======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 5 May 2016 ISSUE #148 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. The creative juggernaut that is Cirque du Soleil continues full steam ahead with the premieres of both PARAMOUR in New York City and LUZIA in Montreal since we last spoke. One of which (Paramour) we take quite a look at in our Features section this month with a fantastic review of the show by longtime friend Douglas Metzger, who, along with a number of fellow Passionates, took in the first preview of the Broadway show. And since PARAMOUR was in the press quite a bit over the past few weeks you'll also find "The Press Peeks at Paramour" - a Special Collection of Articles from the Press in our FEATURES this month as well. We'll tackle LUZIA next month as my friend José Pérez (TheChapiteau) and I will be heading to Montreal at the end of May to see this new spectacle for ourselves... and no doubt talk about it on an upcoming episode of CirqueCast. But in the meantime, check out these reviews: http://goo.gl/nnbB8D and http://goo.gl/gcvl0p. The show looks fantastic. We can't wait! Via its 45 DEGREES subsidiary, the company also opened its aquatic fairytale "La Forge aux étoiles" at Futuroscope, as well as announced this year's version of SCALADA - to be titled VISION. And in amidst all the new shows and events Cirque du Soleil is opening, it also closed two this past month as well - BELIEVE and ZARKANA, both in Las Vegas. Yeah, it's been a busy month! [We talked a fair bit about this on the third episode of CirqueCast this month, which you can find on YouTube here: https://www.youtube.com/watch?v=UPLlBbrjJew. Check us out!] It's also been an interesting month for show cancellations too. On April 15th, Cirque du Soleil announced that it would cancel all of its shows due to perform in North Carolina over the state's "bathroom bill", which among other things, requires transgender people to use the bathroom based on the gender listed on their birth certificates. Critics also say it eliminates basic protections for members of the LGBTQ community in areas like employment and housing. Cirque's announcement on the matter: Cirque du Soleil strongly believes in diversity and equality for every individual and is opposed to discrimination in any form. The new HB2 legislation passed in North Carolina is an important regression to ensuring human rights for all. We therefore choose to cancel our scheduled performances of OVO in Greensboro (April 20-24) and our scheduled performances in Charlotte (July 6-10) and our scheduled performances of TORUK – Avatar in Raleigh (June 22-26). Cirque du Soleil believes in equality for all. It is a principle that guides us with both our employees and our customers. We behave as change agents to reach our ultimate goal of making a better world with our actions and our productions. We sincerely hope that the customers that have purchased tickets for our performances in North Carolina will understand our motivation and we look forward to performing in North Carolina when this issue is addressed. On-line and phone ticket purchases will be automatically reimbursed and in-person purchases must return to point of purchase for refunds. Customer service can be reached at 1-877-924-7783. But perhaps paradoxically the Cirque is still intent on expansion into Russia and China... countries that aren't well known for their friendly attitudes toward the LGBTQ community and its peoples. We hear there's been quite a debate on this particular topic throughout the social media sphere too, with fans falling on both sides, so it is certainly a hot topic. We'll keep you updated. Although we've known for quite some time about the new resident show slated to debut in Hangzhou, China in 2018, CBC News got quite the scoop in the last few days of the month when vice-chairman of Cirque's operations in Russia (CDS Rus) - Craig Cohon - announced that Cirque du Soleil Russia had just finalized a deal for a new $50-million theater to open in 2019 in Moscow to house not only Cirque shows, but other entertainment as well. CBC News released a video clip along with their announcement (which you can find here: http://goo.gl/T1BRbO) - take note of the theater rendering... it's quite huge! (I wonder what's going to go in there!) Though Russia and China may be in Cirque's future, Mexico is on the company's immediate radar. In a move to promote Mexico's culture, history and music, the Mexican government has agreed to fund the live performance company's latest show, LUZIA, to the sum of $47.7 million dollars over the next five years. Mexico's secretary of tourism, Enrique de la Madrid, says the show is expected to cover 450 cities around the world over the next 7 years. [Editors Note: 450 cities in 7 years sounds a bit much, unless the show will convert to its arena tour earlier than expected... but that's what he said.] According to the Tourism Ministry, LUZIA is a result of an agreement signed by the Tourism Board of Mexico (CPTM) with Cirque du Soleil to create a marketing platform that positions the image of Mexico in international markets. "This type of event is another way of promoting Mexico, focused on tourism segments that we want to impact and serve," Enrique de la Madrid said. Also in Mexico, The Celebrate Project in Puerto Vallarta continues making headway, with much of the land needed for its two resorts and exclusive amenities cleared off. For now the project is still on schedule to open - at least phase one - in 2018. We'll keep on it because there've been some interesting new renderings posted to Goddard Group's Facebook page recently! And speaking of money... PARAMOUR, the first made-for-Broadway venture from Cirque du Soleil, got off to a rousing start in the Street's biggest house, the Ambassador Theatre Group's Lyric Theatre, selling out all 1,896 seats and taking in a hair's breadth shy of full potential for its first preview. The tally was $190,774, at an average ticket price of $100.57. And continued that success throughout the next three weeks of previews. Check out the chart below (courtesy of The Broadway League via Playbill): Week This Week Potential Difference Seats % Cap Ending Gross Grosses in Dollars Sold --------------------------------------------------------------------- 17-Apr $190,773.60 $191,599.00 $0.00 1,897 100.05% 24-Apr $1,018,941.65 $1,149,594.00 $828,165.05 10,623 93.38% 1-May $1,065,771.30 $1,172,274.00 $46,829.65 11,043 97.07% 8-May $1,074,995.70 $1,367,653.00 $9,224.00 11,443 86.22% Don't forget! On Tuesday, June 7th here in the United States, Fathom Events and Cirque du Soleil will bring One Night for One Drop to select cinemas nationwide for a one-night only special event. Each year, this beautiful and uniquely custom show wows a super limited audience that pays thousands of dollars per ticket. Now, for one night, audiences across the US can view this breathtaking and truly exclusive, larger-than-life event on the big screen without breaking the bank. Don't miss your chance to see the magic of Cirque du Soleil performers combined for one special event! The fun starts at 7:30pm local time and will last approximately 2 hours. Check out the links below for tickets and more information about the event: o) TICKETS: http://goo.gl/C8MnCk o) MORE INFO: http://goo.gl/yL65UI Oh, and, if you were expecting to see Criss Angel's replacement for BELIEVE on Wednesday, May 11th I've got some news for you: it's been delayed. "As the first-of-its-kind show and because of the size, scope and dangers from the vast number of death-defying illusions, Clark County fire and engineering officials are still pouring over the Luxor stage to ensure that all safety measures are in place before they issue permits to allow insurance coverage in place. Cirque du Soleil hopes that it will receive a sign-off this week to announce the new start of previews. Jerry Nadal, Cirque's senior vice president of resident shows, said: 'The decision to delay the ‘Mindfreak Live!' previews is based on the cutting-edge technology in the show and the demands to ensure that our crew and artists are fully trained and versed in them. With substantial technological elements that have never been used before, we have asked Criss to take additional time to ensure a seamless integration.'" Okay, okay, I'll shut up now. So, let's get started! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | At CirqueCast: | | < http://www.cirquecast.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 * "The Press Peeks at Paramour" A Special Collection of Articles from the Press * "Passionates Preview Paramour" By: Douglas Metzger - Long Island, New York (USA) * "JOYA, A Night in the Mayan Jungle" A Special to the Fascination! Newsletter o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Cirque Hopes Paramour Will Launch Global Expansion {Apr.04.2016} ------------------------------------------------------- Cirque du Soleil generated more than half its $850 million in revenue last year from eight acrobatically inclined shows, all of them in Las Vegas. The other half came from markets that did not include New York. Now the Montreal-based company is returning to New York not only to launch its first Broadway production but to try to transform the way it does business. Unlike its Vegas productions, Paramour will use character-driven storytelling with a beginning, middle and end, in addition to its signature acrobatics. The show, which begins preview performances April 16, will also mark Cirque's first scalable and replicable show in the company's 32-year history, meaning that a hit in New York could be taken on the road and exported around the world. "We managed to have eight shows in Las Vegas," said Cirque's president and chief executive officer Daniel Lamarre. "But while we were doing that, we weren't paying enough attention to the New York market, which is the most important market in the live- entertainment world." In the last three decades, Cirque has created 37 one-off productions, including several off-Broadway shows in New York that were meant to compete commercially with Broadway productions. Most succeeded: Zarkana sold one million tickets over the course of its two-summer run. One flopped: Shpeel, a $20 million dollar vaudeville-inspired show, ended its 2010 run at the Beacon Theatre less than six weeks after opening. None of them, however, could be duplicated in more than one venue at a time. "For the first 30 years the company existed, every single show that Cirque did was singular," said Scott Zeiger, president and managing director of Cirque du Soleil Theatrical, which launched in 2014. "If we are successful with what we are doing on Broadway, we will be able to replicate Paramour in London or Germany or Tokyo or Melbourne, and take that DNA we are investing real money and real time in creating to enjoy the potential global exploitation simultaneously." Cirque is already a global phenomenon drawing 160 million spectators to shows in more than 400 cities, 60 countries and six continents. So why encroach on an industry that's consistently unreliable and in which only 20% of shows ever recoup their costs? Because when a show works, the potential profits can be in the billions. The Lion King has grossed $1.25 billion on Broadway since its New York stage premiere in November 1997, making it the highest grossing show on the Great White Way. Success in New York led to offshoot productions around the globe that have grossed more than $6.2 billion, making it the most profitable stage musical and piece of entertainment in any medium. It's been seen by more than 85 million people in 100 cities in 20 countries on every continent except Antarctica and translated into eight different languages. Wicked, meanwhile, recently crossed the $1 billion mark at the Broadway box office and has garnered $4 billion worldwide. "We understand the Broadway statistics, and we don't want to get ahead of ourselves. The focus is making New York City a hit," Zeiger said. "But we do have this fantastically loyal built-in base of Cirque du Soleil fans who will come to experience the show. We hope that we will also deliver for the Broadway ticket buyer an experience that they feel is worthy of their ticket dollars. And if we can crack that nut and create the merger of the Broadway fan and the Cirque fan into this production, there is clearly a very large audience potential." The company is well on its way. More than 50,000 advance tickets for Paramour have been sold for roughly $5 million. The challenge will be meeting expectations on opening night, June 2. To make things harder, that opening date makes them ineligible for this year's Tony Awards, a cutoff most producers try to make in order to improve their chances at the box office. "They realize that there is an incredible potential not only in profit but in spreading and increasing the size of their brand with a successful production in New York," said Ken Davenport, a Broadway producer behind Kinky Boots and Godspell. "So the Tonys are really not going to be part of the equation." That puts more pressure on Cirque to get Paramour right from the start. Cirque shows can be tweaked long after opening night. But Broadway is different. Zeiger acknowledged that it's expensive to rework the production after official press previews, in part because reviewers will not come back to give it a second look. "So we would do a cost-benefit analysis after the show is frozen and open to see if we believe that further investment should be made to tweak the show," he said. In the meantime, Zeiger is focused on the previews starting this month. "Yeah, we are nervous," he said. "Just like everyone opening a musical on Broadway is nervous." { SOURCE: Crain's New York Business | http://goo.gl/8rL9ol } Changes Coming to TORUK? {Apr.09.2016} ------------------------------------------------------- When Cirque du Soleil soared back into Oklahoma City with ‘Avatar'-inspired show ‘Toruk – The First Flight', NewsOK's Brandy McDonnell was on the scene to review the show locally. In a brief interview with Michelle Wuthrich, one of TORUK's acrobats, Wuthrich mentioned that the show might be up for some changes shortly: In her alien makeup and costume – complete with tail – Michelle Wuthrich, 25, is virtually unrecognizable Wednesday night as the Australian acrobatic performer who casually scaled up and suspended from a forest of towering poles at that afternoon's rehearsals. "We paint ourselves blue every night and put on our blue costumes … and it's great," she said with a grin. "Kids love it. … We're getting a lot of great feedback. It's really colorful. We still have plans to improve the show, as it is new. So, we're looking forward to all those changes, but for now, the response has been fantastic." # # # The interview can be read here - http://goo.gl/pkXSM0 - but since this blurb was published, an Aerial Straps act and a Contortion/Handbalancing act have been added to the show. The contortionist is Baaska Enkhbaatar of Quidam, Michael Jackson Immortal, and Alegria fame; her act appears during the Anurai Clan scene whereby the clan performs a ritual for their totemic animal, the Thantor, by