he adds, “an acceptance or understanding of all the different languages and cultures in the world. I see it already when my son meets people. He will not speak to them in French. He’s going to try English, or sometimes he just switches to gibberish because he knows that that person is Russian.” Of course, there are still drawbacks to this nomadic lifestyle, Karl acknowledges. “The biggest challenge is when my wife and I are apart for too long. Then it becomes really hard to accept that to keep your job, or her keep her job, we will not be together for certain amount of time… When she would be in Germany, I would be in San Francisco. And she would go to Dubai, I’ll be in New York. We’re always changing places like that. And that means sometimes I’m going to be alone with my kids, working, doing 10 shows a week.” Calling it a “good challenge” to follow their family rule of keeping the kids together, Karl says he appreciates that “I get a big connection with the kids when I’m the only one there and I do everything, giving the bath, brushing the teeth, cooking the food, eating with them, going to the park, playing.” When it’s his solo stint, Karl has mixed feelings. “At the beginning it’s like, ‘I can read my book, it’s amazing,” he says. “And after a week you’re like, ‘Okay, I don’t know what to do now.’ After two weeks, I’m always on Skype trying to call them. Then after about six weeks it’s, ‘OK, I’m quitting my job and I’m going to be on tour with her on her show.’ [But eventually we’ve learned to] accept and expect all those months that we’re not together. Having only one person not traveling, and changing the kind of job we would do, would change who we are and why we want be together.” Parents who don’t constantly travel “and see what I’m doing,” he says, “like my mother and my father, they think I’m crazy.” But for his kids, Karl insists, “It’s not about having the house and the friends and everything. It’s just, ‘Is the Big Top in the truck?’ They’re not looking for their room, they’re looking for their pillow or their bed. It’s all a different way of seeing life. ‘Steady’ is not something that they know.” And staying put in one place is not something that they miss. “If you feel confidence, and that you have control of situation that is changing, they’re going to feel it and follow you,” he says. “They look at what we do and they accept that things are always going to be different.” The stress that Karl feels is mainly about the future. “Every day I’m worried about my kids not having seen a ‘normal’ life, because we have that openness to all these cultures, but we live in our own bubble all the time as we travel from city to city,” he says. “So when it’s time for school in a few years… some people are going to push [them] around, and [they’re] going to push people around, older ones, younger ones. Living in our bubble, we don’t have all that.” As far as where they’ll ultimately settle down for school, Karl says he’s considering his hometown. “I’m really thinking to go back to Montreal to be able to have school for the kids because in Montreal, school is almost free until the end of university,” he says, “and I went through it so I know, for me, I’m really happy with it.” But before then, they have some more of the world to see, together. “The show business, circus business, most of the shows are in Europe, Germany, England,” he says. “Or with Cirque du Soleil, you going to travel the States, Australia, Japan, South America.” Settling down, Karl says, “is a big question.” For later, that is, he declares: “I still have two years to answer it.” { SOURCE: Yahoo | https://goo.gl/soEBxX } ======================================================================= 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: 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 Aug 7, 2016 London, UK -- Jan 2017 – Mar 2017 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 -- Aug 25, 2016 to Sep 25, 2016 Brisbane, AU -- Nov 24, 2016 to Dec 18, 2016 Melbourne, AU -- Jan 20, 2017 to Feb 12, 2017 Perth, AU -- TBA Kurios: 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 29, 2016 to Nov 27, 2016 Miami, FL -- TBA Luzia: Montreal, QC -- Apr 21, 2016 to Jul 3, 2016 Toronto, ON -- Jul 28, 2016 to Oct 2, 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 Jun 26, 2016 Osaka, JP –- Jul 14, 2016 to Oct 12, 2016 Nagoya, JP –- Nov 10, 2016 to Jan 15, 2017 Fukuoka, JP –- Feb 2017 to TBA Sendai, JP -– Apr 2017 to TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: 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 Tolyatti, 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 6, 2016 to Jul 10, 2016 Granada, ES -- Jul 13, 2016 to Jul 17, 2016 Murcia, ES -- Jul 20, 2016 to Jul 24, 2016 Dubai, UAE -- Sep 16, 2016 to Sep 24, 2016 Milan, IT -- Oct 20 2016 to Oct 23, 2016 Florence, IT -- Oct 27, 2016 to Oct 30, 2016 Bologna, IT -- Nov 04, 2016 to Nov 06, 2016 Turin, IT -- Nov 10, 2016 to Nov 13, 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 7, 2016 to Dec 11, 2016 Lille, FR -- Dec 14, 2016 to Dec 18, 2016 TORUK - The First Flight: 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 25, 2016 to May 29, 2016 Providence, RI -- Jun 1, 2016 to Jun 5, 2016 Baltimore, MD -- Jun 8, 2016 to Jun 12, 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 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 8, 2016 Philadelphia, PA -- May 11, 2016 to May 15, 2016 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 Windsor, ON -- Jun 29, 2016 to Jul 3, 2016 Charlotte, NC -- Jul 6, 2016 to Jul 10, 2016 Greenville, SC -- Jul 13, 2016 to Jul 17, 2016 Huntsville, AL -- Jul 27, 2016 to Jul 31, 2016 St. Louis, MO -- Aug 3, 2016 to Aug 7, 2016 Manchester, NH -- Aug 25, 2016 to Aug 28, 2016 Hershey, PA -- TBA --------------------------------- 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 March 16 o May 7 – 11 o July 6 o September 10 – 14 o November 9 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 9:30pm (as of Aug 12, 2015) 2016 Dark Dates: o March 18 o April 11-19 o June 12-24 o July 2-5 o August 1-9 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) 2016 Dark Dates: o March 16 o May 5 - 13 o July 13 o September 15 - 23 o November 23 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 --------------------------------------------------- *) KURIOS ABOUT... o) EPISODE 8: HEALTH AND FITNESS February 2, 2016 The mind and body deserve the ultimate maintenance. See how we keep the cogs and wheels a-turnin’! LINK /// < https://youtu.be/h-DK9bv_96s > o) EPISODE 9: COSTUMES AND MAKEUP February 16, 2016 In this episode discover how Mr Microcosmos character is brought to life when Karl L’Ecuyer puts on his costume and makeup! LINK /// < https://youtu.be/BcR8sUnlswQ > --------------------------------------------------- FOTOS: Images From Cirque & Other Photo Links --------------------------------------------------- LUZIA IN PHOTOS --------------- o) Luzia at MOntreal's Nuit Blanche: http://www.cirquefascination.com/?p=7615 o) Views of Luzia from WorkingAdvantage.com: http://www.cirquefascination.com/?p=7628 o) Video & Pictures of Luzia Big Top Raising: http://www.cirquefascination.com/?p=7641 o) 360-Degree Video of Luzia's Big Top Raising: http://www.cirquefascination.com/?p=7655 OTHER FOTOS ----------- KOOZA -- https://goo.gl/qmAeoE -- Wardrobe gives rats brushing KOOZA -- https://goo.gl/ZrFxj5 -- Trickster Meets the Media KOOZA -- https://goo.gl/H1rVBt -- Artists Explore Melbourne KOOZA -- https://goo.gl/SeJy7q -- Artists in Montevideo LA NOUBA -- https://goo.gl/FYWFQI -- Diabolos Rehearsal LA NOUBA -- https://goo.gl/l3AMa2 -- Getting a Straps Workout LA NOUBA -- https://goo.gl/7NoMvX -- Overhead Stage from The Grid LUZIA -- https://goo.gl/PhXXU6 -- Inspiration in Rehearsals LUZIA -- https://goo.gl/dPBKgg -- Getting Ready to Spread our Wings LUZIA -- https://goo.gl/J4cr4m -- Happy Valentine's Day LUZIA -- https://goo.gl/AsFDjg -- Costumes Sneak Peek! LUZIA -- https://goo.gl/rdgI4R -- Alebrijes are slowing taking shape PARAMOUR -- https://goo.gl/bHq6wJ -- The Re-Imagined Western Scene PARAMOUR -- https://goo.gl/5H09OW -- What We've Been Working On PARAMOUR -- https://goo.gl/MXpkgv -- Musical Director: Seth Stachowski PARAMOUR -- https://goo.gl/ue9XdT -- Character Sketches PARAMOUR -- https://goo.gl/65sRNi -- Taking Leap Day "Very Seriously" QUIDAM -- https://goo.gl/UtYmq5 -- Haka Ceremony in Pictures QUIDAM -- https://goo.gl/wnGMxx -- Thank You Auckland! QUIDAM -- https://goo.gl/da4918 -- Last Load-in in Christchurch, NZ QUIDAM -- https://goo.gl/uLdpcW -- Christchurch Media Day #1 QUIDAM -- https://goo.gl/RCEQuy -- Christchurch Media Day #2 QUIDAM -- https://goo.gl/lcQZq3 -- What is the Common Thread? QUIDAM -- https://goo.gl/gGmzx1 -- Original Quidam Ticket! TORUK -- https://goo.gl/dW5QbA -- Transforming into a Na'vi TORUK -- https://goo.gl/5BEF0X -- Washing & Drying the Costumes TORUK -- https://goo.gl/QW0lFx -- Adding sound effects to the show mix TORUK -- https://goo.gl/1LQO8H -- Tawkami Chief makeup transformation TORUK -- https://goo.gl/mgqSdo -- Behind the Scenes Photo Shoot TORUK -- https://goo.gl/xnzLyp -- It takes a lot of cable... TORUK -- https://goo.gl/EmPIJi -- Flight training for Charleston! TOTEM -- https://goo.gl/hf6CWv -- At Mezamashi TV (Rings Act) TOTEM -- https://goo.gl/4cUnKR -- Fuji TV Covers Opening! TOTEM -- https://goo.gl/Sn3pfa -- Fuji TV Covers Opening! TOTEM -- https://goo.gl/f1Sf75 -- Fuji TV Covers Opening! TOTEM -- https://goo.gl/4ZIvBR -- Fuji TV Covers Opening! TOTEM -- https://goo.gl/6JlfbH -- Two New Japanese Artists TOTEM -- https://goo.gl/WJHtPl -- Green Frog at Shibuya Station TOTEM -- https://goo.gl/xL7Qo9 -- "Standby for Monkey Business" TOTEM -- https://goo.gl/5bfNtM -- Happy Chinese New Year TOTEM -- https://goo.gl/c7nn2c -- Thank You to Japanese Fans TOTEM -- https://goo.gl/I7cR6V -- Intermission selfie TOTEM -- https://goo.gl/jnxFPH -- Hand-Balancing pros TOTEM -- https://goo.gl/pcQEo9 -- Fabio is flying away! (Banole) TOTEM -- https://goo.gl/2YF3Gz -- Out and About in Tokyo TOTEM -- https://goo.gl/Q6Rdb4 -- Standby for Animation! VAREKAI -- https://goo.gl/wExDU6 -- Artists Discovering Montpellier VAREKAI -- https://goo.gl/VeSq7K -- French Premiere VAREKAI -- https://goo.gl/ViKNkY -- Day in Luxembourg VAREKAI -- https://goo.gl/O8jerl -- Opening in Hamburg VAREKAI -- https://goo.gl/Jyx15L -- Le Plus Grand Cabaret du Monde VAREKAI -- https://goo.gl/ZVFpIK -- The Muse VAREKAI -- https://goo.gl/rAobFN -- The Catwalk VAREKAI -- https://goo.gl/H9kZjg -- New Act/Character (Cyr Wheel) --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- 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) "Working out with The Beast" -- https://goo.gl/vcaJth o) "The Creator of Cirque du Soleil" -- https://goo.gl/AtijhG OTHER VIDEOS ------------ CIRQUE -- https://goo.gl/8NPR8i -- Andrii Bondarenko and Yulya Mihailova CIRQUE -- https://goo.gl/2xawDv -- One Night for One Drop Rehearsals CIRQUE -- https://goo.gl/aqHLg4 -- Create Spring Make-up Look CIRQUE -- https://goo.gl/3pd9GF -- How Do Artists Do Houseold Chores? CIRQUE -- https://goo.gl/fG5BwD -- BTS at Cirque HQ: the Dye Shop! CIRQUE -- https://goo.gl/mB92Vi -- Atherton Family Fitness #1 CIRQUE -- https://goo.gl/FgBmHx -- Atherton Family Fitness #2 KA -- https://goo.gl/l7sp50 -- Happy Chinese New Year! KURIOS -- https://goo.gl/dOF9UN -- Late Late Show w/James Corden LA NOUBA -- https://goo.gl/DJldW0 -- New Bamboo Act LUZIA -- https://goo.gl/a2f06d -- Artists Take the Plunge LUZIA -- https://goo.gl/wIc4MV -- Chat w/Set & Props Designer LUZIA -- https://goo.gl/fohLvR -- 1..2..3..Jump! (Sneak Peek!) MYSTERE -- https://goo.gl/5M4O5v -- BTS of Mystere w/Activon "O" -- https://goo.gl/dvmbfX -- Under the Water! "O" -- https://goo.gl/N58U2r -- Stealing Hearts at "O"! PARAMOUR -- https://goo.gl/cgCERi -- Tom Ammirati lands quintuple flip PARAMOUR -- https://goo.gl/x1o0MN -- Happy Valentine's Day Rehearsal PARAMOUR -- https://goo.gl/ShCakH -- Andi & Kevin at Work PARAMOUR -- http://goo.gl/tzeYua -- Theater Mania Catches a Rehearsal QUIDAM -- https://goo.gl/Is4HHe -- An Acrobat on Vacation... QUIDAM -- https://goo.gl/W9H8Jm -- Haka by the Ngati Whatua people QUIDAM -- https://goo.gl/UZm09S -- Luana gets Quidamified (Target) QUIDAM -- https://goo.gl/vAQvSI -- Johnny's "bendy-wendy" combination QUIDAM -- https://goo.gl/iD9kzY -- Luana gets Quidamified (Hoops!) QUIDAM -- https://goo.gl/QspdcZ -- Countdown by Alessandra LOVE -- https://goo.gl/h11mDs -- Red Poppies TORUK -- https://goo.gl/4KCl7d -- First 5 at 5 TORUK -- https://goo.gl/qsevRB -- Monday Morning Workout TORUK -- https://goo.gl/R98Xa6 -- DHL: The Fauna of TORUK TOTEM -- https://goo.gl/Rl4Z4i -- Girl-Band Supporters: Happiness TOTEM -- https://goo.gl/eER2pP -- Special Fuji-TV Advert TOTEM -- https://goo.gl/ZYgPPR -- Happy valentine's Day VAREKAI -- https://goo.gl/7dc3XF -- Bonjour France! VAREKAI -- https://goo.gl/tH83AZ -- Closing Doors to Truck ZUMANITY -- https://goo.gl/gOPkqD -- Zumanity at NewNowNext Honors ======================================================================= FASCINATION! FEATURES ======================================================================= o) "Extending the Experience: A Conversation about Cirque Merchandise" (Part 1 of 2) By: Keith Johnson - Seattle, Washington (USA) o) "Getting Better? Inside The Beatles LOVE Changes" A Special Collection of Articles from the Press o) LOOK BACK: Guy Laliberte's Poetic Social Mission PART 7 of 8: "Moving Stars and Earth for Water" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ "Extending the Experience: A Conversation about Cirque Merchandise" (Part 1 of 2) By: Keith Johnson - Seattle, Washington (USA) ----------------------------------------------------------- Everybody has at least one. Something tangible that reminds them of the otherworldly experience of a Cirque du Soleil show. A magnet, a shirt, a program, a CD or DVD, a mug, a shot glass, something. For many (including yours truly), the credit card doesn’t stop burning once the tickets are purchased. The selection of merchandise that has been available throughout the Cirque’s history seems endless. Like the shows themselves, many items that were once mainstays of the companies merchandise selection are long gone, and new items have taken their place. For years, many fans only access to merchandise offerings could be found at Cirque’s E-boutique, a quiet section of the main CirqueduSoleil.com website. However, when it failed to reappear for some time after it was removed for “refurbishment” back in 2014, many began to worry they would have no access to the latest products unless they visited a show themselves. Not much of a problem if Cirque visited your city every couple of years or so, but for those dedicated fans with ready credit cards in distant places who needed their souvenir fix the length of time the site was offline was concerning. And then, in late October 2015 – voilà! With a new look, new merchandise, and a new attitude the new E-boutique can now be found at < https://eboutique.cirquedusoleil.com/ >. Divided into sections covering Apparel, Accessories (bags and scarves), Media (CDs, DVDs and Books), Collectibles (“souvenir”-type items), Novelty (toys and masks), Arts (handmade masks), Show Items (sorted by show), and One Drop (charity) merchandise, there is sure to be something for everyone. The design is straightforward and the items are well presented. (Though the current offerings can’t be considered complete, and the shipping costs are a bit difficult to predict.) But it’s designed for shipping to the US, Canada, and Worldwide! With the debut of the new E-boutique we thought it was time to have a talk with Cirque about merchandise. So we reached out to Ann Paladie, Las Vegas PR Director, who put us in touch with Audrey Tillman, Director of Merchandising and Operations, Resident Shows Division, (Las Vegas). Ms. Tillman started by explaining the breakdown of responsibilities for merchandise. “In [CDS] Merchandising there are two divisions. I am responsible for Merchandising for the Resident Shows division (which includes Las Vegas and La Nouba in Orlando), our permanent boutique locations, and I have been in this position for five years. My counterpart, Marie-Josee Couture, is Director of Retail Sales and Operations for the Touring Shows division. She does the development for the big tops so she's in charge of developing the assortment and the products that are featured in the big top and the arenas.” READY FOR YOUR PERUSAL ---------------------- Availability of merchandise to a wide extent is important to a creative company like Cirque, where its instantly-recognizable corporate name rests over all its sub-brands, its shows. When we talked in early December, the new web page had just been launched, as Ms. Tillman explained. “The new E-boutique has just re-launched, it launched with the new Cirque du Soleil .com site. The old E-boutique was removed for renovation, and then there were changes in the division and a lot of changes in the merchandising department and its structure, so it was darker longer than we anticipated. But we knew that it was something that we all thought was important for the brand and for [our] retail in general. And so it was re-launched with its new look. We've been working on it for a year. It was down for a long time. The new webpage benefits not only from a new look, but was completely re-thought behind-the-scenes as well. “The old E-boutique was run entirely in-house, so it was done in collaboration. At the time we had a corporate [marketing] division in Montréal and they did it in conjunction with our I.T. department, and I think our Marketing department had some input as well. So logistics, fulfillment, e- commerce and site management were all done in-house.” “We discovered that there was really a lot to learn, especially about logistics and fulfillment. We were fulfilling and shipping all over the world. And granted we have a great logistics team as part of our structure at Cirque, and we move big tops and everything around the world. However in merchandising, our merchandise warehouse was through a third-party, it was not operated by us. So logistics were going through a third-party, and we learned a lot about costs and what we could do, what we could support. I think we needed to sharpen up a little bit and gain some efficiencies in pricing for shipping and customs around the world; just control some of those costs.” The philosophy of “everything available, all the time” is one that permeates online retail. From Amazon’s “world’s largest selection” to the specific-category deep dive of specialty sellers, consumers have become accustomed to having access to everything, whether the retailer actually has the item physically in their warehouse or not. So when a company with a retail presence like Cirque brings its goods to the virtual world, the natural fan expectation might be to have all of its goods, from all of its shows, available for purchase. But when one of your goals is to promote what you consider the best of your brand, that might not be your first approach. “The online E-boutique has always been a reflection of the merchandise that we have out in the world, whether it be the big top, arena, or a resident show. We wanted to be very careful of that and make sure that we promoted the best of our best. We want it to highlight what is really special about us.” “The philosophy of the launch of the new online E-boutique is really to highlight, just give a sprinkling of the offerings of all the merchandise. And to promote the Cirque brand, not [just] show-branded but Cirque-branded as a whole worldwide. When a big top or an arena show comes through a city or you're not in Vegas or Orlando, to be able to give access to our fans around the world to our Cirque-branded merchandise. We also want to highlight shows and promote show merchandise not only in the online E-boutique but also to provide visibility for what's offered exclusively in the big top or in the arena or in the resident show. The objective really is not to provide a whole offering at the online E-boutique, but to utilize it to highlight exclusives, new items and best sellers.” “I think what we want to do is provide a sampling of a lot of different types of categories of merchandise, really highlight things that have an emotional response to something that you've seen on stage. This is what I would call Phase One of product introduction [onto the site]; and it will continue to evolve in the spring [of 2016], with the launch of the new Cirque collection, and as we introduce show items. We will also have licensed merchandise which I think will be quite interesting. And we will also continue to highlight key show merchandise, because we have had a lot of requests for show merchandise. So we’re learning how and what show merchandise to promote.” “And I think the next thing you'll probably see added is Avatar [Toruk] merchandise. As you see now there's a bit of Kurios there, and we've kind of highlighted Kurios because that was our [most recent creation]. We also featured ornaments for the season from all of our shows for this fourth-quarter. So we’re using it as a tool to really show what we have to offer, but not to offer the entire catalog.” With this new iteration of the E-boutique, Cirque has partnered with an E-commerce expert, The Araca Group (araca.com). Araca is a licensor and merchandiser for various theatrical and entertainment brands, including Broadway and touring shows (Wicked, Book of Mormon, Rock of Ages, Jersey Boys), music acts (Britney Spears, Linkin Park, One Republic), and other brands (Marvel, Star Wars, New York Rangers and Knicks, Playboy). “Our objective with the new E-boutique was to capitalize on a partner that had expertise in E-commerce, and look for a partner that can provide us not only with E-commerce experience and site management, but also fulfillment. And Araca also brings to the table something that a lot of companies that we spoke to did not; they have in-house design and product development. So in that regard they print in-house, they have a full in-house design team, and they have a retail business so they understand the difference between the two. So they had a lot of things that were beneficial to our partnership and strengthened both of our positions.” We just had to ask about specific types of items Cirque fans are known to focus on. Programs? “Programs we most certainly will begin to offer. This actually comes in conjunction with the takeover of operations of the residential show boutiques from MGM Resorts. It makes it easier for us to control inventory in order to be able to have it available for the online E-boutique.” What about DVDs and CDs? “We currently feature the majority of DVDs and CDs that are continuing. There are instances in which a CD or DVD is in some sort of development and is not featured but we will continue to build that catalog.” Including the Joyà and Toruk CD’s? “Eventually, yes. As soon as we have new music, such as Joyà, we will feature it as quickly as we can.” They are also looking to include merchandise from partners who license Cirque imagery. “The licensees will be an element that will be added for sure. It's in the next phase of the new E-boutique, so we will have those additions coming. We’ll probably feature some highlights from the Desigual (.com) collection. We also have a licensing agreement with GK Elite (.com) (their Cirque-inspired leotards can be seen here: http://www.gkelite.com/Gymnastics-WomensInStock- CirqueDuSoleilLeotards). At the E-boutique in Orlando we feature four of their leotards which are inspired by Cirque du Soleil. We also have another licensing agreement with Pierre Belvédère (.com), a stationary line (their Cirque-inspired products can be seen here: http://cds.pierrebelvedere.com/products-category). So we’ll probably have a sprinkling of their top sellers.” Plans for the site are to add products frequently. “We [will] update continually. I'm actually just sending the new handbags that will go on the site probably in the next three weeks. It will be ever evolving. And it will operate just like one of my other boutiques that are brick-and-mortar. We will constantly review the assortment, constantly make changes, change what we’re featuring on the front page. Definitely on my radar are the programs. The complete catalog of CDs and DVDs is already in progress. So absolutely, it will continue to evolve and will always be featuring new things.” The next big set of changes, Phase Two, will occur in the spring. “Yes, I would say that we will make some significant changes. We may [do more sooner]. Toruk, the Avatar show, is under my counterpart in the Touring division, and she would be in charge of the development of that merchandise. When it's formalized and she's in a good place to provide me with all of her information and she's ready to promote then I will feature that merchandise on the E-boutique. So you'll probably see that sooner than spring. But as far as a lot of changes I would say spring of 2016.” Items will also be retired out of the collection, too. “You also have to take demand into consideration. For example, we have offered the Alegría CD. The show closed, but we will continue to sell the CD until we see demand waiver; it had demand beyond the closing of the show. So we will continue to [stock] something if we see the demand is there. But if we see it waiver off it's usually something we will remove.” TAKING OVER IN VEGAS -------------------- Another recent development on the Cirque merchandise front is that several of the show boutiques in the hotels of MGM Resorts (where most Las Vegas Cirque shows reside) are being taken over by Cirque du Soleil themselves. The impetus came from other Cirque resident show forays into retail. “In the past, and with the majority of older shows starting with Mystère, the structure of the business was that our partner operated the retail establishment. The exception would be Disney and La Nouba which has always been under Cirque's in-house operation. But in Vegas