building an intricate structure with parts of the creature's skeleton. { SOURCE: NewsOK } Dramatic Changes Continue at ‘The Beatles Love' {Apr.12.2016} ------------------------------------------------------- Dramatic changes are continuing in Cirque du Soleil's "The Beatles Love" at the Mirage in advance of the now-set 10th anniversary celebration July 14 with Sir Paul McCartney, Ringo Starr and widows Yoko Ono and Olivia Harrison. The first wave of new acts, costumes, choreography, technology and music designed to bring the vibrant and culture-shifting sounds and settings of The Beatles' musical revolution to a renewed life are now in place, but the show will continue to evolve until the final unveiling at the anniversary show this summer. "We are preparing many gifts to add to the vibrancy of this colorful, immersive rock and roll poem," said Dominic Champagne, writer, director and original concept creator of "Love." "People love The Beatles' virtual presence in the show, and they'll get more, along with more acrobatics, more visuals, more special effects and more love!" The Grammy Award-winning soundtrack to "Love" has grown to include the fan favorite "Twist and Shout." With a reinvigorated pulse of sound led by musical director Giles Martin, son of the late legendary The Beatles producer Sir George Martin, the show's listening experience has been heightened with a remixed soundtrack thanks to today's technological advances. Audiences will see stunning new acts and vibrant choreography, pushing the artistic and acrobatic content to new heights. NappyTabs, the Emmy Award-winning choreographers of "So You Think You Can Dance" fame, have been brought in to update sequences with fresh steps for the talented cast of 77 artists. Engaging new imagery created by Dandypunk is drawn by hand, instead of a computer, a painstakingly long but effective process. The additions are played through 20 new projectors, using the stage floor as a new projection surface. { SOURCE: Robin Leach, The Las Vegas Sun | http://goo.gl/7KeXFq } ROGA | C:LAB by Cirque du Soleil {Apr.14.2016} ------------------------------------------------------- As part of the LED talks, Steven Openheart has been invited to present the ROGA. This is a type of yoga that he developed specifically to diminish the stress & sense of exclusion robots can feel when exercising. In this demonstrations, Steven is accompanied by his two humanoid assistants Jennie & Peter. Namaste! Check out the video here: LINK /// < https://youtu.be/lRr53tK9NeE > { SOURCE: Cirque du Soleil } Sustainable Fashion Challenge – Swarovski & Cirque {Apr.15.2016} ------------------------------------------------------- The École supérieure de mode de l'ESG UQAM, Cirque du Soleil and Swarovski have announced the winners of the debut Cirque du Soleil and Swarovski sustainable fashion challenge. Pursuing the same goal of acting responsibly as a business, Cirque du Soleil and Swarovski gave Fashion Business students at École supérieure de mode (ESM), part of l'École des sciences de la gestion de l'Université du Québec à Montréal (ESG UQAM), the opportunity to reimagine Swarovski crystal-embellished costumes that have previously appeared in some world famous shows from Cirque du Soleil. The two companies worked together with the fashion school to connect young talent with these incredible materials and to engage their skills in a sustainable fashion challenge. VIDEO /// < https://youtu.be/eUJYnYyP9BI > Nadja Swarovski, Member of the Swarovski Executive Board, commented: "It was a pleasure to collaborate with Cirque du Soleil to support these young fashion talents and to find new ways to explore sustainability issues within their educational and creative development." Working in teams, students at ESM, were commissioned to transform fantastic Cirque du Soleil costumes into new designs using crystals and fabric, inspired by both brands' ongoing commitment to supporting emerging talent and engaging with key sustainability issues. In addition, Cirque du Soleil and Swarovski also actively assisted the students with sustainability and product lectures. Marie-Ève Faust, Professor at l'École supérieure de mode (ESM) de l'ESG UQAM mentioned: "It's an honor for us to collaborate with internationally renowned businesses such as Cirque du Soleil & Swarovski. Not only students are learning beyond usual product development academic themes but they were able to reason and conceptualize products according to XXI century features." The judging panel, which included ambassadors from Cirque du Soleil, Swarovski and ESM, were highly impressed by the effort and innovation demonstrated by the students. Two teams were equally recognized as winners. Winners of KALÉI team transformed Swarovski crystal-embellished costumes from Cirque du Soleil to create, a kaleidoscope with crystals inside it, evoking memories of early childhood as well as a cloth bag made of costume scraps for carrying the kaleidoscope. The team members said: "We are really proud of KAÉLI; the project meant everything to us. It was a team project from beginning to end, and we put a lot of time and energy into it." Winners of BAR VIP team created a coaster with, on one side, crystals and, on the other, recipes for a variety of cocktails that could be matched with the characters from Cirque du Soleil shows. The team members said: "It was great to be able to benefit from the Cirque du Soleil–Swarovski partnership in our product development course. It was a fantastic opportunity for us and all the other teams. We are thrilled to have won, and we think our project has real development potential." Benoit Mathieu, Vice-president of Costumes and Creative Spaces at Cirque du Soleil said: "We were exited to collaborate with Swarovski in order to support young local fashion talents in a unique and creative way. This initiative enables us to combine creativity and development sustainability, two values which are dear to our core values. We were impressed to see the talent discovered with this project." { SOURCE: YoutTube, CSRWire | http://goo.gl/j3bgf6 } Cirque Losing Millions In Ticket Sales... {Apr.21.2016} ------------------------------------------------------- ... But Says NC's Forced Its Hand! Cirque du Soleil's traveling shows will lose millions in ticket sales by killing 15 shows planned this year for North Carolina. But Jerry Nadal, senior vice president for Cirque's resident shows in Las Vegas, said the company felt it had no choice. Nadal, who is also vice chairman of Nevada Public Radio's board of directors, said the discrimination codified in North Carolina's House Bill 2, signed into law recently, was an affront to the company. "For us, diversity is a big thing for Cirque," he said "We have people from over 50 different countries working for us. We have all nationalities, all religions, sexual orientation. This resonates deeply within our own employee base as well as the people we're going out to entertain." Nadal said the company usually stays away from politics but in this case it had to do something because the sweeping changes the law brought were "so big and so grand" that everyone has taken notice. "This went beyond politics to a truly discriminatory issue and for us it goes beyond the transgender bathroom issue," he said. The bill, which passed the North Carolina State Legislature and was signed into law by Gov. Pat McCrory earlier this month, voids cities' anti-discrimination rules designed to protect members of the LGBTQ community. * * * It was dubbed the ‘bathroom bill' because, among other things, it required transgender people to use the bathroom based on the gender listed on their birth certificates. Critics also say it eliminates basic protections for members of the LGBTQ community in areas like employment and housing. North Carolina's Gov. Pat McCrory issued an executive order to change some parts of the law for state employees but not for everyone. However with the current pressure from business and entertainers that might change again, which is what Nadal and Cirque is hoping for. "I think when we bind together to make those kinds of commitments I think it helps to change the laws and people's attitudes," he said. Nadal doesn't think his company's decision by itself will change the state's laws. "I don't think Cirque's move alone will do that but I think Cirque's move in conjunction with every other company that's doing that will have the ability to push them towards that," he said. Change could also come through the courts. A federal appeals court ruled this week that a lower court should have ruled in favor of a Virginia student in a similar bathroom-use case on the basis that the school's policy violates federal Title IX statutes. North Carolina lies within the jurisdiction of that same appeals court. Listen to the Podcast here: LINK /// < http://goo.gl/0AFrBz > { SOURCE: Joe Schoenmann, KNPR | http://goo.gl/IJfLFj } Things to know about ZARKANA Before It Ends Saturday {Apr.28.2016} ------------------------------------------------------- On Saturday, Cirque du Soleil will close the curtains on "Zarkana" at Aria to make way for a $154 million convention center expansion. With the performers taking their final bow, here are a few things you may not know about the show described as a "Rock-Opera Circus": Here, there and everywhere o) When "Zarkana" closes, the show will have had 2,053 performance. Of those shows, 381 were performed in New York City, Madrid and Moscow, while 1,672 were at Aria in Las Vegas. o) When it was time for "Zarkana" to replace Aria's original Cirque show, "Viva Elvis," transporting the shows elaborate set from Manhattan's Radio City Music Hall to Las Vegas required a fleet of 65 tractor-trailer trucks. o) Additionally, the team of 77 performers of "Zarkana" is comprised of 14 nationalities, coming from the U.S., Russia, Lebanon, Switzerland and Kazakhstan. Of these artists, four performers have never missed a single show. "Zarkana" covers some ground o) One of "Zarkana's" most beloved acts, the "wheel of death," will have traveled 780 miles in rotations by the time the curtains close. Per show, the wheel generally spins 50-54 times. o) When the "wheel of death" artists are outside of the wheel, they're 30 feet up from the ground. The art of "Zarkana" o) To help actors achieve such dramatic, circus-like appearance with their make-up, most of the looks require at least 20 different products. o) As a result, the show runs through approximately 30 pairs of false eyelashes per month. Since making its debut at Aria in late 2012, about 1,260 pairs of false eyelashes will have been used to outfit performers. o) To maintain the more than 250 custom-made costumes that are produced at Cirque's headquarters in Montreal, the wardrobe team does 26 loads of laundry per day. That's more than 20,000 loads since opening at Aria. o) In addition to custom-made costumes, every wig that is worn in "Zarkana" — 35 are worn in each show — is made by hand to specifically fit each performer. o) With the process requiring a precise mold be made of each actor, it takes 40-50 hours to build a single custom wig. It's all in the details o) The apprentice's coat, which is only seen on stage for 90 seconds, has 58 useable pockets. o) There are 65 to 80 foam balls attached to the "Jovian" costume with velcro. o) It takes 7,200 square feet of fabric to create the red "comets" seen flying across the stage during the finale. o) The musicians' costumes, known as "the Litz," have 8-foot- long tails on the coats. o) To create the more than 150 feet of "snakes" on the "Zarkana" arches, designers carved snakes out of styrofoam, then covered the 8- to 12-foot sections in plaster that were then covered with resin. To finish it off, each mold was hand- painted. o) Each "cyr wheel" weighs about 45 pounds and is custom-made for the performer based on their height { SOURCE: Caitlin Lilly, LVRJ | http://goo.gl/Fb3mGP } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Billboard: Behind Luzia's Mexican-Inspired Electronic Infused Soundtrack {Apr.18.2016} ------------------------------------------------------- Cirque du Soleil's latest touring production, Luzia, opens April 21 in Montreal, coinciding with the release of an album of studio versions of 10 songs that are performed live during the show. It's the first time that Cirque has debuted a show and a soundtrack recording simultaneously. The album, which can be previewed now on Soundcloud, reflects "Mexico's real sound," according to Cirque musical director Alain Vinet. He notes that the album tracks have more "Latin pop potential" than the acoustic songs played live in the big top. That's thanks to Bostich + Fussible of Tijuana's dance pioneers Nortec Collective, the popular Latin alternative artists who Vinet and show composer Simon Carpentier called into the studio to rework the songs and shape the album's electronically enhanced sound. Bostich + Fussible (real names: Ramón Amezcua and Pepe Mogt) will play the afterparty of Luzia's official premiere on May 4. After the Cirque show's run in Montreal ends on July 17, it will go to Toronto, and it's set for a U.S. premiere in San Francisco later this year. Cirque's Carpentier and Vinet took a break from rehearsals of Luzia on a recent afternoon to talk to Billboard about the show's Mexican inspiration, and finding the album's groove with Bostich + Fussible. Q. Luzia is a show that, in Cirque parlance, "will transport you to an imaginary Mexico." Why Mexico? Simon Carpentier: Cirque du Soleil produced a show called Joyá in Mexico, and it was very well received. And because of that they had the idea to go for a bigger show; a different show, that could go on tour. That one stays in Mexico. This one will travel all around the world. Alain Vinet: Ovo, a big top touring show which premiered in 2009, was based on Brazilian music. Musically, it goes through many different styles: it's a journey through the story of the music of Brazil. So in this case, it's a little like Ovo but with Mexican culture. Q. How did you approach that challenge of representing Mexico musically in the show? Carpentier: The first big challenge was to make sure that we can translate this amazing culture. At the beginning of this process we decided to hire only Mexican musicians for the show, to make sure that we have these performers to give that feeling of authenticity. It's a huge culture — you're talking about the Aztecs, the Mayans, the cumbia, all the Latin American music, the influence from Cuba, from everywhere. I wanted to go further, not just scratch the surface and stay there. We needed to find a way to achieve the sound, the romance, the fun, the special humor that Mexican people have. You feel the spirit of Mexico throughout the show, but it's not like you just hear a mariachi; that's not what Cirque does. It's all about peaks and valleys, and surprises. We experience that through visuals, but through music as well. Q. What led you to have Bostich + Fussible collaborate as producers on the album? Carpentier: Another thing we said was, ‘why don't we find some producers that we like who are in Mexico?' People who really live their culture from the country, because we are Canadian, we are from Quebec. I had been to Mexico a few times, and from the research that I did, Alain and I agreed that Nortec Collective carried the real sound, very current and also forward-thinking. They play electro underground music, they have this spirit and sound in the groove, and in the instruments. [Their music] is modern, it's surprising, it's unusual, and all of the colors from the sound of Mexico are there. Vinet: Normally, the albums come out six months down the road, or a year down the road [after the show opens], because when we are in creation, the musicians are really, really busy; it's impossible for us to take them out of the creation. But the mandate was for us to have the CD for the opening of the show. The only way we could achieve this was to outsource the production of the CD, and that is why we went with Nortec. They have a key component — excellent Mexican musicians. They know everyone in Mexico as far as musicians are concerned. Q. How does the music on the album differ from what is heard in the big top? Carpentier: The music on the CD is quite different from the music on the show, but it's the same composition, all of the melodies are there. Some rhythm is different, because Nortec is more dance oriented. In the show it is more lyrical and acoustic, and we have to follow what is happening in the show. In the beginning, I wrote melodies inspired by moments of the show. Vinet: For the album, we decided to concentrate on 10 themes from the show that were really developed. The songs on the album are different from the show in that the album has more pop potential — more Latin pop potential. First, we needed to have two songs produced for marketing purposes. The guys from Nortec were producing the first two singles, and it went so beautifully that we decided to do the whole album with them. { SOURCE: Billboard | http://goo.gl/AeV0wr } Q&A w/Paramour Producer Scott Zeiger {Apr.22.2016} ------------------------------------------------------- Scott Zeiger always knew he would work in entertainment — especially in live entertainment. Barely out of his teen years, he was already booking rock concerts and other successful live shows while at the University of Florida. Although he modestly hesitates to admit it, he was a natural at spotting talent. In 1980, when one record company mailed him the debut vinyl album from an unknown band, Zeiger, a sophomore, thought they sounded great and booked them. That debut album was Boy. The band was U2. "They showed up in a van and my roommates unloaded their equipment," says Zeiger, who has won five Tony Awards as a producer. "We put the concert on stage at the Rathskeller at the University of Florida beer hall back in the days when beer halls on campuses were legal. I think we paid them $2,500." While he insists he had "no crystal ball," Zeiger has had many moments of great discoveries. Early in his career, he produced shows for a little-known band called The Police. While still in college, he produced a humongous pep rally the night before the school's homecoming football game — selling out their 90,000 seat stadium. Zeiger booked a rising star named Robin Williams to host. "He was just on Mork & Mindy. The World According to Garp was about to come out," recalls Zeiger, whose production credits includes The Who's Tommy, The Producers, Billy Crystal's 700 Sundays, The Music of Andrew Lloyd Webber and many more. "I'm still in business with Robin's manager. Robin and I maintained a friendship. When you're around long enough in this business, you get exposed to a lot of very interesting, talented people." After graduate school, Zeiger's first job was in the marketing department of Ringling Bros. and Barnum & Bailey Circus. Then he was brought on as a marketing director for Pace, which promoted Broadway subscription series in cities across the country. Over time, Pace, which was owned by the Becker family, grew and grew, becoming enormous. "It was the precursor to what is called Broadway Across America today," says Zeiger. "The company went through a number of iterations. When we sold the company, to [media giant] Bob Sillerman, it became part of SFX." Zeiger took on the role of President of SFX Theatrical Group, which he helped develop into one of the largest theatrical companies in the world. Zeiger ultimately left and formed his own company Base. Coming full circle, Zeiger co-founded Base with Brian Becker whose family owned Pace. Through Base, Zeiger got to know Cirque du Soleil very well, and he fell in love with its masterful visual spectacle, acrobatics, beauty and elegance. He and Becker produced several of their shows, including Wintuk. Zeiger had also become close personal friends with Cirque du Soleil CEO Daniel Lamarre. The duo formed a partnership, and Zeiger launched the Theater Division for Cirque du Soleil. These days, Zeiger is producing a groundbreaking project — something Cirque du Soleil has never done before. His new show Paramour, which just began previews, is the first Cirque du Soleil show specifically created for Broadway. Paramour brings together the classic how-do-they-do-that?, awe-inspiring magic of Cirque du Soleil acrobatics with Broadway singing, dancing and storytelling. "It transports you to a magical world where musical theater and Cirque du Soleil make a miraculous love child," says Ruby Lewis, who makes her Broadway debut as Paramour's leading lady, Indigo James. "We're taking this signature of Cirque: extraordinary feats of human virtuosity, really exciting music, costumes, make-up, theatricality and visuals — and adding an overlay of story. It's the first time we have ever done a show that is a complete linear narrative with characters speaking and singing in English and it's a love story," says Zeiger. "We want people to see Paramour and say, ‘It wasn't a Broadway show, it was much more. It wasn't a Cirque du Soleil show, it was much more.'" Zeiger, in the midst of rehearsals for Cirque du Soleil Paramour, sat down with NewYork.com and shared the inside story on bringing this epic show to life. Cirque du Soleil Paramour is currently in previews, and opens on May 25, 2016. Q. What is the most thrilling part about what you're doing now? It's a rare thing when you work for a company and at its heart and soul is pure, creative live production. Cirque du Soleil is the largest producer of live theatrical attractions in the world, from Big Top shows to arena shows to shows in Las Vegas, Disney World, Japan and elsewhere. But never Broadway. It was really exciting to get the invitation to join the company and launch a theater division where I was able to tap the extraordinary creative and production resources of this incredible, groundbreaking brand. I was able to merge that with my knowledge of the theatrical world. Q. How will Paramour be different from other Cirque shows? Cirque du Soleil primarily is about visual spectacle, beauty and elegance. You take away an incredible feeling — something almost spiritual. It's whimsical. It's elegant. It's artistic. It's also a little ethereal. My forte is story-driven theater. Broadway show patrons expect a great set, great singing, dancing, acting and a potent story: one that is emotional, cathartic and uplifting. You want to care about the characters. And we have a very unique way of being able to tell our story. Normally you see Cirque du Soleil and someone asks, "How was O?" and you say "It was awesome. It was beautiful. It was incredible. I couldn't figure out how they did it. What amazing athletes." Those are descriptors of a Cirque show. However, after you see Kinky Boots, you might say, "It was a STORY about a guy whose family is losing their factory. Cyndi Lauper's music was great. Jerry Mitchell's choreography was incredible." The first thing you would talk about is the story. Q. So at its heart, what is the story of Paramour? Paramour is a love triangle between a world-renowned movie director, a young starlet that he discovers and the composer of the movie scores who is also interested in the young starlet. Their relationships are played out under the backdrop of the Golden Age of Hollywood. The director is a bit of a Svengali. The young starlet has incredible talent. Is she going to fall for "real" love, the love of the boy? Or "reel" love, the love of movies and millions? Q. When did you get involved with Paramour? From day one. Guy Laliberté, the founder of our company, was in New York about two years ago. I met him at the Mandarin Oriental with our Chief Creative Officer and our Chief Production Officer. We sat down and had a discussion. They said, "OK, Scott, you've been here a few months. Let's plan on doing a Cirque du Soleil signature show on Broadway. We're going to set you up with Jean-Francois Bouchard, our Chief Creative Officer. He's going to help you pull together directors and designers and people from the Cirque world who can deliver the whimsy, spectacle and acrobatics. You bring to the table whoever you need to help deliver the story." Q. What did you do? I brought in a pop composer who could write songs with lyrics. I brought in a scenic director who could help design and plan character-driven scenes. We had story meetings. I have been part of the creative process from the beginning, shepherding it. I'm not the writer. I'm not the director. I'm the producer. On behalf of Cirque du Soleil, I'm steering the ocean liner. It's a big ship. So it takes a lot to turn it. We have experts in all disciplines. With acrobats, there is training and safety involved. Our scenic technology is over the top. We have amazing projections. We have drones that are choreographed. We have aerial acts with strap acts that are bolted into the steel and the roof of the building. Q. So what's the great challenge putting together Paramour? Marrying the two worlds is the biggest opportunity and the biggest challenge. We've created a show from whole cloth. We haven't adapted it from a popular movie or book. We've had the whole world at our fingertips to create what we wish. There is a moment in the show where our three principals sing about their love triangle. As they are singing this full-on pop song downstage, we have an aerial act with two men and one woman dressed similarly who represent acrobatically exactly what they're singing about. We have to make that click and work. In our big opening production number called "The Hollywood Wiz," where we introduce our director, we can't just do a normal big Broadway opening number with singing and dancing. We must have acrobatic flourish. That requires extra layers of rehearsal and a cast of 38 instead of 25. Q. What might surprise people about what you're doing? Many of the people who are creating what is arguably one of the most expensive Broadway musicals have never worked on Broadway before. Half have. Half of the cast. Half of the crew. Half of the creative team. But the other half, never. We have people from 16 different countries. Our Director [Philippe Decouflé] is from Paris. He's never worked on Broadway. We have a beautiful, incredible industry. But there are 50 people who make shows — great directors, great writers, great designers. It's a cottage, boutique industry. It's not like the film industry. There are only 45 Broadway theaters. Of the 45 Broadway theaters, 20 of them have open-ended shows that are never going to close or not anytime soon. There are about 25 new shows a year. There's 10 new movies a week, 500 movies a year. So what's exciting and unique is that I'm working with artists who are new to this. And when you see our set, you're going to be blown away. Q. What else are you doing with Cirque du Soleil? Cirque will also do some traditional stuff, like The Wiz. We did The Wiz on NBC. Collectively with Bob Greenblatt [Chairman of NBC Entertainment] and NBC, we selected the creative team. And they're all Broadway veterans, from Harvey Fierstein to Kenny Leon to Paul Tazewell who did costumes for Hamilton. We did the TV show together. I'm going to do the Broadway version of the TV show next season. There will be acrobats in the choreography, but it won't be a Cirque signature show. The flying monkeys and crows will be our apparatus. Q. What's your typical day? I get to work around 9:30, go through emails and shepherd our new projects all day. If there's a particular film that I want to adapt, we have to pursue the underlying rights with the film studio. I might have to secure the contract for the book writer for a show. If we haven't found a composer, we're vetting composers. If we found one, it's contracting the composer. It may be finding a director, interviewing directors, organizing meetings between the directors and the writers. Finding a theater for The Wiz. Meeting with theater owners. Then mid-afternoon, I go to the theater until 10 at night because we're in production. Executive Producer, Jayna Neagle, is there. I check in with her on budget or problems. I speak to the director, choreographer, acrobatic coordinator. I watch rehearsals. I offer opinions. I sit on the production meeting. Generally, I'm available because decisions have to be made. Things get cut and added every day. Lighting designs and projection ideas are tried. I want to be supportive of the team. I don't usurp their authority. I bolster them. Q. What do you do when you're not working? I'm an empty nester. I used to say, "my kids are the weekends," with sports or events. But now they're grown. So my weekends are back for my wife and I. We like to travel and consume art. My wife is an art curator so we go to galleries and museums together. We also see lots of shows that I'm not producing. Q. How do you know when a show or work is good? It's a combination of luck, good taste and certainly being passionate. There are no producers who pursue theatrical attractions who don't think that their show is fantastic, even those that fail. You have to believe in it to your core. Any Broadway producer will tell you it's inside. We don't do focus groups in advance. We don't do marketing profiles. We find a piece of content, and we develop it. And by the time we pull the trigger, we're passionate about it. { SOURCE: Newyork.com | http://goo.gl/C9wP5G } Q&A w/Caitlin Madden – Carpenter on TORUK {Apr.29.2016} ------------------------------------------------------- During a performance of "Toruk," the latest live show from entertainment-production giant Cirque du Soleil, the audience is enveloped in the world of Pandora as inspired by the James Cameron smash "Avatar." Performers, puppets, projectors and an enormous theatrical set create the fanciful world, set in a time thousands of years before what takes place in the film. Cirque du Soleil is bringing "Toruk: The First Flight" to U.S. Bank Arena May 4-8. Among the crew working on the touring production is Caitlin Madden, a carpenter who lives in Indian Hill when she's not on the road with the show. Having seen "Toruk" from an offstage vantage night after night, beginning last year with rehearsals, previews and the December premiere in Montreal through the current 2016 tour, Madden can provide a detailed – and maybe a bit biased – description to her potential