the business structure was for the partner to operate the boutiques, retail, food and beverage. Cirque was an approver of design, so they had to submit to us for design and quality control that we would approve. And we would also wholesale our [merchandise] collection to our partners.” “So that was the model of the past. Things really started to change with the opening of Iris, which we operated. Then Michael Jackson ONE went under a new business structure in which we operated the boutique and the employees were Cirque employees, and it was fully in-house. It was the first boutique Cirque operated in Vegas and it was very successful. This gave us the opportunity to have a discussion with the partners about reviewing the existing status quo and business structure, and gave us an opportunity to discuss changing it, and that is what came about. I think there are a lot of opportunities we can bring to the table if we take over the [retail] operation and bring it back in house. We now operate and fully product develop for LOVE, “O”, and KÀ, and the last one will be Zumanity.” That accounts for five of the eight Las Vegas Cirque shows, what about the others? Treasure Island, which houses Mystère is no longer part of MGM Resorts, having been purchased by casino owner Phil Ruffin in 2009. “Mystère is a great boutique, and there will continue to be boutiques that will be operated by our partners, including BeLIEve and Zarkana; those will continue to be operated by MGM Resorts and supported by Cirque. When the creation, manufacturing and sales process is brought under one roof there are fewer steps and approvals involved, the entire process is streamlined leading to greater efficiency. The takeover is designed to be a win-win for everybody, including the boutique employees, who are now Cirque employees instead of casino staff. “We think there are lots of opportunity and a lot of interesting and new changes that we can bring to the boutiques.” And with that change comes – more change, in the selection of merchandise and the feel of the retail experience. “I think we’re looking at it with fresh eyes. Change is always good. We really want to bring what's on the stage and the experience of our guests into the boutique in all ways, be that from a customer service perspective or the look and feel of the boutique as far as fixtures or carpeting. All that kind of stuff we're reviewing. And also products; we think there's opportunity to really invest in some things that are very show-driven. And we're willing to take those risks on those inventories and minimums, because we really believe in it. So I think there will be a lot of changes in the coming years.” The goal for Cirque is to extend the show experience onto the merchandise floor, and envelop the customer in a retail environment with a selection of goods that relates directly back to the experience in the theatre. “I actually want the whole boutique to have that effect. I want you to walk into the boutique and feel like you're still inside the show, you still have that euphoria. You just saw the show, and when you look around everything looks unique and interesting and somehow relates back to the show.” While the management of the boutiques may be changing, one thing that isn’t is something we wrote about back in September of 2012, issue #104, in an article entitled, “Exit Through The Gift Shop” (which can be found here < http://www.cirquefascination.com/Issues/Issue104.txt >). Though many items are planned to appear on the E-boutique, anything found in a hotel boutique can still be ordered directly from them. “Absolutely! We still do that, we do it on a regular basis. All of our boutiques do that, including La Nouba and Michael Jackson ONE and the new boutiques. We absolutely will accommodate, and particularly when we didn't have an online boutique that was something we did on a very regular basis. We have fans that have seen the show a couple of years ago, and are looking for a new handbag and wonder what we have available. We would certainly share that over e-mail and make the sale by phone or via e-mail.” And here are the boutique hours and phone numbers, should you be interested in making that phone order! Mystère @ Treasure Island 702-894-7758 Noon to Midnight (till 6pm on show dark days Thu and Fri) “O” @ Bellagio 702-693-7909 10am to 11:30pm (till 6pm on show dark days Mon & Tue) Zumanity @ New York New York 702-740-3125 5:30pm to 11:30pm (closed on show dark days Wed & Thu) KÀ @ MGM Grand 702-891-7917 10am to 11:30pm (closed on show dark days Thu & Fri) The Beatles LOVE @ The Mirage 702-792-7729 10am to 11:30pm (till 6pm on show dark days Tue & Wed) CRISS ANGEL BeLIEve @ Luxor 702-730-5944 5pm to Midnight (closed on show dark days Mon & Tue) Zarkana @ Aria 702-590-8723 10am to Midnight (till 6pm on show dark days Sun & Mon) Michael Jackson ONE @ Mandalay Bay 702-632-4800 10am to 11:30pm (till 6pm on show dark days Wed & Thu) # # # Next month, in Part Two, we go into the various categories of merchandise – how they’re categorized, created, designed, and priced. Plus, we find a Seattle connection! ------------------------------------------------------------ "Getting Better? Inside The Beatles LOVE Changes" A Special Collection of Articles from the Press ------------------------------------------------------------ Do you want to know a secret? Ever since the rumors began circulating that Cirque du Soleil might update it’s highly successful meld of The Beatles music with their avant-garde brand of artistry and staging, I’ve been waiting with bated breath to find out more. Ask me why. How would Dominic Champagne (Director), Giles Martin (Musical Director), and the dozens of other creators at Cirque du Soleil and Apple Corps take what is arguably a perfect, as-is show and make it better? (And perhaps more importantly: could they make it any more perfect than it already is?) And just when it seemed Cirque du Soleil was going to let it be, news about upcoming changes were here, there, and everywhere. I’m glad all over! So with a little help from our friends (the press have been busy this past month covering all the changes – both musically and acrobatically), I’ve collected the most relevant pieces from the Montreal Gazette, the Las Vegas Sun, the Las Vegas Review- Journal, and the Las Vegas Weekly here. Is it all too much? Perhaps, but I got a feeling you’re going to love it. So here it is from us to you... (I’ll be on my way now…) A Chat with Dominique Champagne - Director ------------------------------------------ In a recent interview on a terrace just outside the backstage of the Mirage theatre on the Strip in Vegas, Love director Dominic Champagne was talking about the major work that is going in to revamp this hit show. Champagne, who created the concept for the show with Cirque co- founder Gilles Ste-Croix, has been talking with others from the original creation for two years, and the team is now in Vegas busy making these changes. The show is on hiatus for three weeks, and the refreshed LOVE will première on Feb. 25. But it will be what those in the live entertainment biz call a “soft opening.” In other words, they won’t have a big opening, but rather will continue to tinker with it in the months to come, in preparation for an official 10th-anniversary première in July with Paul McCartney, Ringo Starr, and Olivia Harrison and Yoko Ono, the widows of George Harrison and John Lennon. Before Champagne could do anything, he needed to meet with what he calls “the Beatles family.” “We had a long session here with Yoko and Olivia (in December), and I met with Paul in New York,” said Champagne. “Ringo is kind of … he’d come here and there. He’s Ringo. He’s less involved. “They have to approve everything. When we created the show, the deal was, and still is, that the Beatles have the final word on the music and the Cirque has the final word on the show treatment. But we had to create a certain basis of trust, which now exists. I had to prove myself. I did partly through my relationship with George Martin and (his son) Giles Martin, because we were in Abbey Road studio exchanging musical ideas and direction ideas. To build what we called ‘a rock ’n’ roll poem.’ And once in a while we’d meet with Paul, Ringo, Yoko and Olivia to get their approval. The last thing I wanted was that they wouldn’t be satisfied with this show.” Now the trust is there among all the partners. That’s in large part because Love is a big commercial and critical success. Most everyone agrees that Giles Martin’s inspired mash-ups of the Beatles classics are fab, and that the creative team did a bang-up job of realizing a unique Cirque show that’s a poetic chronicle of the band’s tale, from Second World War-era Liverpool through Beatlemania to the bittersweet end. There were sound bites of the Beatles in the original show; one of the big changes is that there will be more of them now, and much more video of the four band members. “They’ll be more present via imagery,” said Champagne. “A year and a half ago, they gave us access to their entire audio-visual library, which was not the case in the very beginning.” LOVE is one of the least acrobatic Cirque shows, but Champagne feels the time is right to add a couple of big acrobatic numbers. There will also be a few changes to the musical menu. Champagne didn’t want to reveal too much, but did say Twist and Shout has been added and, surprisingly, the psychedelic classic I Am the Walrus is being dropped. Twist and Shout was in the initial plan for Love, but the Beatles didn’t have the right to use it at the time because it’s not their original song. “It’s such a strong vocal performance from Lennon, and it’s the kind of song you’d hear at a 30-year-old’s wedding today,” said Champagne. “We hope that the Cirque du Soleil dancers will relaunch the twist with the act.” Giles Martin is also doing new remixes of the songs, taking into account changes in technology over the past decade. But Champagne stresses that the core of the show remains the same and the message stays the same. “There’s a lot of emotion in this show. There’s great intimacy. This is a great tribute to love. That’s what the Beatles gave to the world. (From) very sexual, primal behaviour in the early days — I Want to Hold Your Hand, She Loves You yeah yeah yeah — to something really more sophisticated at the end. It ends with ‘The love you take is equal to the love you make.’ And this we’ll keep.” As we wound down our chat, Champagne reflected on something Lennon said before his death: he said he didn’t want to end up in a show in Vegas. “And I was directing the show that he was somehow ending with in Vegas,” said Champagne. “I wanted this show to be a real piece of creation, and not a dull anthology type of show. I didn’t want to go ‘museum’ with the Beatles. If the Beatles were there, they’d go creative with us. So let’s be creative. And this is an opportunity to make it better. To follow what the man said, to take a sad song and make it better.” And we’ll never know what Lennon would have thought of it, I said. “Yeah, but we can have a little idea when Yoko and (his sons) Sean and Julian talk. They’ll never replace John’s opinion, but they were very happy with what the show expressed. I want to presume that Lennon would have been proud of that show, too.” Q&A w/Chantal Tremblay – Director of Creation --------------------------------------------- Two years ago, an unsuspecting usher at “The Beatles Love” theater at the Mirage tried to eject two men late at night after the show had finished. They were inspecting the floor and complaining that it had become dark and dirty from eight years of artists and athletes performing on it twice nightly. As the usher warned them she’d have to call security if they didn’t leave, Dominic Champagne and Giles Martin agreed that their show had to be brought up to date. They then explained that they were the director and musical director of “Love” and that they had to embark on a long journey for its refresh of adding more new oomph to the existing wow. Finally, she believed them, let them stay, and the two Cirque du Soleil creative geniuses met first thing the next morning to start the extraordinary process. Their dream came to fruition last week as final rehearsals for the “new look” to “Love” got underway. The re-imagined and transformed show is nearly ready to be unveiled with new The Beatles imagery, songs, technology, colors, costumes and acts on Thursday, Feb. 25. That floor? It’s gone and replaced with a new one with springboards built just below its surface to give acrobats an extra bounce. Robin was invited to sit in on a dress rehearsal, where he talked to Cirque’s Director of Creation, Chantal Tremblay, as they watched Dominic direct his cast. # # # Q. Why the need to fix something that wasn’t broken? When it’s going well and there are no problems and you have nightly, sold-out audiences, why tear it apart and start all over again? How much are you changing? I think because we like the show so much and it’s going