hometown audiences about what they will see this week. "You walk in the door, and you're going to see nothing to begin with," Madden says. "There's a giant veil that we painstakingly put together every single day and make sure it looks nice, and that pulls away to reveal the world of Pandora, as in the James Cameron movie most people have seen. "It's this amazing, incredible almost jungle-istic world, and these projectors are able to transport you into that world, and you really kind of lose sight of where you are and what you're doing, and you see these new animals, some that will be familiar from the movie and many that aren't. "The imagination of Cirque du Soleil is spectacular and just so amazing. They were able to create new parts of this world that James Cameron started. Together we've created even more and even larger parts of this world, some that you might see in future movies, some that you might only see in our world. You see different clans and how they interact with each other. You're going to hear a new language. "It's the Na'vi language, which again is in the movie, but there you were able to have subtitles and things of that nature. In our situation we have a storyteller that gives you the story as the artists are performing it in front of you. That helps you enter into that world and brings you in and helps you understand what's happening. It's quite an incredible journey." Though the end result is an engrossing fantasy world, it's the down-to-earth and occasionally tedious labor of Madden and her coworkers that makes it happen. The work is physical and the hours are long. Tuesday is load-in day at U.S. Bank Arena, where the 100-person Cirque du Soleil road crew and 160 local stagehands assemble the set. That's a 12-hour work day for Madden – "if not longer," she says. Wednesday is "validation day," meaning that the show's acrobatic artists test their apparatuses, and Madden and the others make final adjustments to the set. There is a rehearsal on Thursday, followed by the show, and the same thing Friday. There are two shows Saturday and two shows Sunday, followed by the load-out that night, when the tour rolls out for Columbus and does it again next week. Madden will be working at all of it, showing up early and leaving late. During the show she moves set pieces among other tasks and is on standby in the event something goes haywire. In other words, Madden's show-business lifestyle is more about work than play, which comes as a surprise to people in her life. "Because I get the ability to travel the country, I can show my family and friends what I do when I hit their hometown. I bring them on backstage tours. People don't really understand. They don't really think about it. It definitely helps to show them what I am and what I do. I'm not just a crazy kid that ran away to the circus. It's an amazing job and an incredible career opportunity I have with Cirque du Soleil," she says. To Madden's point, Cirque du Soleil is more corporate culture than circus act. The Montreal-based company employs 4,000 people and has 19 shows in current production, including "Toruk." The average show does 300 performances a year. Madden works a pattern of 10 weeks on the job followed by a two- week vacation and has the potential to be promoted within "Toruk" or another Cirque show to the positions of assistant head carpenter and head carpenter. The main reason she took the job with Cirque du Soleil is the same as why others might join the Navy: to see the world. Cirque du Soleil shows travel the globe. There's talk that Cirque might soon take "Toruk" overseas. Cirque hired Madden last year after she spent five years working for a Broadway-production company doing touring gigs with the likes of Blue Man Group, "Beauty and the Beast" and "Shrek the Musical." She graduated from the University of Notre Dame in 2009 with a degree in film, television and theater and participated in theater production both at Notre Dame and in high school at Ursuline Academy, applying the skills she learned from her dad, an architect. "One day (in high school) they were building a set in the auditorium, and I noticed that my friends were having a tough time. They were trying to screw together two-by-fours, so I went in and showed them how to use power tools, and from then on I just kept going back," she says. "Same thing happened in college. I made friends by showing them an easier way to use power tools." When it comes to carpentry and construction at Cirque du Soleil, the stakes are higher. The way Madden and the production crew operate today is impacted by what happened three years ago, when a Cirque acrobat fell to her death during a performance in Las Vegas. "Safety is definitely the number-one concern, especially with acrobatics," says Madden. "We wear hard hats and steel toes for every load-in and load-out. We have rescue kits and rescue training." Would Madden call the work dangerous? "There are aspects where I have to keep my body and those around me safe," she says. "Because my job is based in Montreal, our load-in and load-out situation is considered a construction zone by the government of Montreal, and we are required to wear safety protection for those times." If all goes well during a performance, the audience will never see Madden. But if someone would like to take note of her presence, that person could gaze at the giant tree positioned at stage left. On show day Madden is in charge of stage left, so it will be she who's moving around that tree 10 times her size. (Not to ruin the magic of the show, but the tree sits on wheels.) "As much as I want my family and friends to see what I do, I don't want them to see me actually do it," she says. "I just want to be able to show it to them when all is said and done." About Caitlin Madden Originally from Cincinnati, Madden first became interested in theatre and carpentry while attending Ursuline Academy and working around the house with her dad – an architect. She went on to receive a degree in film, television and theatre from the University of Notre Dame. Madden has toured with well-known theatre productions including Blue Man Group, "Beauty and the Beast" and "Shrek The Musical." She also previously worked with Notre Dame Athletics, specifically football and women's basketball. As a carpenter she is part of the team responsible for managing and maintaining the entire stage and set. She is involved in the technical load-in and load-out as well as cues during the show. "Toruk: The First Flight" is her first tour with Cirque du Soleil. { SOURCE: Chris Varias, Cincinnati Enquirer | http://goo.gl/bBLerj } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- 45 DEGREES Pushes Back the Limits of Creativity in France with Futuroscope's La Forge aux étoiles {Apr.11.2016} ------------------------------------------------------- 45 DEGREES and Futuroscope officially unveiled La Forge aux étoiles on April 9 in Poitiers, France. The two-year project gave Futuroscope and 45 DEGREES the opportunity to co-imagine a very unique show, each drawing inspiration from the other's expertise. By combining the best of technology and creativity, Futuroscope and 45 DEGREES have brewed up a deeply artistic performance that offers a rare visual and emotional experience. "We are so excited to be working with Futuroscope to offer a brand new experience that combines visual and audio technology with water. The park was an amazing laboratory for concocting new sensations," explained Yasmine Khalil, president of 45 DEGREES. "To reinvent Futuroscope's nighttime show, we set ourselves an unprecedented challenge: to create a unique story that uses a wide array of varied technologies as narrative vectors." "This partnership allowed us to pool our talents and play off each other's creative spirit to develop extraordinary visual experiences that grew out of the combination of technology and art," added Dominique Hummel, president of the Directoire du Futuroscope. THE CONCEPT With La Forge aux étoiles, 45 DEGREES is pushing back the limits of creativity by exploring a brand new form of expression, which takes place in the interaction between a multitude of different technologies and a single human being on a stage, telling the story of La Forge aux étoiles. Five characters, projected on a series of screens up to 35 m tall, will interact with a character in the pool. The entire set is nearly 7000 square- meters. The work focused in particular on the change of scale, reflecting the scope of humankind's dreams in comparison to our physical selves, and on creating a believable interaction between a virtual giant and a young actress playing in the Futuroscope pond. SYNOPSIS Over a 7000-square-meter lake, a big-bang of visual, aquatic and pryotechnical effects merge to bring forth this aquatic fairytale for the entire family. In a constellation of poetic vignettes, La Forge aux étoiles invites young and old alike to witness first-hand the friendship between a human girl and a cosmic giant with his feet on Earth and his head in the stars. SET DESIGN o) A 28 ton permanent aluminum and stainless steel set o) Set consists of 157 facets, covering 270 square-meters o) An additional projection surface of 450 square-meters is deployed during the show o) The projection surface stands 35 meters high o) 3 automated and synchronized decor elements o) A rail and an underwater mechanical arm to activate the 2CV and the moon o) A new infrabasse sound system WATER AND IMAGE o) In total, 10 video projectors that generate 205,000 lumens distributed over 14 million pixels, equivalent to 7 HD on: o) 3 water screens and a water curtain of 180 square-meters, 20 meters in height with a projection surface of 900 square-meters on the water o) Automated water fountains: 100 jets; 40 moving jets o) 600 nozzles capable of generating 300 cubic meters of fog THE LIGHT o) A total of 500 water projectors, including: o) A constellation of 300 individually controllable light points distributed over the entire basin o) 22 moving lights o) 5 lasers of 10 watts FIRE & FIREWORKS o) 20 devices that trigger flames during the show o) Standing pyrotechnic triggering system o) A pyrotechnic fresco of 50 meters wide and 40 meters high on two levels o) 120 firings perfectly synchronized with music CREATIVE TEAM o) Daniel Fortin – Executive Director, Creation o) Bastien Alexandre – Director and Show Designer o) Vincent Pasquier – Multimedia Designer and Director o) Maxime Lepage – Music o) Eric Noguès – Set Designer o) Thibaut Duverneix – Director, Video Content o) Yso Southdara – Costumes o) Michel Amann – Fountains and Fireworks o) Claude Lifante – Lasers o) Nicolas Brion – Lighting o) Jean-Michel Caron – Sound and Sound Effects o) Julie Perron and Manon Beaudoin – Choreography and Acting o) Mourad Bennace – DJ Galaxie Music ABOUT FUTUROSCOPE The very first amusement park created in France, Futuroscope has welcomed 1 in every 2 French residents since it opened in 1987. It owes its success to its unique education and entertainment positioning in the leisure market and its highly diverse universe that orbits around the great dreams of humankind. o) Diversified content with more than 25 attractions focused on delivering fun across the generations. o) A visitor experience that combines imagery and cutting- edge technology with more traditional attraction systems to deliver a fun and family-oriented experience. o) 85 million-Euro turnover in 2014 makes Futuroscope France's second-largest amusement park, after Disneyland Paris. o) Unique in Europe: After Arthur, the 4D Adventure, The Time Machine starring the Raving Rabbids wins Futuroscope its second award for the best attraction in the world. o) An unconventional regional development model, with shares held both by the public and the private sectors, 45% by Compagnie des Alpes. o) A break destination from 45€ per person per day. Explore at www.futuroscope.com VIDEO & STILLS < http://www.cirquefascination.com/?p=8016 > { SOURCE: 45 DEGREES | http://goo.gl/g7oJCN } On The Web: Fourth Wall on Saltimbanco's Tapis Rouge {Apr.15.2016} ------------------------------------------------------- When Cirque du Soleil's ‘Saltimbanco' toured across Australia, Fourth Wall was asked to create an unforgettable and exclusive environment for the Tapis Rouge (VIP) element of the tour. The challenge was to design a creation that was uniquely Cirque yet could tour easily and be adaptable to numerous different spaces. They didn't know what was possible with this brief, but knew we'd find out. THE EVOLUTION Cirque du Soleil has an incredibly unique style and is world renowned for its creativity in design and performance – so we had to create something that was worthy of this reputation. Our approach to the experience was to work closely with Showbiz to bring to life every requirement and then cirque-ifying each aspect. The logistical requirements were: serving of food and beverage, creating atmosphere and providing seating. o) To deliver on the service of food and beverage, we created a culinary carousel, which housed platters of canapés and became the centrepiece for the room. o) To create atmosphere we were inspired by the ‘split image' curtains of popular cirque performers and split show images, which were then hung with sparkling lighting backdrops. We also installed starlit drape corridors, flame effect lighting and decadent chandeliers. o) As a seating solution, we designed bespoke bubble ball fountains, which brought colour, movement and a sense of fun to the room. These features were modular and could be used in combination or as stand-alone pieces, making the concept work in any space with ease whilst still retaining a desired atmosphere. o) To ensure our vision went to plan we visited all locations during pre-production, installation and removal. In short, we took the style of Cirque and made sure it worked in each and every location across the country. THE CREATION Thousands of spellbound guests stepped into the "Cirque world" we had created specifically for this tour. And our client was equally spellbound – in fact, Cirque Management liked the set elements so much they took them on the road and back to their headquarters in Canada! View the images that accompany this post here: < http://www.cirquefascination.com/?p=8133 > { SOURCE: Fourth Wall | http://goo.gl/QnsMfZ } VISION is SCALADA 2016 {Apr.16.2016} ------------------------------------------------------- A Free event, unique in Europe and different to anything you've seen so far! Are you ready to experience sensations that you've never felt before? Be captivated by a magical stage design that will take you to a new dimension. Be swept away by the excitement as the finest acrobatics of the Cirque du Soleil. Enter a world where the lines between reality and fiction are blurred through a moving story. Don't take our word for it, come see it for yourself! FROM 2ND TO 30TH JULY 2016 FOR THE FOURTH CONSECUTIVE YEAR THE CIRQUE DU SOLEIL IS PRESENTING SCALADA Let yourself be transported to a new dimension with Vision! SYNOPSIS In this new story you will follow the adventures of a brother and sister who have an indestructible bond between them: a closeness that reflects the family values of the Andorran culture. The protagonists will be faced with finding themselves separated in a totally unknown universe. They will arrive in an imaginary, surreal and futuristic world, where they will travel between reality and fiction. Throughout their adventure they will come across many elements of their home town, but in a futuristic form. The little sister will let herself be ruled by her instincts until she becomes completely lost in this futuristic dimension. Her brother, meanwhile, will follow her footsteps in the hope of finding her, while immersed in a totally different experience. Separately, each of them must make this journey on their own, overcoming the challenges of their own reality. Their instincts and the strong bond of brother and sister will be the key to their meeting again. DELVE INTO THE EVENT Each scene will be carried along by the acrobatic, aerial and choreographic performances, which will evoke unmistakable aspects of Andorra. o) Scenography — This year, the stage makes way for video content to create a truly immersive atmosphere. The stage is built around the concept of a modular box that will whirl spectators between the disparate worlds of a brother and his sister. A series of movable, deconstructed façades provide a unique and mesmerizing medium for the event's storyline to unfold. o) Music — The musical arrangements have been crafted to conjure up two very distinct worlds: that of the brother and that of the sister. Not only are these distinctions the backbone of the story, but they will immerse spectators amidst a sensory experience, rousing a wide range of emotions. The sounds of a beat-boxer intermingle with the melodies of a live singer to deliver the event's musical essence, which evinces the Cirque du Soleil's musical expertise. o) Costume Design — The two distinctive worlds the event revolves around are further emphasized through the performer's costumes: futuristic and linear designs mark the brother's world, while colourful, imaginative and surreal ensembles represent the sister's universe. All costumes draw from the reality of the brother and the sister, respectively. o) Lighting and Video — Lighting is used to further the event's narrative, while enhancing its acrobatic performances. Video projections envelop the brother and the sister in their respective worlds. The brother's universe is evoked using straight lines, a modern atmosphere, bright lights and a clearly defined tech appearance. The young sister's world, on the other hand, is more surreal, organic, colourful and innocent. The video takes on a second layer of meaning by interacting with the performers. At certain moments the video content is influenced by the action taking place on-stage. o) Acrobatics — The aerial acrobatics and choreographies in Scalada: VISION were specially created with video projections in mind. The staging is inspired by a modular box allowing the main characters to travel between the two parallel worlds the story unfolds in. A brand new set of magical acrobatics will take the audience on a journey among these two dimensions, evoking the same emotions experienced by the event's protagonists. This year's event boasts more group performances than in previous years, making it all the more difficult and spectacular! THREE UNIQUE MOMENTS o) The City of Lights — The brother experiences, for the very first time, a futuristic world, made of lights and videos, where he meets beings from another time who change. These characters creates a fascinating world of movement. Lost amidst the chaos of that world, where dancers and acrobats perform in unison, he becomes fearful of it, yet unable to resist its pull. He will have to find his way through it to complete his quest: finding his sister. o) Craving love — While seeking his younger sister, the brother finds himself in front of a fallen bridge. On the one side there stands a magnificent woman. The only thing connecting them will be the long rope -his only way across the bridge-, upon which they perform a poetic duo. In a tangible display of sensitivity, the duo bear each other's weight so they can take flight. It's an intimate moment where audiences will hold their breath, enveloped by the event's visual poetry. (Duo Relation Act, created by Rigolo) o) The Giant Door Finale — In the last act, the sister reaches a giant door, which stands between her and her brother, who is on the other side. She must find a way to get to him. Using her imagination, which will have helped her throughout her journey, she conjures up a series of characters who perform incredible acrobatic feats on a power track. The more impressive the acrobatics, the wider the door opens. CREATIVE TEAM MUKHTAR OMAR SHARIF MUKHTAR DIRECTOR Mukhtar has been part of the Cirque du Soleil family since 2005, when he started as an artist in the event LOVE. In recent years, he has employed his creative talents in the design of the choreography and the staging of several major projects. He was involved in the opening and closing ceremonies of the Olympic Games in Beijing as an assistant choreographer. He also participated in the 2013 and 2014 editions of the event One Night for One Drop in Las Vegas, as choreographer and director, respectively. In the team 45Degrees, Mukhtar choreographed events for General Motors in Germany and the Mosaic Gala in Washington, and was behind the staging of the Cirque du Soleil section of C2-MTL 2013. ALEXIS LAURENCE (LEX) SCENOGRAPHER AND AUDIOVISUAL DESIGNER The confluence of art and technology is what defines LEX, a new studio dedicated to new means of communication based on the design and production of audiovisual projects for the theatre and television, architectural projections and large-scale exhibition spaces. Since 2008, LEX has been specializing in art direction, stage design, production management, technical drawing, animation, 3D modelling, video content creation, programming, and the design of interactive lighting and sound for unique projects. The aim of the studio is to support the artistic process of a project through innovative, strategic and creative solutions and always with the aid of state-of-the-art technology. The studio's founder, Alexis Laurence, has contributed as artistic director and in the technical development of corporate events, installations and events for both Cirque du Soleil and also for Cirque Éloize, Moment Factory, GSM Project, MUTEK, Igloofest and Montreal?s Quartier des Spectacles. TONY ADIGUN CHOREOGRAPHER A man of many hats: creative director, curator, choreographer, dancer, educator and mentor. Tony Adigun devotes all his passion and performance to each project, giving it his own unique signature style. He is founder and Artistic Director of the dance company Avant Garde Dance and seeks to continuously explore new terrains with his work. Tony's iconic style is renowned around the world, and he has choreographed and performed with top artists including Janet Jackson, Whitney Houston, Usher, Ashanti, Cheryl Cole, JoJo and Mel B, among others. His work with older people in community dance projects, commercial tours and artistic endeavours has enabled Adigun to get the best of the people he works with, bringing them his unique and innovative artistic vision. Tony creates works that transform and educate people, challenging them to accept his motto "Innovate Never Replicate". Recipient of the BEFFTA Award for the Best Choreographer in 2011 and 2012, Tony is currently Creative Director on Sky One's Got to Dance and dance consultant for the programme Britain's Got Talent and two dance projects in London Collabo and Show & Prove. BRUNO RAFIE LIGHTING DESIGN Bruno Rafie has the benefit of more than 20 years of experience as a lighting designer in the worlds of circus and music, as well as for television and special events. Since its very beginning, he has collaborated in the Montreal International Jazz Festival, where he has created the lighting for artists such as Stevie Wonder and Ben Harper. Rafie has twice received the Félix Award for lighting designer of the year, in 1994 and again in 2001. Outstanding among his work with Cirque du Soleil is the lighting he designed in 2010 for the 26th creation, ‘Banana Shpeel'. He is currently part of the special events team, with which he has just created the lighting for the event commemorating 30 years of Cirque du Soleil. JEAN-MICHEL CARON SOUND DESIGN Kurios was the first complete Cirque du Soleil event co-designed by Jean-Michel Caron, who has two decades of experience working in the world of sound. Jean-Michel has spent the last six years of his career dedicated to creating sound environments, primarily for a series of special Cirque du Soleil events. He has also participated in several productions by the Moment Factory studio, based in Montreal, including ‘Ode to Life', a multimedia event projected onto the facade of the Sagrada Familia in Barcelona in 2012. He has also worked on numerous theatre projects and exhibitions in Quebec. Since joining Cirque du Soleil, Jean-Michel has worked on a variety of projects, including the events OVO, Zarkana, Totem and Amaluna. Jean- Michel has also been professor of sound design at the Collège d'Alma since 2012. Check out more at SCALADA'S Website: < http://scalada.visitandorra.com/ENG/ > { SOURCE: Andorra Tourisme } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia & Totem} o) ARENA - In Stadium-like venues {Varekai, TORUK & OVO} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", La Nouba, Zumanity, KÀ, LOVE, 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: Frankfurt, DE -- May 11, 2016 to Jun 12, 2016 Knokke-Heist, BE -- Jul 14, 2016 to Aug 7, 2016 Manchester, UK -- Sep 7, 2016 to Oct 2, 2016 Dusseldorf, DE -- Nov 17, 2016 to Dec 18, 2016 London, UK -- Jan 12, 2017 to Feb 4, 2017 Vienna, AT -- Mar 9, 2017 to Apr 2, 2017 Koozå: Buenos Aires, AR -- Apr 21, 2016 to Jun 5, 2016 Santiago, CL -- Jul 19, 2016, 2016 to Jul 31, 2016 Sydney, AU -- Aug 25, 2016 to Nov 13, 2016 Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017 Melbourne, AU -- Jan 20, 2017 to Mar 26, 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 3, 2017 to Mar 19, 2017 Sendai, JP -– Apr 6, 2017 to May 21, 2017 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: 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 Istanbul, TR -- Oct 5, 2016 to Oct 9, 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 Lisbon, PT -- Jan 5, 2017 to Jan 15, 2017 Lyon, FR -- Apr 13, 2017 to Apr 16, 2017 TORUK - The First Flight: 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 Pittsburg, PA -- 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 Indianapolis, IN -- Aug 10, 2016 to Aug 14, 2016 Nashville, TN -- Aug 24, 2016 to Aug 28, 2016 Brooklyn, NY -- Sep 7, 2016 to Sep 11, 2016 Newark, NJ -- Sep 14, 2016 to Sep 18, 2016 Winnipeg, MB -- Oct 5, 2016 to Oct 9, 2016 OVO: 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 Greenville, SC -- Jul 13, 2016 to Jul 17, 2016 Chattanooga, TN -- Jul 20, 2016 to Jul 24, 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 -- Aug 31, 2016 to Sep 4, 2016 Hampton, VA -- Sep 7, 2016 to Sep 11, 2016 Roanoke, VA -- Sep 14, 2016 to Sep 18, 2016 Orlando, FL -- Sep 21, 2016 to Sep 25, 2016 Estero, FL -- Sep 28, 2016 to Oct 2, 2016 Jacksonville, FL -- Oct 5, 2016 to Oct 8, 2016 Erie, PA -- Nov 17, 2016 to Nov 20, 2016 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2016 Dark Dates: o May 7 – 11 o July 6 o September 10 – 14 o November 9 Special / Limited Performances: 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 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 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. on May 15-16, June 19-21, December 31) (Only 4:30p.m. & 7:00p.m. performances on July 4) 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 --------------------------------------------------- *) LUZIA: THE STORY OF AN ENCOUNTER The Story of an Encounter is a web series that explores inspiring love affairs between Cirque du Soleil and Mexico. It shines a spotlight on some of the creators of LUZIA, revealing their longstanding or budding love affair with Mexico and its people. The series also explores the protagonists' individual roles and respective approaches in the creation of Cirque du Soleil's LUZIA, which kicks off its world tour in Montreal in April 2016. o) EPISODE 3: PATRICIA RUEL, DIRECTOR OF CREATION April 5, 2016 Catch up with LUZIA Director of Creation Patricia Ruel in her home-away-from-home in San Agustinillo, Mexico, as she talks about the privilege of working on a Cirque du Soleil production. Hear her rave about the culture and diversity of Mexico and muse about the child she and her Mexican husband are expecting. Back at Cirque Headquarters in Montreal, Patricia presents her newborn baby Salvador to the team, drawing a parallel between her half-Mexican, half- Quebecer child, and the creation of LUZIA – the result of the deep connection between Cirque du Soleil and Mexico. LINK /// < https://youtu.be/RxPpFP3qzJE > o) EPISODE 4: MAJO CORNEJO, LEAD SINGER April 12, 2016 In her home in Mexico, LUZIA Singer Majo Cornejo prepares to say goodbye to her family and head up to Montreal to join the LUZIA cast as it prepares for its upcoming world tour. Catch up with Majo on her first day at the snowbound Cirque du Soleil Headquarters in Montreal, and listen in as she tries her chops at the show's stirring theme song – "Tiembla la Tierra" – in an emotionally charged, impromptu performance in front of Show Co-author Daniele Finzi Pasca and Composer Simon Carpentier. LINK /// < https://youtu.be/adAKn8E_rsw > o) EPISODE 5: RODRIGO DE LA MORA, MUSICIAN/GUITARIST April 19, 2016 During his final days at home in his native Mexico, LUZIA Musician and Guitarist Rodrigo de la Mora talks about the difficulty of leaving family and friends behind to head out on tour. As he settles into his temporary new digs at the artists' residence in Montreal and meets up with fellow musicians in the music studio, Rodrigo is anxious to get to work. Listen in as the overwhelmed Rodrigo tells all about the amazing opportunity of finally getting to work alongside one of his personal idols, Show Co-author Daniele Finzi Pasca. LINK /// < https://youtu.be/O_zB8mYmjxE > Check out all the other episodes of this great web series here: < http://www.cirquefascination.com/?page_id=7798 > *) KURIOS ABOUT... o) EPISODE 13: BONUS CONTENT! April 12, 2016 In this last episode of KURIOS About, enjoy some never seen footage from the web series! LINK /// < https://youtu.be/D_3b1rIwwwo > Check out all the other episodes of this great web series here: < http://www.cirquefascination.com/?page_id=6868 > *) DHL: GREAT IS IN THE DETAIL A lot has changed since the world's number one grossing live entertainment tour got its start in Quebec in 1984. Thirty years on, Cirque du Soleil has become a part of the DHL partnership program, which will help bring the spectacular troupe of performers and acrobats to cities around the globe. "Not your average circus," the spectacular troupe of acrobats and performers has had more than 140 million spectators since its inception in Quebec in 1984. With shows