really well, it’s kind of giving back to the people after 10 years. We’re adding more oomph to the wow that already existed. The 10th anniversary celebration with Sir Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison is this July, and we want to use the new technology and projection and choreography that wasn’t available to us a decade ago. We looked at it color-wise, happy-wise, also of what we can give back and take the show even higher. It’s true that we have taken many steps. We’re touching everything, so there will be a lot of new projection content. We also have new images of The Beatles that we didn’t have 10 years ago. We didn’t have archives of The Beatles themselves, and that went into the show now because we have that confidence with ourselves, Cirque and Apple. That relationship is one that has gone very well, so those possibilities are there now. Q. Is it OK for me to use the words top-to-bottom overhaul? A top-to- bottom re-imagining? For sure. We have more changes in some of the departments, for example projection, but we’re touching choreography, costumes, colors. Yes, we’re touching everything, acrobatic numbers, new stuff also, and a surprise we’ll keep for when we reopen. Q. Chicken-and-egg question. What comes first: your new creative or refreshed music? For Dominic, the director, it’s the music that’s something really important. He created this show with that vision in mind from the very beginning. Q. So Giles says to Dominic, “I would like to put in five new Beatles pieces,” then does Dominic take those five pieces and creates scenes around it? How does their process work? I think they’re really fused together in that sense because they know each other well. It’s not one comes before the other one. I would say it’s from discussion and seeing the rhythm of the show. They’re doing it so much together. Q. So it is simultaneous? Yes, yes, and looking at moments of the show and seeing that some moments acting-wise are good, and Dominic wants to stretch it so Giles will propose something, also Giles will propose artistically sometimes, so their discussion is really global about the show together. Q. At the risk of sounding flippant, has Dominic also become a musician and Giles a director? I would say yes. You can hear Dominic singing all of the time. He knows so much of this music and so much of the timing and every effect that he’s directing like that. He’s a total Beatles fan. He knows all their music by heart. He worked on that music; he studied that music. (Dominic was the original director of “Love” after staging “Zumanity” still playing at New York-New York since 2003 and the touring company of “Vareki” since 2002.) Q. We’re watching the high-speed skaters rehearsing. Are they the most gee-whiz moment of the show? Oh, no, we also have other moments. Some of the wow moments we had kind of oomphed them more now. What’s interesting I would say is that the acrobatic act for the “Revolution” number, the “I Wanna Hold Your Hand” choreograph,” with the acrobatics, we had to make changes to the set, which brings performances to a higher level. We’re trying to push and get to a higher place. We haven’t taken out any acts or moved them to another show or moved another show’s acts over to “Love.” Everything is done in regard of “The Beatles Love.” We have changes in a couple of acts. We have “Yesterday,” which will have new acrobatics. We used to have choreography for “Yesterday,” but now it is acrobatics. Also, we have changed something in “I Want You.” That’s a new act. After that, the true numbers, the big numbers like “Revolution” and “Hold Your Hand,” those have been more technicality, more trampoline, more acrobatic flips and more things in the set, which help us to go higher with the performance. We have replaced … we added “Twist and Shout” with its own choreography. “I Am the Walrus” is no longer there, so that was one other change. It’s a great song, but “Twist and Shout” also is a real fan favorite. It’s one of the top Beatles songs. Q. These changes are a two-year process. Is it difficult for the actors to rehearse/prep a new show by day when they still have the existing show to do every night? How do they avoid confusion in their brain from day to night making the changes? It’s totally the reverse in the sense that they are so happy to be able to live through a little creation. We have original cast members, but we also have new artists over the 10 years who didn’t work with Dominic, so by touching the show again and working with him … we did some checkpoint, we call it. Now we’re doing staging officially, so we’re really in the mode of creation, and the artists love it because they have that chance to be there and listen to the direction of what he wants in those numbers, making those changes and tweaks and be able to participate inside that. The performers and technical crew want to work and help to make changes for the show, which is going well. Q. When somebody comes back after next week who’s seen “Love” three or four times over the last decade, this is going to look and feel completely new? They will see the difference. They will see the new, happy colors. They will see visually new things because of the choreography and acrobatic, music and projection. People will see the difference. As we’re touching everything, as of the moment today we are at about 70 percent of the changes. We are going to go a little bit further as we get closer to July. We’re in the process, but we’re not totally finished. Q. Is today’s technology light-years ahead of what you had to start with 10 years ago? Is it a quantum leap forward with video, lasers, electronics? In technology, yes. In projection, there are more possibilities. That’s what we’re trying to push. Also, the artistic creativity of images, the content itself and also now having the chance to have the imagery of The Beatles themselves from their own archives. This is so much better. You’ll see inside the show like Abbey Road with “My Guitar” still there. Visually, we went with that technology to go somewhere else. These are the changes that people will see who already know the show well. Q. Where did you get the new Beatles imagery? From them! We’ve been working with Paul and archivists from Apple. Having the archives now makes that all possible. We presented the changes to The Beatles, Yoko and Olivia. All of that is done together with them. We have a great relationship with them. It’s really a happy way of doing a new creation. Q. Did they encourage you? Did they want to leave it the same? Sometimes, artists don’t like to touch what’s already successful. Did artists resist, or did they welcome change with open arms? They really welcome it because they have confidence in Dominic. We have shown them what the direction is, they like it, they have places to give comments, and Dominic listens. It’s really open. They’re not restricted, they love the show, they think it’s good and know it can be better. They’re really with us. Q. We’re in February, they’ll be here in July for the 10th anniversary. Do you keep going right up until July? The show we’re going to have is rolling now. We’ll continue to add those changes we know we still have to put in the show, but the big chunk of work is right now. There are steps in March and April because some costumes will keep coming in, so all of this polishing I would say will keep happening until July. Audiences will see these new elements included when we start again Feb. 25. We’re dark until next Thursday. Dominic came in August to do a checkpoint. From there, some things were tried and put in the show. Timing also to make sure the show was really tight. After that, they kept working until we came back in December for another checkpoint. You’re now watching the big chunk. Between each of those checkpoints, things were worked on during the “old” show. Q. Does the show get longer? Shorter? Or because of the complicated mechanics of the unique stage and computer controls, do you have to keep it to the exact running time? We are on the same running time. Maybe a few minutes more, I would say, but not much. We have new cast. For example, yesterday we had a couple of acrobats who are new to the show, and inside of the dancers and acrobats, yes, we have new artists. Q. And everybody in the cast and crew is really up for this? Totally. I saw them doing like probably six hours of “Twist and Shout” without stopping. They were going, going, going, so people are happy about this part of touching and refreshing this show. Q. It always amazes me when producers have it right that they want to change it. I always think once you’ve got a format solid and it works, I understand tweaking, but I don’t understand wholesale change. You could still call it creative tweaking. I mean “Love” is still “Love.” It’s just that all our oomphs got a lot more wow. Q&A with Giles Martin – Music Director -------------------------------------- Two years ago, Giles and “Love” director Dominic Champagne decided to transform The Beatles’ show in a top-to-bottom makeover. The re- imagined show opens Thursday, Feb. 25, and, during final rehearsals, Robin Leach talked at length with Giles about his musical changes for LOVE as it begins its second decade of Strip success. Q. What was 10 years ago is now Noah’s Ark? How much has it changed? Technology and audio, just that side of things. It’s pretty big. We mixed everything on computers. There are no tapes or recording studios here. What you can do on a laptop now you couldn’t even do on the computers we had then. If you think about it, 10 years in computing, that’s a lot. Simple things, other simple things, like audio quality. I was the first person to back up The Beatles’ catalog by doing the “Love” project. It was on four-track and eight-track and two-track tapes my dad recorded on. Instead of the legacy I thought that I’d leave, I thought that I was going to get fired from the project with the concept of taking The Beatles tapes and doing a show in Las Vegas. At that point, it was a completely ridiculous idea. I thought that at least we’ll back up the tapes so there’ll be a legacy there. The funny thing is now I just recently remixed a number of The Beatles’ number ones last year, and we went through another process of making it sound even better. So one thing I’m doing is replacing all the audio that’s in the show with all-new audio. It’s going to be glorious, but it’s taken a few months to do. Q. How many months? About three months, but the entire refresh has been over two years because of the way we work. Once we had tackled the mix technology, we had to buy better speakers. All of the seat speakers are being replaced, as well. Before, it was groundbreaking with three speakers in each seat. A lot of people are doing that now, so we improved the quality of the speakers. The quality of small things is what’s changed in the world. Q. They’ve gotten smaller, but they’ve gotten better? Yeah, convenience rules technology. So now we can do things where we can put more things in the seats. Think about it in the round of the Mirage theater here. Mixing your left and right is difficult to judge because you’re inside a circle. One thing we can do is bring the image down using seat speakers much better and clearer and have that left and right balance. It gives you a much more punchy mix. It’s amazing what you can get out of The Beatles’ music when you get the balance right. Q. Does the public notice that difference, though? Yes because you feel it. We can tell instantly because we just switch between the old show and the new show. The demands of people have changed. The audience wants more energy. So it’s good to balance between doing that, yet not lose what we have because 7 million people have seen the show. The Mirage told me it’s the Cirque show with the highest satisfaction. So Dominic and I, when we came in two years ago to talk about doing this, we sat together and pretended that we hated Cirque and hated The Beatles and what could the show be like. We thought it was a bit yellow, looking old and a bit dusty. The key word we used was vibrant. It needed to be more vibrant. Q. Because of what’s out there today that wasn’t here 10 years ago? Because of what we can do today. We felt regardless of anything having never seen the show before, that’s what it could do with. It would be more colorful. Actually, Yoko said when we opened, she said it was a bit dark and not colorful enough. The Beatles were colorful people. We were a bit brown and white. There wasn’t enough contrast going on, and that’s because of the technology we had at the time. We had the screens in place and the floor had a shine to it, and that means all of the lights from the projections filled the auditorium. Which means the acts that worked really well were the acts with the projectors off because you could get contrast. Black and white looked fantastic, and you could focus on the artist. We had so much latent light in the room, so we were trying to combat that bizarrely by changing the floor of the theater. We got rid of the latent light, and you now have that contrast of vibrancy. It wasn’t, “Let’s add seven new songs and a water cannon.” We loved the show. We changed it and put “Twist and Shout” in it and asked how do we improve what we have because people love it, and what would we have done if we had another four months working on it and the technology today. Q. How do Dominic and you work in the sense of who drives who first? We drive each other. It’s really interesting. In this refresh, I phoned him up and said it would be great to refresh the show, and he had so many notes. Dominic is obsessed, so he had many notes for the last eight years on how he wanted to make the show better that it fell on deaf ears because people are trying to run a show here. They’re doing two shows a night five nights a week. They’re not going to stop and say wait a second, Dominic wants this, because you have to let go. We came and talked about it; we get along really well, and we both agreed, we agree on pretty much everything. We talked about “Eleanor Rigby,” and I said to him, “Maybe she should be a young girl, not an old lady.” I also talked about what he was trying to achieve. I know that in one section of “While My Guitar Gently Weeps,” he’s very poetic and the girl dancing in that song is supposed to be the young version of Eleanor Rigby. Me being frank and English, I said, “No one knows that. Why don’t we make it the same girl?” So then we talk about how that can work. Is “I Am the Walrus” really working? What if we put “Twist and Shout” here? I played the music to Paul — he never understood why “Walrus” was there anyway. He said, “It’s not in the context.” So we thought let’s put in “Twist and Shout.” It’s a very vibrant song. Q. What else went, and what else came in? There are a few little changes that are going on, but most of the song structure is the same. I played around with “Let It Be” instead of “Hey, Jude,” did it, then realized that “Hey, Jude” has such a great sing-along moment that “Let It Be” doesn’t do the same thing. You try things and think, “Well, am I just changing a song for the sake of just changing a song”? Most of The Beatles’ catalog is in the show. The way Dominic and I work is he’ll say to me, “Wouldn’t it be great to have this?” And I’ll say on the music side to him, “Wouldn’t it be great to have this?” When we were making the show, I said with “Lucy in the Sky with Diamonds,” I can chop the keyboard up to make them into stars, and when we open, we should just have flickering stars to each keyboard sound, and he goes, “That’s good. We should do that.” Then he’ll say in “Kite,” “We have to have it sound really, really dark. I want it to be about The Beatles having problems in the deep South, and I want to tell that story to the fans.” So I had to work on how to make this song sound dark and depressing because it’s not a dark and depressive song. So it’s two ways round. “Twist and Shout” is the birth of rock and roll, so I want to create a song using the voices where it opens out. Can we open out of the stage so it will feel as though the cabin club is entering the auditorium, and it’s blowing away the past and it becomes energetic? We sit and we come up with stupid ideas. I always say to people that the thing that doesn’t cost any money is coming up with ideas. For us, that’s the fun bit. He’s incredible diligent; every single second is accounted for. We work out almost closing our eyes what the show will be like doing music. Q. So I’m intrigued having gotten re-immersed in The Beatles’ music. You must have been buried in it for months on end! Did you learn new? Did you find new? Did you find new genius? It’s difficult for me to get away from The Beatles because, since “Love,” I’ve remixed all The Beatles’ number ones and am working on a Ron Howard film at the moment using The Beatles’ music, so I have gone back in. “Love” is a different thought process. You’re thinking about doing things because it’s such a different discipline. It’s musical color, and I put that here and that here. It’s like Jackson Pollock, and I want it to work like this. You go through stages where you go through despair … like yesterday complete despair I could never do this, then today you come up with an idea and you’re a genius for about three minutes before you become crap again. In the opening of the show, Dominic had to come up with some great genius to make it work. The character in a very slow manner comes up the stairs conducting a band in his mind that gets destroyed by the war. The music dies, then music is born again, but there were no brass bands on “Yellow Submarine” that I know of. Then the other morning, I was awake about 5:30 and I said, “Wait a minute, ‘Mother Nature’s Son’ has a really good brass band. I’ll try that.” We put it in the other day at the opening of the show, and it actually works. I love the new music. It’s amazing how some things work. They’re simple, but they work really well. Q. So you did find new work with The Beatles? Does it give you a bigger respect for their genius? When did we discover that they were geniuses anyway? I think it was recently. When I was growing up, getting older my dad was struggling for work at one stage because The Beatles were popular. I remember that he was trying to find bands to work with. When I was in school, they were this iconic thing. Then this past Christmas Eve, we streamed on all streaming services. It was a good decision because there is a whole generation who doesn’t know The Beatles because they don’t buy records. What’s more important, selling records or being current? Or making people happy? Whatever you want to say. They got 17 million streams in the first two days. Streaming, think about what that age bracket is. Last time I checked that number streaming, only two of all artists weren’t Justin Bieber. Q. For a group that no longer exists? Well, they do kind of exist. The thing about music is that music never dies, and the funny thing about streaming bizarrely is that they don’t even care where it comes from or what age. They just love the sound of it. It’s become non-iconic in a funny way. I mean you don’t need the poster on your wall. Q. It’s still absolutely amazing that you, me, The Beatles are now going on 50 years. It doesn’t sound old, that’s the funny thing. People are still trying to get the same sounds. That’s part of the genius, actually. Adele’s record producer came to me wanting to know how to get a Ringo Starr drum set. People still ask this 50 years on, and he’s a hit producer. There’s still that respect that exists. Q. I remember when they didn’t have a penny. When their manager, Brian Epstein, was scuffling around selling furniture to support them. That first job was on two-track, “Twist and Shout” was a two-track, so actually doing stuff for the show has been challenging, but we get it done. If you think about the actual process, my dad had a four-track tape machine available, but they made good songs. Look! Paul just sent me this. He’s now making four-second musical emojis. You can’t keep a good man down. It shows you how many different things he can do. You know what he’s like; he’s extraordinary. Almost unrelenting creativity. Q. So this has been a two-year journey? It’s funny you start these things. We started it two years ago. We sat in the theater and decided to change it. The key thing was it didn’t look as vibrant as we thought it should be. Q. Like an old book in a dingy London bookstore? We decided to do something about the floor, and we got told off by the usher for staying late in the theater. She said, “Get out!” We had to tell her that we created the show, and it needed to be brought up to date. Q. And that’s where it started. It was dingy? Is that too strong of a word? Dingy was the word. It’s funny how it makes a difference. The stage, which is incredibly complex and very, very clever, didn’t have very much acrobatic apparatus, so the kids who are amazing had to struggle. Now there are springboards, and they can do multiple somersaults. Before, they were just running around or spinning. I think some of it we could have done 10 years ago, but, in the time that we had, we needed to stop and present it. Hindsight is a very valuable thing. You can always make it better, so this became, “OK, let’s make the whole show better.” Technology Takes a Sad Song and Makes It Better ----------------------------------------------- It’s one thing to take a sad song and make it better. But a happy one? It makes the creators of “Love” seem awful hard on themselves. When Cirque du Soleil began a one-by-one process to “refresh” its Las Vegas shows, it started with “Zumanity” last year and no one argued with that. But next up, “Love”? It was an instant hit for Cirque and The Mirage in 2006, rivaling the water spectacle “O” for ticket sales on the Strip. Granted, it would have been pretty hard to screw up a sanctioned use of the Beatles catalog, an unprecedented business venture that rose from the friendship of George Harrison and Cirque co-founder Guy Laliberte. But Cirque delivered on its end too, creating a suitably psychedelic fantasy world and grounding it in the real world of the Beatles and post-war England. Still, “you’re never happy with what you do,” says Giles Martin, the music producer who gave the Beatles songs a new digital life working with his now-90-year-old father, George Martin, the band’s original producer. Though Martin and director Dominic Champagne continued to “clean” the show — as Champagne said of continued tweaks the year it opened — they eventually had to live with the fact that everyone else was happy with it. The two would “sit and complain about something and all of a sudden people were standing up applauding,” Martin says. Once when the two decided two years ago to work toward a 10th-anniversary makeover, “then we had to persuade everyone it was a good idea.” “We just said to ourselves, ‘We can make it so much better,’ ” Martin recalls. “The show’s beginning to look a bit old, a bit tired. And that’s bizarre, because the Beatles never look old or tired. They’ve always managed to stay fresh,” both in their run as a group and in their legacy, he says. “We felt like it was huge injustice.” Even Paul McCartney, who early on urged the creators to keep doing their thing and not worry so much about pleasing him, expressed some doubts. “I Am the Walrus” is “one of the most iconic and famous Beatles songs,” Martin notes. “But the act was going on too long and it wasn’t right at that time in the show. Paul even said, ‘I don’t know what the song is doing there. It seems out of context.’ ” Thankfully, the Beatles had more than a few songs to choose from. “Twist and Shout” will replace “Walrus” when “Love” reopens Feb. 25 after a dormant stretch to initiate the makeover. “We’re touching almost everything,” says Chantal Tremblay, the show’s “director of creation” (or hands-on producer). There are brighter costumes to make the show “a little less dark,” Tremblay says, and Las Vegas-derived choreographers Napoleon and Tabitha D’Umo came in to set three songs. The acrobatics have been punched up by listening to the requests of performers and coaches who said they could do more if given stage modifications. And a new a new duo trapeze act performing to “Yesterday” has a secondary purpose of being able to stand alone when needed to represent “Love” on TV or in special appearances. But if Martin had to sum it up, he’d say there’s simply more Beatles. Literally, when it comes to the video screens. The original deal with Apple Corps., the Beatles’ business entity, gave the production access to all the audio, from demo recordings and studio chatter — and hard- core fans can tell the Martins dug through every scrap of it — but not the Beatles’ film and video archive. Now they have, and the production is incorporating “images you’ve never before seen,” Martin says. “The presence of the Beatles is more there, because we see them,” Tremblay says. Since the in-the-round configuration always made the video walls an afterthought, some of the images are now projected right on the stage floor. Martin says that in the early days of the partnership, both sides were “almost standoffish.” “Cirque wanted to retain their Cirque identity and the Beatles wanted to retain their Beatles music.” But the hands- on creators never drew such lines with one another. And now, “because the show’s been so successful, and so loved, the Beatles and Cirque are much more open, and there’s such a pride that this is the Beatles’ universe we’re in,” Martin says. Martin had one ear aimed at the “Love” reboot while he was working on last fall’s “Beatles 1+,” an audio-video reissue of the band’s greatest hits and excavated promotional video. He reimported all the audio, and remixed it for the theater’s 7,000 speakers, including new ones in the back of each seat. “The vocals are much closer to you; the drums sound much fuller. The whole thing just sounds better,” he says. “There are things I can do in this room you