in 300 cities on six continents, the partnership is the perfect fit for DHL's global logistics capabilities. Join us as we go behind-the- scenes with Cirque du Soleil on tour with "Great is in the Details" and learn how DHL and Cirque are working together! o) EPISODE 11: THE PERFECT BALANCE (AMALUNA) April 1, 2016 In this episode we enter the realm of the Balance Goddess who creates a world in equilibrium with a mobile made of thirteen palm leaf ribs. Her movements are slow and almost meditative as she concentrates all her attention on building this structure. LINK /// < https://youtu.be/25E94sJdGBY > o) EPISODE 12: DAZZLING AND DURABLE (AMALUNA) April 15, 2016 In episode 12 of the Great is in the Detail series we explore the dazzling and durable costumes in Amaluna. The show's costumes and make-up are intricate but also designed to be practical to endure the stress of the high- flying performances. To find out more about DHL's partnerships: http://www.dhl-in-motion.com/ LINK /// < https://youtu.be/2-DZOXixx3o > o) EPISODE 13: FABRICATING INNOVATION May 02, 2016 In episode 13 of the Great is in the Detail series we discover how Cirque du Soleil is using advances in 3-D technology to accelerate the design process. LINK /// < https://youtu.be/LQzv8ksvMLI> Check out all the other episodes of this great web series here: < http://www.cirquefascination.com/?page_id=8126 > --------------------------------------------------- FOTOS: Images From Cirque & Other Photo Links --------------------------------------------------- AMALUNA -- https://goo.gl/j05hkT -- Happy 4 Year Anniversary! KA -- https://goo.gl/QtRLlh -- Check Out the Speakers KOOZA -- https://goo.gl/6Z18jz -- Thanks Uruguay! KOOZA -- https://goo.gl/BISNVH -- Premiere in Buenos Aires KURIOS -- https://goo.gl/Ahrt8R -- At Atlanta Dogwood Festival LA NOUBA -- https://goo.gl/nqoNLp -- Favorite Moments... LUZIA -- https://goo.gl/CWLYlR -- Meet The Fish? LUZIA -- https://goo.gl/uGQ0SQ -- Media Day Images LUZIA -- https://goo.gl/zI9HTI -- Eco Design Fashion Show LUZIA -- https://goo.gl/PG7CKy -- Second Dress Rehearsal LUZIA -- https://goo.gl/7ym7vN -- Second Dress Rehearsal LUZIA -- https://goo.gl/2vE0Kv -- Second Dress Rehearsal LUZIA -- https://goo.gl/QYRJrX -- Soft Opening! MYSTERE -- https://goo.gl/DL34n0 -- First Pitch (Cubs vs. Mets) OVO -- https://goo.gl/XWz9Kc -- One Week from Opening Night! OVO -- https://goo.gl/md5ro1 -- Thank You Lake Charles! OVO -- https://goo.gl/9m4CBq -- In Baton Rouge PARAMOUR -- https://goo.gl/a3xGUs -- Hang in There! PARAMOUR -- https://goo.gl/apsWyG -- Just a Bit of Makeup PARAMOUR -- https://goo.gl/JXxcde -- Turning Broadway Upside Down TORUK -- https://goo.gl/hoCXmT -- Some Pre-Show Shenanigans TOTEM -- https://goo.gl/aR636g -- Break time! TOTEM -- https://goo.gl/ROOi6v -- Backstage Fun TOTEM -- https://goo.gl/rRtq4R -- Japanese Merchandise! TOTEM -- https://goo.gl/TgDBo8 -- Japanese Merchandise! TOTEM -- https://goo.gl/Zqat2g -- Japanese Merchandise! VAREKAI -- https://goo.gl/fJ4ClW -- Last Minute Prep VAREKAI -- https://goo.gl/lYSEml -- Feel the Excitement? VAREKAI -- https://goo.gl/5YMGqD -- Finally Here Moscow VAREKAI -- https://goo.gl/jCJ2vG -- One Hour to Go, Moscow! VAREKAI -- https://goo.gl/DYLon3 -- One Hour to Go, Moscow! VAREKAI -- https://goo.gl/gwYE54 -- Musician's Point of View VAREKAI -- https://goo.gl/vImGXT -- Female Clown Gets Ready VAREKAI -- https://goo.gl/5w1IIc -- Female Clown Gets Ready ZARKANA -- https://goo.gl/kT7yPG -- Never Missed a Show! --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- AMALUNA -- https://goo.gl/Cl1RSF -- Thanks Amsterdam AMALUNA -- https://goo.gl/vzeJHX -- Time to Dance! AMALUNA -- https://goo.gl/jJzEw7 -- Hello Germany! AMALUNA -- https://goo.gl/oCn5qR -- At Royal Albert Hall (48 min) JOYA -- https://goo.gl/gUJVrK -- Live from the Kitchens KOOZA -- https://goo.gl/TzSy9T -- Thanks Montevideo KOOZA -- https://goo.gl/cCwIoA -- Surprise Mall Visit KOOZA -- https://goo.gl/PhGv1A -- The Kingdom of Kooza KURIOS -- https://goo.gl/NVTzwY -- Take Me Out to the Ballgame! KURIOS -- https://goo.gl/fvfqci -- Two Year Anniversary! KURIOS -- https://goo.gl/D1l2QJ -- Inside the Box Sneak Peek KURIOS -- https://goo.gl/VH3Tzg -- Facundo Gimenez, Behind the Red Nose LA NOUBA -- https://goo.gl/ouqHI7 -- Bernard Hazen's Rola Bola Act LUZIA -- https://goo.gl/7xzZ9X -- Be On The Lookout LUZIA -- https://goo.gl/c3m9aB -- Raising the Big Top! LUZIA -- https://goo.gl/XGNEVQ -- Press Conference Video LUZIA -- https://goo.gl/xB3WYY -- Meet Diana, Graceful Pole Dancer LUZIA -- https://goo.gl/aK4v1o -- Meet Rachel, Cyr Wheel artist LUZIA -- https://goo.gl/l0dIZ8 -- Meet Alexsei, Bendable Contortionist LUZIA -- https://goo.gl/7sswER -- Meet Laura, Football Juggling artist LUZIA -- https://goo.gl/Grntlv -- Mee Emily, Agile Trapeze Artist LUZIA -- https://goo.gl/hVnkLM -- Met Benjamin, Fearless Straps Artist LUZIA -- https://goo.gl/BecI6z -- 5 Days until Premiere! LUZIA -- https://goo.gl/dfxPDu -- 4 Days until Premiere! LUZIA -- https://goo.gl/b7hCjw -- The Luzia Boutique LUZIA -- https://goo.gl/t4wEYH -- Sneak Peek Video from Cirque LUZIA -- https://goo.gl/djpvPe -- Boutique in 360 Degrees! MYSTERE -- https://goo.gl/vi5T7M -- Don't Miss Open Rehearsals MYSTERE -- https://goo.gl/PcFb87 -- Flying Trapeze circa 1994 OVO -- https://goo.gl/SWY2bV -- Thank You Lake Charles! OVO -- https://goo.gl/Km4Dsy -- OVO Mascots Out and About OVO -- https://goo.gl/cIRo2m -- CirqueSessions #1 OVO -- https://goo.gl/Qiswyp -- CirqueSessions #2 OVO -- https://goo.gl/fn0h46 -- CirqueSessions #3 OVO -- https://goo.gl/j8vWtx -- CirqueSessions #4 OVO -- https://goo.gl/qo85tD -- How Much Bounce? OVO -- https://goo.gl/8uPOqa -- Trampoline (Arena Version) OVO -- https://goo.gl/a04xzA -- Korean Cradle (Arena) PARAMOUR -- https://goo.gl/hx4uPb -- The Western Scene PARAMOUR -- https://goo.gl/K6l499 -- Rooftop Chase PARAMOUR -- https://goo.gl/Ne1pcB -- Five Days to Go PARAMOUR -- https://goo.gl/XcPhrL -- Bob & Bill, Composers PARAMOUR -- https://goo.gl/9MnLOn -- First Night Preview! PARAMOUR -- https://goo.gl/nwFIEr -- Taking Our First Bows PARAMOUR -- https://goo.gl/ljONQt -- Acrobat Fletcher Blair Sanchez PARAMOUR -- https://goo.gl/uaXi03 -- Behind-the-Scenes PARAMOUR -- https://goo.gl/iXpg30 -- Cast's Favorite Movies SODA -- https://goo.gl/8tcOkp -- Alex González de Maná SODA -- https://goo.gl/1xIR9Q -- Adrián Dárgelos de Babasonico SODA -- https://goo.gl/X7d3l7 -- CirqueSessions #1 SODA -- https://goo.gl/fVinJZ -- CirqueSessions #2 TORUK -- https://goo.gl/uebX91 -- Sound Technician Jeff Eben TORUK -- https://goo.gl/VyYD4w -- Andrew McCabe, Automation Tech TORUK -- https://goo.gl/kM6ePa -- TORUK's Kites TORUK -- https://goo.gl/on199T -- Jumping Into Action! TORUK -- https://goo.gl/C9HjPT -- Kentucky Derby Special TORUK -- https://goo.gl/Ocg8Z6 -- Puppeteer Kristi Hughes VAREKAI -- https://goo.gl/IFLF2j -- At The Evening Urgant Show ZARKANA -- https://goo.gl/bQT4Hy -- Defying Gravity ZARKANA -- https://goo.gl/a9xFAi -- Playing with Fire ZARKANA -- https://goo.gl/CGdFrQ -- Getting Ready for the Final ZARKANA -- https://goo.gl/1fRgHE -- Final Bow ZARKANA -- https://goo.gl/FdSMJZ -- The Straps Act ZARKANA -- https://goo.gl/3WcpvB -- Clips of Zarkana in Las Vegas ZARKANA -- https://goo.gl/tY5QXr -- Banquine Act ZUMANITY -- https://goo.gl/YmZmcF -- Ready for a Love Affair? ======================================================================= FASCINATION! FEATURES ======================================================================= o) "The Press Peeks at Paramour" A Special Collection of Articles from the Press o) "Passionates Preview Paramour" By: Douglas Metzger - Long Island, New York (USA) o) "JOYA, A Night in the Mayan Jungle" A Special to the Fascination! Newsletter ------------------------------------------------------------ "The Press Peeks at Paramour" A Special Collection of Articles from the Press ----------------------------------------------------------- In their new show "Paramour," Cirque du Soleil puts their signature spin on a Broadway performance. Set in the world of Golden Age Hollywood, the show spins the tale of a young poet forced to choose between love and art — with a blend of music and circus art while in the process. Join us as the press goes behind-the-scenes for a sneak peek at Paramour… CBS GOES BACKSTAGE ------------------ Ruby Lewis, who plays leading lady "Indigo" in the show, told CBS News that it's an exciting new challenge for her. "It's brand new to me," Lewis said. "You have to be ready for anything, including flying in the air or balancing on someone's hand — and for me that's the scariest part." At the age of 6, Ruby Lewis had her first on-stage performance, playing Fern in "Charlotte's Web." From that day on, the Shelbyville, Kentucky, resident knew she was going to be a performer. "I was never a cheerleader," Lewis told CBS News. "I was a dancer who preferred tap; I liked to be into the ground." Now, the actress is readjusting and learning new tricks. "It's the sexiest show on Broadway." FOTOS /// < http://www.cirquefascination.com/?p=8030 > Jeremy Kushnier, who plays "A.J. Golden," chimed in that Lewis is a perfect example of how Broadway and Cirque du Soleil are crossing over. "[She's] hanging upside down, dancing her face off, singing, being thrown around," he explained. While rehearsing ahead of live shows, Lewis told producers that she was willing to try anything. "That's a big mistake to say to circus people," Kushnier joked. And now go behind the scenes with the leading lady of Paramour – Ruby Lewis! < https://www.facebook.com/CBSNews/videos/10153532301020950/ > TIME OUT GOES BEHIND THE CURTAIN -------------------------------- It's a Thursday morning at Broadway's Lyric Theatre, a month before the first preview of Cirque du Soleil's upcoming Broadway production, Paramour, and the stage is full of people doing casually miraculous things. To one side, a guy in jeans scampers gracefully up a vertical pole. Men and women are tossed around like footballs. In the middle of the stage, shirtless men in athletic shorts jump up and down on a teeterboard, the circus version of a playground seesaw, that's launching each of them into the air in turn, high enough to perform elaborate flips and twists. When they land, their weight smacks the teeterboard down against the ground, in a slow and regular rhythm: ka- thump, ka-thump, like a heartbeat. These performers may be the core of Paramour, but they are also part of a much larger jigsaw puzzle that is carefully being assembled. For unlike the spectacles that Cirque du Soleil offers in its trademark yellow-and-blue tents, which are collections of specialty acts loosely united by fantastical costumes and themes, Paramour weaves its circus elements into a straight-up Broadway musical with an original score and a plot about a love triangle in golden-age Hollywood. "There are teeterboard and straps and trapeze and Russian bar and trampoline acts—all the things that you would expect at a Cirque show," explains Scene Director West Hyler. "But they take place inside a very real story about a filmmaker, his lead actress and the composer who's scoring the film." More pieces of the puzzle come into place in the afternoon, when Paramour's entire cast of 38—not just the acrobats but also musical- theater actors, singers and dancers—performs its first stumble- through. The band is in the audience and meeting the rest of the company for the first time; 20 makeshift tables have been set up over the auditorium's red velvet seats and are crowded with computers and mixing boards to meet the show's complicated technical demands. If Cirque can pull this off, it will be an unprecedented merger of circus spectacle and musical-theater narrative. "I've always believed in having a story that you are as much interested in as the acrobacy—that if those two worlds could combine, something really magical could be created," says Hyler. What follows are some glimpses of how that magic happens. This pivotal hand-to-trap sequence illustrates the leading lady being torn between romantic rivals. "Sometimes we use acrobatics to reveal the inner psychology or to physicalize the emotional and psychological struggle of the characters," says Hyler. "It's like the dream ballet in Carousel, which is a musical trope that's been around forever, except we're taking that idea of a dream ballet and making it a dream trapeze act. The same characters are embodied by different artists who have the skills necessary at those points in the story." One of the most striking sequences in Paramour is a breathtaking aerial duet between English twin brothers Andrew and Kevin Atherton, who are suspended directly above the front rows of the audience. The Athertons don't use safety cables; they rely entirely on their own strength to stay in the air. "This is not Spider-Man or Peter Pan—one of those shows where you have an actor in a harness," Hyler points out. "These are people who have trained their entire lives to be able to do this. And it's amazing." Andrew credits the deep mutual trust between him and his brother for their success with Cirque du Soleil, for which they've worked in multiple shows over the past 15 years. "I wouldn't say it's a twin connection, but we've been working together so long, and I know that he'll put my safety before his," he says. "So then you can concentrate on making the act emotional and beautiful, not on thinking, Is this safe? We're always adding elements of danger into our act and choreography to make it more spectacular." In addition to its plot, musical numbers and circus spots, Paramour contains a number of sequences built around eye-catching visuals. In one, the face of leading lady Ruby Lewis is amusingly green-screened onto a variety of famous movie posters; in another, bright-orange interconnected rooms are deployed to evoke gradual movement across a film strip. Some of Paramour's most circusy moments are set up as parts of movie- musical numbers being shot by the main characters. "They're making films in which the actress is the star, but she's surrounded by an acrobatic ensemble," says Hyler, adding that some scenes are inspired by sequences in classic Hollywood musicals. Michael Kidd's inventive Western-themed choreography for 1954's Seven Brides for Seven Brothers, for example, serves as the jumping-off point for Paramour's teeterboard act, an homage that significantly raises the athletic component. (It includes a quadruple flip.) Thick safety mats are disguised to look like wooden scenery. Circus performers comprise a little more than half the cast; the rest of it consists of more traditional musical-theater folks, such as Reed Kelly and Kat Cunning (pictured above). To smooth out that division in the ensemble, the creators have tried to find acrobats who can dance and act a bit, as well as chorus members with special skills. "We have a few dancers who have a gymnastics background or are very flexible," says Acrobatic Designer and Choreographer Shana Carroll. "Some of them can do back handsprings and flips, which helps everyone blend well." The Chinese pole, a popular circus discipline, features prominently in an Act II dream sequence. "We call