can do nowhere else in the world. I think when we did the show the first time around we were a bit too safe and treated it too much like a studio. And it wasn’t sort of, live enough and vibrant enough.” The years also gave Martin enough perspective to let go of some of the most detailed work “not everyone noticed,” such as a composite version of “Strawberry Fields Forever” beginning with a demo recording of John Lennon playing guitar in his house. “I just thought, ‘I missed the Mellotron,’ ” Martin says of the early synthesizer creating the opening notes. “I’d want to hear that in a theater this size. So I took out the complicated thing I did and replaced it. “But you know what?” he adds. “The thing I did then is no longer new; it’s 10 years old.” Even though the “Love” that reopens Feb. 25 will look and sound different, the creators want it to feel the same. “We’ve been careful not to change the character of the show because it’s so strong,” Martin says. “The strength of the show is the heart of the show, and we need to make sure we preserve that.” A Day in the Life... -------------------- Giles Martin, a caretaker of The Beatles’ musical legacy, is spending another afternoon inside the LOVE Theatre at the Mirage. Martin talks of the enormous responsibility bestowed upon him to help remake a hit show featuring some of the greatest music ever recorded, as performed by the peerless artists of Cirque du Soleil. As Martin speaks, the haunting voice of John Lennon calls out through the sound system, his otherworldly “aaaaah-aaaaah-aaaah-aaah” from “A Day in the Life” acting as this conversation’s soundtrack. “We felt that if we were going to preserve the integrity of the show, we needed to do something new,” says Martin, whose father, the producer Sir George Martin, recorded all of The Beatles’ studio work from 1962 to 1970 and was instrumental in Love’s original soundscape. “We first did this show 10 years ago, and it was groundbreaking. It still is groundbreaking, but it was 10 years ago.” As the orchestra’s crescendo builds to the song’s legendary culmination, Martin finishes his thought. “We have been fighting for permission to do something with this show,” he says, the symphony’s strings rising to meet his words. “Our view was that it looked old and sounded old and needed to be more vibrant. That was the word we used— vibrant.” As punctuation, the sonic vibrancy of four pianos crashing in unison fills the theater. CHA-CHUNG! You’ve got to love that Beatle timing. ***** LOVE has been dark for several weeks undergoing its first full-scale upgrade, returning to the stage on Thursday night in a “refreshing” period that should carry through July. Impressively, Love is 10 years old this summer, a remarkable achievement for myriad reasons, chief among them that the show has outlived the eight-year recording career of The Beatles themselves. It opened in June 2006, a highfalutin event attended by Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison, both Martins, Cirque founder Guy Laliberté and such rock royalty as Brian Wilson, Joe Walsh and Steve Van Zandt. At one point, McCartney shared a photo op with the theater’s original overlords, Siegfried & Roy, as The Doors’ Robby Krieger looked on. No doubt, Love was mind-blowing in its attention to detail, with all the hidden audio and visual gems from throughout The Beatles’ career— an aerial, white-gowned Lucy during that famous number; a pregnant Lady Madonna tap-dancing in the rain with her beau; a vintage VW Beetle breaking apart near the end of the performance. The sound system of more than 6,000 speakers built into the seats had never been attempted in Las Vegas before, and one of the show’s signature scenes was a white silk drape stretched across the lower half of the audience during the mashup of “Within You Without You” and “Tomorrow Never Knows.” The show is an unqualified hit, one of the top sellers staged by any production company on the Strip, typically hitting between 75 and 90 percent capacity through a decade at the Mirage. Exit surveys put it at the top of Cirque shows in Las Vegas for its positive fan feedback, and the band’s performance on streaming platform Spotify (70 million streams in just three days in December) reminds us that The Beatles never go out of style. But as has been proven during the company’s 25-year run in Las Vegas, Cirque is forever chasing its own universally high standards. Look at the shows that have followed Love, particularly Michael Jackson One and its aggressive choreography, lavish costumes, blaring pyrotechnic scenes, spring-activated stage and hologram of Jackson. The artists from Love have looked at that show, and the rotating stage in the $165 million KÀ at MGM Grand, with a hint of envy. So the Love team convened last year, said, in effect, “You say you want a revolution?” and went to work. First, Martin and co-creator Dominic Champagne, the Cirque artistic director who helped envision the original show, returned to the theater with wide-open minds. Which is to say, they pretended to be totally unimpressed by what they were watching. “Dominic and I came to the show as if we were two guys who didn’t particularly like Cirque du Soleil or The Beatles,” Martin says, laughing at the night they were nearly tossed by an usher who didn’t know they were Love’s co-creators. “We watched the show and we tore it apart … we began to realize we needed to do something where we could completely refresh the show, but not lose the heart of it.” The first move was apparent as the men stared at the show’s floor in the middle of the 360-degree theater. The spotlights created an unintended glare, and that territory on the floor was ripe for a void in the show—projected images of The Beatles. “We sat there and watched the floor, looking at it, and the funny thing was that we started walking around the theater trying to figure out how many people would be able to see projections on the floor,” Martin says. “You might not think much of it, but that was a huge overhaul. Massive.” Not just massive in upgrading the technology. The use of The Beatles’ faces in the show is a shift in philosophy from both the band members and Cirque officials. “We’re adding more Beatles,” Martin says. “In this backdrop of the show was a funny marriage, where there was no kissing (laughs). The Beatles and Cirque got together, but Cirque didn’t want much Beatles imagery, even just an album cover. No pictures of the boys, no seeing them at all until the ending segment,” he explains of the original approach. “We felt them in the show, certainly, musically, but one of the rules 10 years ago was not to use them as much visually,” Champagne says. “We used shadows. We used voices. But now they are going to be more present in the show and bring in some visually immersive experiences and some spectacular shots.” As Martin says, the band is so iconic, and “so damn popular, still.” No doubt fans want to feel its presence more powerfully. ***** The most evident shift in the order of Love’s acts is at the top, where “Twist and Shout” replaces “I Am the Walrus.” This is an override of sorts, of an old McCartney directive. “Paul wanted a strong John song at the top, so we went with a strong one, which was ‘Walrus,’” Champagne says. “But we were still in the early years, and that was quite a tough moment in the show to explain, with a weird setup while trying to explain the impact Elvis and rock ’n’ roll had on those guys.” As Martin explains, the first scene in the revamped show culminates with a bombed-out Britain in World War II, and arriving from the rubble is this rollicking sound. “You hear the voices, the ‘Aaah, aaah’ as the song starts, and we have the Cavern Club underneath, and rock ’n’ roll bursts out onto the stage,” Martin says, his eyes widening. “That becomes ‘Twist and Shout,’ but there’s a very fast shift, going from 1940 to 1963, making that jump in about 20 seconds, so there’s the held note of ‘A Day in the Life’ piano and a lot of other stuff I’ve added, and then these voices emerge in a way that you can’t immediately tell that they are voices.” He pauses and says, “It’s a very weird process, isn’t it?” Unseen but also significant will be upgrades to the theater’s sound system. Martin says he “begged and bartered” for new speakers throughout the venue. “When they were originally done, it was innovative to have three speakers in a seat. But they were not great quality, and we now have units that are much better quality, new speakers all the way through the theater.” The master audio was also totally remixed, once more by Martin, who is as adept with digital sound as his father was with audiotape. “We went back and remixed all the No. 1s (for the album Beatles 1) last year, and they sound a lot better than they did even 13 years ago. We rebuilt the entire show from the better-sounding quality audio. All of the original music was redone, and we now have the very best possible sound in this theater.” They also have a built-in desk where Martin can toggle between original and upgraded tracks, allowing for the show to be remixed anytime. Songs that make it as far as mixing have gone through quite a process. Once a number is selected, a place in the production is created—but that doesn’t always bring a song into the show. “Birthday,” the rowdy treatment from the White Album, was among those tried and tossed. Closest to reaching reality was “Let It Be,” near the end of the show in place of the unfailingly effective sing-along, “Hey Jude.” “We had to make this choice, and I nearly put ‘Let It Be’ in the show,” Martin says, “but the problem with ‘Let It Be’ is, it doesn’t crescendo, it doesn’t rise the same way ‘Hey Jude’ does, which allows you to move to another moment in the show.” Champagne also talks of a restructured “Yesterday” being prepped for the new version, saying, “I was never really happy at how we never really served what that masterpiece of a song deserved,” he says. “Now we are doing it in a very simple way, treating it with some improved acrobatics here and there, building on our strengths. You will see new advancements, without reinventing, with ‘Lady Madonna’ and ‘While My Guitar Gently Weeps.’” The show’s choreographers, Nappytabs founders Napoleon and Tabitha D’umo, actually led the development of an entire new number behind “Let It Be” before the project was shelved. “It was quite a beautiful number, and we were very excited about it, but we did go back to ‘Hey Jude’ because of its beautiful buildup to the finale,” Tabitha says. “It does not break down.” Napoleon adds, “Maybe someday we’ll put it on YouTube and say, ‘See what we were going to do!’ … I am just kidding about that.” But seriously, the artists in Love need to be versatile enough to perform in mediums totally different than those in which they were trained. That’s one of the Cirque hallmarks. An inline skater from the “Help” segment could easily find his way into “Twist and Shout,” dancing, not skating. “That has actually happened, where one of the inline skaters who is not a professional dancer at all is with professional dancers,” Napoleon says. “All of our dancers have acrobatic movement.” Tabitha cuts in with, “Cirque has such individuality in each act, you have to be able to adjust to everything—you have to translate to other acts, otherwise you would need 400 dancers in a show.” Artistically, Cirque is as flexible as the band that inspired Love. That’s why this once “no kissing” marriage has lasted. “I have felt this period as being between two giants,” Champagne says. “The Beatles and Cirque. I am almost the impostor, like maybe Steven Spielberg should be the one doing this, where the artists are saying, ‘Who is this f*cking guy, coming in and saying he does not like this or that in a show that is selling out every night?’ I am coming in and shaking the tree of a show that is working.” But Champagne has the permission of a Cirque-Beatles-MGM Resorts team that has grown into what he calls “a real family.” “When you are working with great artists, and McCartney is a great artist, like Mozart, you feel good about the creative process,” he says. “I knock on wood, because I do not want to feel too good before opening night, but it is working.” Champagne recalls a story George Martin has told many times through his history of chronicling The Beatles’ legacy: He visited John Lennon and Yoko Ono in New York several years after the band’s breakup, and Lennon said he wanted to re-record everything the band ever did. “Even ‘Strawberry Fields.’ Especially ‘Strawberry Fields,’” Champagne says, smiling. “He was talking about how unsatisfied he was about The Beatles’ music. Can you imagine? Now I don’t want to put myself as John Lennon, but I kind of felt that with Love.” And his co-conspirator shares in that spirit. “I wrote to my dad, who is 90 now, and I told him I am working with artists who were born after John Lennon died. Isn’t that amazing?” Martin says. “When we started this, people really were saying, ‘What the hell are you doing? I mean, really, what the hell are you doing with this Cirque show in Vegas?’ But there is so much heart and soul in this show. We want everybody to be in this room, and we want to make it even more about The Beatles.” Refreshed ‘The Beatles Love’ is vibrant! ---------------------------------------- “Love” blasts off with a new spring in its step. The acrobatic dancers even have springs embedded in the new spongy floor to propel them faster and higher as they belt into a raucous “Twist and Shout.” There’s a new, vibrant look and exciting feel to the show that celebrates its 10th anniversary in July. Last Thursday, after a two-week shutdown and months of daily rehearsals while the show was running by night, the cast presented its new look to the public for the first time. I saw it Friday: Seventy percent of the show is different — and marvelous and magnificent. The remaining 30 percent will be updated and integrated between now and when Sir Paul McCartney, Ringo Starr, Yoko Ono and Patti Harrison arrive in July for the 10th anniversary. The show feels as if it’s catapulted at high speed into its second decade of Strip success. Each of the 2,013 seats has had its three old speakers replaced with two more modern, smaller ones that give it a bolder, bigger and brasher sound. It’s like eavesdropping on a Beatles recording session as if you are the producer and not Giles’ dad, Sir George Martin, who was often referred to as “The Fifth Beatle” because he engineered their records. That’s particularly true in the “Lady Madonna” recording session that leads into “Hey Jude” and “Strawberry Fields,” with the bubble-blowing effect from the sudsy piano lid. Giles and his father remixed 80 minutes of The Beatles music for the original Cirque show in 2006. Since then, Giles has backed up the Beatles catalog and last year remixed their No. 1 hits digitally. He was perfect to replace all the audio in “Love.” The Beatles’ legacy of genius in their music and lyrics is intact forever. He now describes it as “glorious sounds.” I agree. The Beatles provided new, previously never seen video from their vaults at Apple Music to director Dominic Champagne, who has miraculously created animated, interactive holograms of The Beatles in black-and-white silhouette. Enjoy the experience as an open-mouthed, gee-whiz moment. I loved the aerial ballet that featured four girls and one guy “flying” and “swooping” to “Something in the Way She Moves.” The couple on the trapeze for Paul’s “Yesterday” video are magically interlocked. The ballet for “Here Comes the Sun” is an emotional spine-tingler. The high-above staging of “The Octopus Garden” is adorable, and sparklers descending from the ceiling of “Lucy in the Sky With Diamonds” seem as large as Caesars Palace headliner Mariah Carey’s engagement ring. One minute, the show can go from eye-popping psychedelic colors to the purity of a white chiffon tent draped over the entire the audience. The dancing seems to have picked up a harder and faster beat. The dancer on roller skates moving and grooving to “Help” has to be seen to be believed. The trampoline skater performers for “Revolution” seem to speed faster, jump higher and somersault farther. All of the added effects and action plays out on the computerized floor, which becomes a giant screen for 24 projectors — so lifelike at one point it looks as if it’s a glistening lake. Not only does it change colors, but the sections of colored squares also go “splat” into various shapes with the tap-dancing and jumping dancers as they land. It’s modern showbiz technology at its finest — an interactive gym floor. The show, with its cast of 65 international performers, ends on a high point of the marching Sgt. Pepper’s Lonely Hearts Club band in new, vivid and colorful uniforms and performers walking on stilts sculpted from their musical instruments. It’s whimsical fun and very effective visually. I didn’t want the show to end. There’s so much going on, one has to return at least five times to capture it all. It’s a wondrous and emotional experience that lasts for days. In a day and age of ugly schoolyard bully political discourse, you want to remain in The Beatles wonderland. THE END. SOURCES: 1. Brendan Kelly, The Montreal Gazette | http://goo.gl/MPD6So 2. Robin Leach, Las Vegas Sun | http://goo.gl/GiUsG8 3. Robin Leach, Las Vegas Sun | http://goo.gl/tISxuK 4. Mike Weatherford, Las Vegas Review-Journal | http://goo.gl/1TZcJB 5. John Katsilometes, Las Vegas Weekly | http://goo.gl/cF3RFe 6. Robin Leach, Las Vegas Sun | http://goo.gl/nkx8Ut ------------------------------------------------------------ LOOK BACK: Guy Laliberte's Poetic Social Mission PART 7 of 8: "Moving Stars and Earth for Water" 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. In Part 6, “Departure for Baikonur”, we finished out September’s logs with Guy’s departure to the Baikonur Cosmodrome, Russia’s launch facilities located in the desert steppe of Kazakhstan, and the day before his launch into space. And now we continue with looking at the event itself – “Moving Stars and Earth for Water” – the meaning behind Guy’s Poetic Social Mission to space. ONE SMALL STEP -------------- “Guy Laliberté will bring an innovative and creative perspective to the crew of Expedition 21,” said Mr. Alexey Krasnov, Head of Human Space Flight of FSA, in the initial Press Release on June 4, 2009. “We believe that the objective of his Poetic Social Mission to raise awareness of water issues facing the world is part of what space exploration needs to do. We welcome him as a team member and will offer all the support he needs to achieve his mission. We are also very impressed with the humanitarian objectives of the ONE DROP Foundation, founded by Guy Laliberté.” With the theme Water for all, all for water, it wishes to raise awareness to water issues in the world, ensure that access to clean water is available to all and putting in place education programs using art. “The strong humanitarian values put forward by ONE DROP Foundation and Guy [is] shared by the FSA”. "I have been described as many things throughout my 25 years with Cirque du Soleil. Fire-breather, entrepreneur, street smart, creative," says Laliberté. "I am honored and humbled today with my new job description: humanitarian space explorer. Traveling has always been my way of life and I have been researching the possibilities of space travel with Space Adventures Ltd since 2004. But I needed it to be the right time and for the right purpose. This is the time. And the purpose is clear: to raise awareness on water issues to humankind on planet earth. My mission is dedicated to making a difference on this vital resource by using what I know best: artistry. This will be the first poetic social mission in space. This is also a very symbolic time for me to join my colleagues of Expedition 21 at Star City since, after 25 years, this is the year that Cirque du Soleil will be introduced to Russia after so many years! The timing could not be most appropriate!" During his 12-day stay at the ISS, Guy Laliberté's POETIC SOCIAL MISSION will share information about water issues in the world through a singular poetic approach. The messages he transmits will raise awareness for ONE DROP Foundation initiatives that promote Water for all, all for water. The Canadian Space Agency salutes Guy Laliberté's initiative as Canada's first private space explorer. The agency will advise Laliberté and he will meet with Canadian astronaut Dr. Robert Thirsk while at ISS. "Canada's leadership role in space exploration is at the forefront of our mandate," said Dr. Steve MacLean, president of the Canadian Space Agency. "This humanitarian mission, imagined by a leading entrepreneur and artist, demonstrates the talent, imagination and dedication that Canadians are recognized for worldwide." Eric Anderson, President and CEO of Space Adventures Ltd. added, "I have known Guy for many years and is a member of our Orbital Mission Explorers Circle. His approach to his first spaceflight was always original. Since our first discussions in 2004, he has wanted to travel in space for a purpose and to express his unique vision. I believe that his Poetic Social Mission truly realizes his intentions and we are proud to be able to help him to make it a reality." A CONCEPT UNVEILED ------------------ While Mr. Laliberte trained at the Yuri A. Gagarin State Scientific Research-and-Testing Cosmonaut Training Centre in Star City Russia (as we’ve been reading), much of the purpose of his spaceflight – besides his initial statements - remained unknown, until the morning of September 2, 2009 – just 28 days before launch – when the artistic concept behind the poetic social mission was unveiled: For 120 minutes, the earth will gaze up at the stars and resonate to the rhythms of artists and world-renowned figures who will demonstrate their commitment to water, and pay tribute to this vitally important natural resource. Each city will have its own theme related to water. The participants will either take part in the event either by reading parts of a poem, performing, or sharing an artistic work. “During the past 25 years, my travels on earth have allowed me to meet extraordinary people: artists, leaders and friends,” continued Guy Laliberté. “I am deeply touched that they have accepted to contribute their voices, their talent and their creativity to my artistic project. They have done so because they share my concerns about water and my belief that through art and emotion we can convey a universal message.” “When I decided to join Expedition 21, I knew there would be an artistic component to my mission,” said Guy Laliberté. “I am an artist, not a scientist, so it was my duty to contribute in my own way. On the very first day of my training, I began to reflect on my artistic approach. The inspiration came from tales and children’s dreams. I decided that the artistic framework of our global event would be a poetic tale. My wish is to touch people through an artistic approach and if we manage to do so, we will go beyond awareness.” “During my training and preparation for this flight, I have found that many in the international space community share my concerns about water and support my project,” said Guy. “They understood my intentions and they also agree that using an artistic language will allow us to reach not only the interested space community, but the people who are not ordinarily interested by activities in space. I want to thank them for their genuine openness and understanding. Their support is invaluable to me because it confirms that even if there are six billion of us, we can work together toward a common goal and change the world… one step at a time, one drop at a time.” THE GLOBAL EVENT ---------------- Under the theme Moving Stars and Earth for Water, the Poetic Social Mission was a special two-hour program that raises awareness about the issues of water in the world today from a variety of perspectives. October 9, 2009 at 8:00 pm. EDT (GMT-4) in 14 cities around the world - in Montreal, Moscow, Santa Monica, New York City, Johannesburg, Mumbai, Marrakesh, Sydney, Tokyo, Tampa, Mexico City, Rio de Janeiro, Paris, London and the International Space Station - this live event was presented around the world by a global community of artists representing all cultures and creative disciplines and well known personalities. Celebrated around the planet, the artists are singers, actors, filmmakers, photographers, dancers, acrobats, poets, etc. What they all have in common is a concern regarding access to water and a desire to illustrate this in their own distinctive way. The artistic core of the show was a poetic tale written especially for the occasion by renowned novelist and Man-Booker Prize-winner Yann Martel. The tale was gradually revealed as the program took us through 14 cities around the world on a journey that began in Montreal and ends in Moscow. o) The Opening -- From the International Space Station (ISS), Guy Laliberté presents the Poetic Social Mission: artists and personalities uniting to express their concerns about water and how this precious resource inspires them. He outlines the content of the program and explains the stage-by-stage unveiling of the poetic tale at the heart of this artistic endeavor. He introduces former U.S. Vice-President, the Honourable Al Gore and award-winning scientist, environmentalist Dr. David Suzuki. Al Gore delivers a visual presentation on the threats to mankind’s access to water and the security of our planet’s ecosystems. During a discussion of water points, David Suzuki presents a comparative display of images revealing the stress bearing down on our water resources. o) Montreal -- Canadian astronaut Julie Payette joined internationally celebrated author Yann Martel to read the first part of the tale in English and French. Cirque du Soleil staged a unique poetic performance to the original music of composer Simon Carpentier at TOHU. Inspired by First Nations myths and legends, the segment featured acrobatic aerial acts and Inuk singer Élisapie Isaac. o) Johannesburg/Durban -- Nobel Peace Prize winner Wangari Maathai read a paragraph of the tale, linking water and education. World- renowned musical group Ladysmith Black Mambazo performed on a boardwalk by the sea. o) Rio de Janeiro -- Brazilian musical icon and environmental advocate Gilberto Gil read the next line of the tale, on protecting the planet’s ecosystems. A special event featuring Gilberto Gil and musical group Empolga às 9 took place at Fundição Progresso. o) Paris -- Environmental advocate Maud Fontenoy read the next part of the tale, calling attention to global water pollution. In a video clip, French superstars Garou and Patrick Bruel were joined by Jean- Jacques Goldman, Lorie, Michel Fugain, Natasha St Pier, Hélène Ségara and Zazie to sing the words of Luc Plamondon to projections of images of Yann-Arthus Bertrand’s critically acclaimed environmental film “Home.” o) Mexico City -- Leading actor, director and producer Salma Hayek read the next part of the tale, emphasizing the importance of water in agriculture and food security (feeding the planet). This was followed by a performance by singer Lila Downs at the Gran Hotel overlooking Zocalo Square. o) New York City -- Singer-songwriter, performer Shakira delivered the next paragraph of the tale, on the life-sustaining powers of water. This was followed by a surprise performance in one of the most exhilarating venues in the world. o) Sydney -- Conservationist and TV host Bindi Irwin, daughter of beloved Australian wildlife expert Steve Irwin, read the next segment of the tale, calling attention to our threatened lakes and rivers. Leading Australian soprano Tiffany Speight performed at The Studio, Sydney Opera House against a backdrop featuring the work of award- winning photographer Peter Lik. o) London -- Musician, writer, video-writer and human rights advocate Peter Gabriel recited the next part of the tale, emphasizing access to water as a human right. English soul and R&B singer Joss Stone performed. o) Marrakesh -- Poet Touria Ikbal read the next paragraph of the tale, addressing the relationship between women and water in the developing world. Morocco’s most popular rap group Fnaïre performed in a public place. o) Mumbai -- World-renowned Indian environmentalist Vandana Shiva read the next segment of the tale, on the spiritual properties of water. In a video clip, Academy Award winning composer A. R. Rahman performed one of his most celebrated songs in a moment specially created for the Poetic Social Mission. o) Osaka -- Tetsuko Kuroyanagi, UNICEF ambassador for the protection of children, read the next part of the tale, on the crisis of melting polar ice caps. Multidisciplinary Japanese pop star Tatuya Ishii delivered an early-morning performance at the Twin21 Atrium. Environmental activist and filmmaker Jean Lemire provides stunning visual imagery. o) Santa Monica -- Leading actor Matthew McConaughey read the next part of the tale, a tribute to the living animal populations of our oceans. Gregory Colbert’s etude on water “Ashes and Snow” was presented in a most unique venue. o) Tampa -- Bono and Guy Laliberté engaged in a space-to-earth conversation. o) Moscow -- A group of children, our inspiration for a brighter future, read the next part of the tale. A performance is presented in Moscow’s famous State Academic Maliy Theatre featuring Bolshoi Ballet principal dancer Nikolai Tsiskaridze and including the participation of a group of children and Cirque du Soleil. o) International Space Station -- Guy Laliberté introduced Canadian astronaut Julie Payette. Julie, Guy and others aboard the ISS discuss the importance of the scientific research conducted on board the ISS over the years, specifically addressing its focus on water issues. o) Conclusion -- Guy Laliberté delivers closing words from the ISS, issuing his clarion call to action—All for Water and Water for All—and expresses his gratitude and appreciation for the efforts of the many thousands involved in this unique global happening. It is estimated that three million people saw Moving Stars and Earth for Water from different broadcasting platforms. According to research into audience and readership figures for all types of media, it is estimated that almost 900 million people in 71 countries were reached by news about the Poetic Social Mission, which represents an advertising value of CAN $592 million. And last, but certainly not least, here's the poem that was read all around the world... WHAT A DROP OF WATER HAD TO SAY ------------------------------- A fable by Yann Martel MONTREAL Sun and Moon were arguing, again. Brother and sister, they’d wandered the Universe and found in this corner a good home. Sun adored being the star of the show, so many admiring planets spinning in his orbit. Moon, more modest, was drawn to Earth. Now Moon was looking at her brother glumly. “What’s the matter?” asked Sun. “My planet is drying up,” replied Moon. “Earth, that speck of dirt? Why do you care?” “Because it’s my garden. I love Earth,” Moon pouted, as she slid into a lunar eclipse so she wouldn’t have to see her brother. “If Earth is drying up,” continued Sun, “why don’t you adopt a nicer planet? There’s Saturn, for example, or Jupiter, they’re both impressive.” “You don’t understand anything. You’re the dimmest of stars!” bawled Moon. “Is that so?” huffed Sun, bursting with solar storms. “Excuse me,” came a small voice from planet Earth. “What?” said Sun and Moon together. “Who are you?” “I’m a drop of water,” said Drop of Water. “I need your help.” JOHANNESBURG Drop of Water spoke: “I take many forms, so that all may be pleased. I can be liquid, as heavy as gold, as silky as music, as quenching as poetry. I can soothe dry throats and make fields blossom. I can rush through pipes, gushing into pots and sinks, so that while I work, children may go to school.” RIO DE JANIERO Drop of Water continued: “Fresh, I can push and flow down the broadest arteries, Amazon, Mississippi, Danube, Nile, Euphrates, Volga, Yangtze, Mekong, so that great green bodies might be fed. Salty, I can answer the needs of sailors and seas, so that fish and ships might float in the blue. And salty or fresh, from blue oceans or green jungles, I am the softness in the breath of lungs that restore the planet.” PARIS “So what’s the problem?” interrupted Sun. “Look at those beaches, there, there and there,” pointed Moon. “The ones covered in thick, oozing black?” asked Sun. “Those very ones,” said unhappy Moon. “I rather like them. They take my heat in very well.” “Perhaps, but look at the sad eyes peering through, blinking seabirds, and hear the coughing fish, gasping for air.” “I hadn’t noticed,” said Sun, looking closer. “And look at those rivers and oceans, there, there and there” pointed Moon again. “With the lovely slicks? My light plays off them so beautifully,” said Sun. “But look at the lifelessness beneath them. They’re floating graveyards,” replied Moon. “I hadn’t noticed,” said Sun, looking closer. NEW YORK Drop of Water spoke again: “I can be smaller too, so small that sometimes I, a drop, am a whale next to the water molecules I meet, who tirelessly support all living matter, as discreet as the internal structure of the Statue of Liberty. No sap or blood can flow without water in it. There’s no life that doesn’t know me intimately, there’s no life that can live without me. I am the heart and soul, the primeval soup, of all that cares. I arrive with birth and depart with death.” MEXICO CITY “I can mix the fresh and the salty too, for the good of all, as when the salty sweat of the farmer pours from the furrow of his brow into the furrow of the earth he has freshly watered. Of all that moves, I am proudest of the slow growth of grains, who never forget to nurture their soul, which they call moisture. Of all the clothes I can wear hanging in my closet, I am proudest of the one called food. When I am food, I am celebrated by all and every mouth seeks to undress me.” SYDNEY Drop of Water went on: “I can also be mist, supplying fogs, clouds and morning dews, or I can be ice, sharing my cool with drinks and penguins. So you see, I’m pure and simple, eager to please, willing to accommodate. Drink me, heat me, freeze me, sprinkle me, swim in me, I give myself to each and every with open heart, yet so many exploit me. My dear brothers Chad and Aral are vanishing, and my sweet Murray-Darling is most undarling. If I cannot move freely and abundantly, how can I give freely and abundantly?” MARRAKECH Sun, struck by concern, peered harder still, and the day became hot. “What are those ants that crawl in your garden?” Sun asked his sister. Moon replied, “They’re called humans, my brother.” “And what do you think of humans, Moon?” “They’re beautiful but they’re foolish. When there’s trouble in the world, the men send their women home, and when there’s trouble in the home, the women send their men out, so that too often humans are thinking with only half their brains. They forget what it was like when they were children, when boys and girls played as equals, splashing water on each other. Instead women and girls carry jars of water on their heads to-and-fro from well to home, leaving exhausted prints in the sand. Are we not all equal before God?” LONDON “And what are humans doing about their plight?” asked Sun. Drop of Water replied: “Though blameless, I have been judged and unfairly condemned. I am treated like a raw material. Oil, that impenitent criminal, mocks me, ‘Can you not turn to vapour? Then save yourself and me!’ I remind Oil that Jesus on the Cross had only one complaint: ‘I am thirsty.’ His final attachment to life on Earth was precious water. Have we still not learned that with loving kindness we should slake the thirst not only of gods but of each other? Surely what He deserved by grace, we deserve by right. To partake of water is no less a need than to partake of love. Oil laughs, as remorseless as vinegar.” TOKYO “I despair,” said Drop of Water, “and I retreat to colder, calmer climes. I seek peace in the meditation of ice. Icebergs are Buddhist monks I send forth, released into the world from the great monasteries of the Poles. Their mantra is the blue light humming within their frozen cores. Their message is peace and oneness, but alas they simply vanish. Every year monks leave me and never return.” MUMBAI “Still I give,” continued Drop of Water, “or I take, as the need may be. So when I am holy Ganges, and I am always holy Ganges, I give to the living and I take away the dead. Nothing has more good karma than water, which never seeks release from the cycle of birth, death and rebirth, but always returns to serve others.” SANTA MONICA “I am moved by your plight,” said Sun. “What do other creatures say, the ones that aren’t half-brained?” Drop of Water replied: “The ones that live within me are constant in their lament. They weep and give me their salty tears in hopes of nourishing me. From shrill krill to barking sharks to blues-singing whales, all mourn the ruination of their neighbourhood. As for creatures of the land, they come to see me every hot day, bears to my lakes, hippos to my rivers, zebras to my water holes, and all drop their heads in sadness. Lastly the creatures of the sky, their misery is such that they buckle and plummet, and those that can float find comfort directly on me, while those that would sink seek refuge in lifeboats they call nests.” TAMPA Sun turned to his sister Moon and said: “You are right to love your garden. It is beautiful. Water is a hundred billion clasped hands, a great chain that embraces the globe, I see that now. This planet is like no other I know, a solitary kite in the sky, a whistle in the dark, a song amid the dreary, a dance in the middle of foot-dragging, a dazzle of colour splashed onto a drab wall. Truly this garden of yours is a gem, a sapphire of incomparable blue.” MOSCOW “Is there any hope?” asked Sun and Moon together. “Oh yes,” said Drop of Water. “In the beginning was water and to water there is no end. Water is a child, holder of future, so let the child be. It’s a question of balance, between abundance and scarcity, between use and abuse. A day will come soon, I hope, when I will be owned by none and shared by all, when I will be sullied by none and nourish all, when I will be taken freely and given freely. In the beginning was water and to water there is no end. Water is a child, holder of future, so let the child be. A day will come soon, I hope, when we will start over, at peace with water, at peace with our future, one planet, one drop.” # # # TO BE CONCLUDED... Next month we’ll conclude with the eighth and final installment of this series – “Back on Earth – Mission Success!” - which brings us Guy’s observations while on orbit following his return to Earth. Stay tuned! ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 16, Number 3 (Issue #146) - March 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. { Mar.08.2016 } =======================================================================