it ‘The Nightmare,' but it's actually a revenge dream for the movie director," says Carroll. "He imagines a horror movie with zombies attacking Joey, his rival. It seems like a happy park scene, but then zombies come up through manholes and attack." Practicing it here is Jeremias Faganel, a Chinese-pole specialist from Argentina. Thanks to Cirque du Soleil's worldwide recruiting pipelines, nearly all of the acrobats are from foreign countries, including Australia, Norway, France and Poland. Acrobatic flier and hand balancer Amber Van Wijk just turned 21 years old, and she already has one Cirque du Soleil show under her belt. "I was touring for two years with Varekai when I was 16, and then I went back home [to Antwerp, Belgium] to finish high school," she says. "Then they offered me this contract in New York. I've always wanted to go there, and it was perfect timing, so I was like, ‘Yes!'" She hasn't had the chance to explore the city much yet—the rehearsal schedule is exhausting—but she did get to see a musical on Broadway, which helped her understand how Paramour works. "Pretty much every trick you do in the show, every movement, there's a story behind it and a reason you do it," she says. "That's very different from my previous experiences. In Varekai, you could kind of hide behind the amazing costumes and makeup. On Broadway, people see you from so close." "Even though it's a very large cast for a Broadway show, it's a very small cast for a Cirque show, where usually they can have up to 70 acrobats, but they're mostly specialists," says Carroll. "I had to find a really all-star ensemble—people who I knew could perform up to five disciplines—or we wouldn't be able to have enough acrobatic material." Fletcher Blair Sanchez, seen here on the Chinese pole, is also highly skilled at teeterboard, trampoline and tumbling. "That's rare, and I love the cast I have for that," she says. "They're covering so much ground. They just blow my mind every day with how talented they are." CIRQUE'S BROADWAY BALANCING ACT ------------------------------- The dancer emerges from stage left, in white tails and top hat; from stage right comes a juggler in a black tuxedo. And then begins a choreographic throwdown — the dancer taps, the juggler balances a cane on his nose — a prelude to the best-of-both-worlds spectacle promised behind the Art Deco curtain. The circus is coming to town, but this time with a story to tell. Cirque du Soleil, a global entertainment behemoth that has 17 different shows running worldwide, is once again trying to establish a long-running production in New York City, the major-league market that has most stubbornly frustrated its ambitions. A previous Cirque attempt at narrative theater, "Banana Shpeel," disastrously flopped at the Beacon Theater in 2010; a more traditional (for Cirque) acrobatic show with multiyear aspirations, "Zarkana," quietly faded away after productions at Radio City Music Hall in 2011 and 2012. So now Cirque is trying a high-wire hybrid — a combination of theater and acrobatics, with a splash of old Hollywood, in one $25 million musical called "Paramour." And, never one to bet small, it is opening the show cold on the world's most famous stage: Broadway. The timing is, to put it mildly, challenging. The company, long dominated by its storied founder, the fire-eater-turned-billionaire Guy Laliberté, just last summer was acquired by a group of investors, led by the private equity firm TPG, that is closely watching costs as it seeks revenue growth. And Broadway, always home to more flops than hits, is particularly competitive this year — there are currently 36 plays and musicals, many with strong reviews and crowd-pleasing titles or stars, vying for attention and audience before "Paramour" begins previews this weekend at the Lyric Theater in anticipation of an official opening on May 25. Cirque arrives on Broadway with enviable strengths: a well-known brand, a stable of world-class acrobatic performers, considerable marketing muscle and deep enough pockets to let a show build. And the company, explicitly pitching its show to domestic and international tourists, is opening after this year's Tony Awards eligibility deadline — meaning it won't be hurt or helped by the spring awards cycle — and on the eve of summer, when out-of-town visitorship is especially high. "The people that work there are really smart artists, but how are they going to make their next step? That's what we're all watching," said Diane Paulus, a theater director represented on Broadway this season with "Waitress." Ms. Paulus in 2012 directed a big tent show, "Amaluna," for Cirque, and in 2013 won a Tony Award for "Pippin," which was noteworthy for its successful integration of circus arts with dance. "It is a big question mark for Cirque now," she said. "What's next for them, and how are they going to break new ground after they broke ground so powerfully 35 years ago?" "Paramour" is expensive by Broadway standards — at $25 million it costs twice as much to mount as "Hamilton" — but not for Cirque, which once spent $165 million developing a single show, "Ka," in Las Vegas. "Obviously we want to be successful in New York because it is such a large market and such a large tourist destination, but this is not even close to a bet-the-company type of thing," said David Trujillo, the TPG partner who is managing that company's Cirque investment. "This is one show." "Paramour" is distinguished from most other Cirque productions by the use of a script with dialogue, original songs (10 of them, composed by the frequent Cirque collaborators Bob & Bill, along with Andreas Carlsson, and played by an eight-piece band), and a fully realized story (a love triangle, set in Hollywood's Golden Age, involving a film director, his muse-like star and a composer). But it also has plenty to appeal to die-hard Cirque fans: contortionists, jugglers, trapeze artists and tumblers; trampolines and teeterboards; banquine (human pyramids) and hand to hand (partner acrobatics on the floor) and hand to trapeze (a woman travels between a male porter on the ground and one on a trapeze, representing the love triangle). The show will make heavy use of technology — it includes video projections and eight costumed drones — and, in an attempt to mimic the circus, will break the fourth wall with a strap act above showgoers, a chase scene through the theater and rappelling into the audience. Every circus needs its ringmaster, and here it is Scott Zeiger, an alumnus of concert promoting, Ringling Bros. and touring Broadway shows, who two years ago started Cirque Theatrical, a new division of the company. He has been selling the show exuberantly — at a recent event for the news media, he pretended to have forgotten his prepared remarks, prompting an acrobat holding a sheaf of papers to tumble across the stage for a bit of circus humor. Then he framed the case for "Paramour": "What we are trying to do here, and I think we're doing well, is seamlessly blending the best of Broadway — singing, dancing, acting, of course — with all that is Cirque du Soleil's signature artistry — incredible acrobatics, amazing costumes, cutting-edge technology, and sheer whimsy and joy." One day after the press event, Mr. Zeiger had to manage some tougher news. The company's leaders, dissatisfied with what they saw during an early run-through of the show (a "lions' den," in Cirque lingo, comparing the executives to predatory carnivores), abruptly ousted the show's leading man and said they wanted the running time cut by 10 percent, to get it under two hours. "Paramour" is being developed by much of the same creative team, and features two of the most distinctive scenes (a rooftop chase with trampolines, and a live filmstrip with dancers in frames) as "Iris," a $100 million homage to the history of cinema that Cirque hoped would become a permanent installation in Los Angeles but instead closed after 19 months. (Cirque productions cost more money than Broadway shows because they often involve newly built or reconfigured performance spaces; they take more time to develop because of the complex training required for risky acrobatic acts, and more money to run because of the larger troupes.) Some fans worry the echoes of "Iris" mean they've seen this show before. "On the one hand, those were cool acts, but, on the other hand, can't you think up anything new?" said Keith Johnson, a Seattle-based Cirque fan and blogger who estimates that he has seen 20 Cirque shows. Mr. Johnson said he is concerned that "Paramour" may suffer from creation by committee, rather than by a single visionary, and that marketing it will be hard. "The image of their brand is so strong that, when they try to do anything radically different, it's difficult for them to communicate what it's about," he said. But the creative team says the similarities between "Paramour" and "Iris" are limited and largely thematic. "There was a little bit of a desire to build from ‘Iris,' but in the end we took a completely different direction," said Shana Carroll, who designed the acrobatics for both shows. Ms. Carroll typifies the top-flight circus artists working on this project — she is a former Cirque trapeze artist who left to found a highly regarded contemporary acrobatics company, Les 7 Doigts de la Main, and is now working with both firms. (She calls Cirque "the godfather company" and 7 Fingers "the rebels.") The shows' director, Philippe Decouflé, is a French dancer, trained in mime, who has become a choreographer and is fascinated by shadow acts and other innovations involving light. He said he is inspired, in part, by the geometric dance patterns of the movie choreographer Busby Berkeley. The cast is big for Broadway (small for Cirque), with 22 acrobats and 16 actors, and as is typical for Cirque, is multinational and multilingual, with performers from 13 countries. It includes one pair of identical twins (the aerial strap artists Andrew and Kevin Atherton), one married couple (hand-to-trapeze performers Sam Charlton and Myriam Deraiche), and 10 alumni of national gymnastics or acrobatics teams. The show also requires more safety precautions than most Broadway productions do, given the risks involved with acrobatics and the memories of the woes that beset performers in "Spider-Man: Turn Off the Dark," a previous tenant in the same theater. Cirque has deployed acrobatic coaches in New York to monitor safety at all shows; the acrobats train daily, watched by health and wellness experts, to try to prevent injuries, and there are safety briefings for cast and crew. There are also quiet signals: a fist to the top of the head means "I'm O.K."; "hup" means "I'm ready"; and "short" means "my landing is off." Most of the cast, and most members of the creative team, have never worked on Broadway before; dance workshops were held in Paris, where the director is based, and acrobatic acts were developed in Montreal, where Cirque has its headquarters. For nine weeks, the show rehearsed at Grumman Studios in Bethpage, N.Y., because there were no spaces on Broadway big enough; when the show moved into the Lyric, Cirque built a gym under the stage for the acrobats to continue their daily conditioning. "We're learning a lot from one another," said Justin Prescott, a 28- year-old dancer from Houston who has never seen a Cirque show, but is now performing in "Paramour" — he is the featured tap dancer at the show's start, and is learning to do simple acrobatics on a vertical pole. Joe McAdam, a 23-year-old acrobat from England who had never seen a Broadway show, was a competitive trampoliner before joining Cirque and touring with "Amaluna." He has had to rein in his jumping for "Paramour" — he does flips off a teeterboard, and had to be admonished not to leap so high because he was disappearing from view above the show's 25-foot-9-inch proscenium. (And yes, there were jokes about making lighting adjustments while he was up in the fly space.) "It's very interesting to see how the actors work — it's very different," Mr. McAdam said. "And the stage is so big. I'm curious to see how it's going to feel with the audience in it." Cirque began performing in New York in 1988, and over the next two decades sent a stream of big-top shows to the city, running for a few months at a time, first in Battery Park, where they sold quite strongly, and then, when development of that area forced them to relocate, on Randalls Island. Over time, as the company's productions became seen less as a hot new thing, appealing to affluent adults, and more as mainstream family fare, the company began presenting shows, for shorter periods of time, at Madison Square Garden. Although critics often sneered, audiences were healthy. The stumbles with "Banana Shpeel" and "Zarkana" reinforced existential questions shadowing Cirque: Has the company, once a group of Quebec street performers and now a giant multinational, lost its way creatively? Has it oversaturated the New York market by coming too often? Or has it fundamentally misunderstood the differences between Las Vegas, where the company has eight shows running simultaneously, and New York, where the entertainment options for consumers are more varied and competitive? "Cirque definitely was hip when everyone first discovered it in the U.S. in the late 80s and early 90s, and it contributed to the redefining of Las Vegas as an entertainment destination and a family destination, but by the late 2000s they were starting to reach a peak, and perhaps had lost a bit of that magic," said Louis Patrick Leroux, a theater professor at Concordia University who serves as director of the Montreal Working Group on Circus Research. "But they still have an extremely strong brand — I can't think of many companies, other than Disney, that have their recognition — and they're in a period where they're redefining what their presence is." The company went through a period of retrenchment, with significant layoffs in 2012 and 2013, but now, with the new owners (including a Chinese investment firm, Fosun, that is a minority partner), is aiming for growth, particularly in China, where it has just opened its first office in Shanghai, is building a theater for a permanent show in Hangzhou, and is planning touring shows. New York and London are also major expansion targets, as are, to a lesser extent, Germany and the Middle East. Mr. Trujillo said that, in the wake of the acquisition, his firm had helped Cirque "get rid of distractions," like investments in restaurants and bars; hired new financial executives; and identified areas for potential revenue growth: further adaptations of existing properties (like "Toruk," a circus prequel to the movie "Avatar"), music events, water fountain and light shows, programming as part of real estate developments (like theme parks or casinos), digital marketing, premium pricing, brand licensing and show sponsorships. "They had just stalled — it was a stable business that was ready for the next step of growth, but needed a partner to help them achieve," Mr. Trujillo said. "Paramour" is not the only Cirque show coming to New York — after Labor Day, the company is also bringing in short runs of its two new touring events, "Toruk," at the Barclays Center, and a much-praised big top show, "Kurios," to Randalls Island. But "Paramour" is the big hope — a major project by the new theatrical division, which also hopes to bring to Broadway a stage version of the live broadcast of "The Wiz" that it developed with NBC last year. "We know how brutal Broadway can be, but I think we have the right ingredients to sustain the position here, serving the Broadway audience and the Cirque family at the same time," said a bullish Daniel Lamarre, the company's president and chief executive. "There is no other market where the competition is so furious — you have a lot of great shows in this city — so that's why we're coming at it in a very humble way. We just hope that we can make our mark on Broadway." STUNNING NEW LOOK AT PARAMOUR ----------------------------- Broadway World, Theater Mania and Playbill published a set of pictures today as a "First Look" at Cirque du Soleil's Paramour… Although not really a "first look", it does give us a glimpse into the new production. Check out the images here: http://www.cirquefascination.com/?p=8202 # # # SOURCES: 1. CBS News, Charrat Martin Photography 2. Time Out | http://goo.gl/JNDYnA 3. Michael Paulson, New York Times | http://goo.gl/TTobu7 4. Broadway World, Theater Mania, and Playbill ------------------------------------------------------------ "Passionates Preview Paramour" By: Douglas Metzger - Long Island, New York (USA) ----------------------------------------------------------- I'm lucky enough to be a ‘Passionate' – one of those people who has followed Cirque for many years. And in my case, well over a decade now thinking about it. I've also been lucky enough to attend multiple CirqueCon's (a fan-organized gathering of like-minded fans of Cirque du Soleil), soft and hard openings of shows, premiere's in Old Montreal, as well as travelled to various venues around the country taking in both resident and travelling shows (such as LUZIA and KURIOS). KURIOS is wonderful if you haven't seen it yet. I've subsequently been able to follow that show from premiere in Montreal thru Chicago and Atlanta. By the time KURIOS leaves the US mainland, I will have seen it a dozen times or more. (Yes, it's that good!) I've related my KURIOS exploits since it too has gone through some developmental and artistic changes since premiering. Some of these changes were due to artistic flow and others imposed by Cirque corporate (read that as "financial requirements.") These changes have tightened the show, added an audience participation element (bridge,) as well as subtracted, added or modified artistic acts, for good, or bad. But then preview are used to shake out those tenuous elements, strengthen show stoppers, adjust story migration and timing, and finally get the cast familiar with their routines. (I look forward to seeing changes in Luzia.) Which brings me to PARAMOUR... FIRST IMPRESSIONS ----------------- In advance of attending the soft-open I had immersed myself within PARAMOUR social media campaigns and press events. (It also didn't hurt to have Cirque corporate undertake a ground-shift policy change related to using all forms of social media - Twitter, Tumblr, Instagram, etc.) This shift was quite literally overnight, with my everyday feeds being blown up by all things Cirque. At one point I actually felt bombarded! PR did a decent job of issuing almost daily updates, production clips, story-line announcements, cast involvement, behind-the-scene montages and such. It also didn't hurt matters that PARAMOUR was using an openly ‘secret' development studio near my residence as their practice shop for months on end (Grumman Studios – Bethpage, NY. The same venue used to stage NBC's live telecast of the "Sound Of Music" a few years ago.) Within the last few weeks prior to a shows opening Cirque runs one (or more) Lion's Den performances. This is a collective and detailed review - from beginning to end - of all individual acts/artists used in a show to see how their performance has developed since conception. Not only do the producers and segment developers get involved, Cirque headquarters typically dispatches its own creative team, some of whom have been involved since conception, others whom might not have (for a fresh take on the product). Each of these reviewers set up in the audience seats, erect desk surfaces upon which to work, and then critique everything… from artistic presentation, logistical need, transition, costume, makeup, show running position, physical presence, and more. EVERYTHING. This is a grueling, sometimes fraught, undertaking for all involved. You have world-class artists and performers working their hardest to get things right. Sometimes their act has only recently been conceived and never before undertaken on stage, anywhere. In other cases long-standing performances, developed over the years, are modified for artistic interpretive need within the shows structure. This can become a make-it or break-it moment, down to the individual artist. PARAMOUR's last Lion's Den prior to preview took place on March 29th. From all reports, it was characteristic of typical Den's, with one exception. One of the show's lead actors - Bradley Dean -unexpectedly left the show (with less than 2 weeks to first preview.) Initially all parties cited "irreconcilable differences," but within the Den it was felt that Bradley didn't quite mesh with the show's timing or need. In an interview with Michael Paulson of the New York Times Theater Desk, Cirque's Scott Zeigler (head of Cirque's new Theater Division) said "Bradley Dean is an extraordinary actor, and won the part for all the right reasons, but we all felt that the chemistry and dynamic on stage wasn't what we were hoping it would be. We were looking for something slightly different from what we were getting, and it took watching it from start to finish to see that." Structurally this is a body blow to any theatrical production, especially being so close to opening. Historically, while this has happened in a very limited number of cases, it's something that just doesn't tend to occur with Cirque. Admittedly, Cirque doesn't typically hire stage and film level actor/actress ‘outsiders' for its shows. Usually this talent is developed specifically from within Corporate and brought along to the show in question. Reacting to this lead change, producers brought in veteran Broadway actor Jeremy Kushnier, who, believe it or not, had previously auditioned for the part during casting calls. National news and social media circles descended upon this change with varying levels of concern. The larger media outlets tended to take a pessimistic view, while social media was a bit more tolerant, though pockets of doom and gloom maintained. True to Broadway form, the show must go on. THE LYRIC THEATER ----------------- Long in advance of this night a close group of Passionates planned a gathering prior to the show, and as part of that gathering we dine together before the show. We chose a local restaurant - Virgil's BBQ (http://www.virgilsbbq.com/) , which is conveniently located about a block away from the Lyric Theater and could easily accommodate our group of 12. The environment was inviting, the food excellent (I highly recommend the hush puppies and salads), the staff is easy going and paced to follow your needs, and the company was, of course, illuminating. It was simply an amazing start to a wonderful evening! (Parking, if needed, is directly next door and - for NYC - reasonably priced. The restaurant is also very close to trains, bus routes, and like the Lyric itself, in the midst of Times Square - so both are very easy to reach.) The Lyric Theater (http://www.lyricbroadway.com/) first began life as two distinct theaters, the Lyric and initially The Bryant. The Lyric in 1903, first operated by the Shubert brothers as a traditional Broadway theater.The Bryant in 1910, as a film and vaudeville house. In 1920 The Bryant would be renamed The Apollo under the Selwyn brothers ownership and became the twelfth Broadway theater in Times Square. Through the years and across various management / ownership teams the Lyric hosted Fred and Adele Astaire in For Goodness Sake; The Marx Brothers Broadway hit The Cocoanuts; and Cole Porter ‘s score of Fifty Million Frenchmen. Similarly The Apollo hosted Poppy, starring W.C .Fields; and performers such as Ethel Merman, Jimmy Durante, and Ed Wynn. Further, Take a Chance provided Ethel Merman a show stopping song - Eadie was a Lady. Both theaters closed, opened and were sold throughout sometimes challenging years, concluding in the 80's going into derelict states. Through the late 60's, 70's and 80's Times Square had generally becomeblighted and detracted from its underlying desire to be a world- class attraction for performing arts of all styles. Finally in 1990 the State and City of New York formed a non-profit organization "The New 42nd Street." This non-profits goal was to take over ownership of seven theaters (including the Lyric and The Apollo) and bring them back to their former glory. Under the premise of promoting the arts, master 99 year leases were issued to various management teams. As part of such a lease each theater was required to: be fully renovated; provide secure and attractive daytime and evening events all year round; strengthen NYC's role as the premier entertainment city in the U.S.; provide diversity of entertainment and talent; be affordable to the maximum extent possible. (Today, through various legal proceedings, British firm ATG now owns the Lyric.) Beginning in 1992 the Lyric and The Apollo theaters were renovated into one venue, the Lyric. Since undergoing significant renovations into one of Broadway's largest (approx. 1900 seats) the theater has hosted many ‘hits' including: revivals of Jesus Christ Superstar, 42nd Street, and On The Town. First run productions included Chitty Chitty Bang Bang, Dr. Seuss' How the Grinch Stole Christmas!, The Pirate Queen, Young Frankenstein and lastly Spider-Man: Turn Off the Dark. The theater entrance is on 43rd Street. Rope lines exist west from the main entrance. Audience members line up along the street façade of theater. Staff is kind and attentive. Those working the waiting audience rope walk its extent making sure those assembled are there for the correct show and time, as well as have tickets in their possession. You enter through gold-gilded doors and up six steps into the elaborate white and gold marbled oval orchestra lobby. (Don't miss the theaters ‘Stage Door' as you enter. It's immediately on the east side of lobby doors and clearly marked as such.) This theater is one of the more ornate on Broadway. Marble columns are polished to a deep shine, themselves supporting the two open mezzanine lobbies above. A small merchandise kiosk is set immediately on the left, while the traditional Prologue Bar is set conveniently for drinks. On the left you find a sweeping grand stair leading to the upper mezzanine lobbies. There you'll find a sweet shop, and intimate VIP lounges. Further to the rear of the street lobby you'll find entry into the orchestra sections. The theater proper is fashionable in an understated way. Ornate ceiling panels exist though they appear to lack fluidity or partnership. They seem somewhat, disconnected with each other, installed to break up dead space. The mezzanine level is made up of traditional elevated seating areas. Two balcony wings exist on each side. The first balcony box closest to the stage is used for production equipment, lighting and sound. It's also occasionally used throughout the show for cast members interacting with the stage performance. Directly rear of these boxes are two additional boxes containing about ten seats. (It appears these might be the best seats in house to take in the full perspective of the show in an immersive setting. In my next visit prior to opening, I'll seek to confirm this.) Lastly, above the 1stmezz is the 2ndmezzmade up of traditional seating. PREVIEW NIGHT ------------- Personally, taking in an initial new offering from Cirque elicits a frenetic feeling within. Excited anticipation of being overwhelmed, thrust back into your seat, emotionally connected to the moment / performer / act / show is typical. Cirque excels at tweaking your senses, sometimes with a proverbial tidal wave of production. When Cirque is on point everything envelops the audience member. Costuming, music, set design, act sequencing, stage presence and merchandise are all used to thrill and memorialize. PARAMOUR is no different, albeit with Preview limitations. My seat for the night was ORCH row M, stage left isle. I chose these seats to be far enough removed from the stage to get an overall image of what was about to take place, as well as be close enough to feel immersed within. In some Cirque environments (namely ‘O' or LUZIA) sit too far away and the connection with the show can be lost. This is mostly due to stage design elements (pseudo round.) In the Lyric though I would find it hard to believe there's a bad seat in the house. The show is certainly three-dimensional and NOT confined to the stage. Most notably are the aerial ‘Cleopatra' acts of Kevin and Andi Atherton, as well as subsequent chase scenes which take place on stage and in a limited sense throughout the orchestra isles and 1st mezz closed balcony boxes. The show's storyline follows the burgeoning relationship between a movie producer AJ Golden (Jeremy Kuschnier), a club singer Indigo James (Ruby Lewis) and the singer's love-in-waiting composer Joey Green (Ryan Vona.) AJ is introduced to Indigo and decides she will be Hollywood's next big thing. And so begins an epic, and nostalgic, journey to produce a movie and make himself rich. AJ also hires Joey to score the movie. And so the triangle is formed beginning an epic battle between true love, fame and fortune. Throughout the show you're introduced to and follow the storied lives of the cast of characters. You'll be exposed to back story, historical movie montages, faux film strip recreations, dream sequences, rewinds, forward winds and possibly a side-wind(?). The show's initial opening is constructed as an introduction to AJ Golden. "The Awards Ceremony" (Act I, Scene 1) and "The Acceptance Speech" (Act I, Scene 2) is formed by a short tap and dialogue routine before moving into the productions kick-off old west number set in front of a saloon. (It should be noted that this number is far different from the Media Day Press Release video that Cirque du Soleil released on Facebook and YouTube.) This opening is full-on classic Broadway, sure to wow even the most jaded or seasoned theater goer. Dance, singing, set design and costuming are all brought to bear in this Saloon number (Act I, Scene 3: "On the Set"). It's a tap your feet, heart- warming production that gets full Cirque treatment. In the midst of a stage full of cast members singing and dancing away suddenly you're shocked by characters being lifted high into the air. Your focus changes back to the main characters as others are then thrown through the air or launched from teeter boards. Action on stage and then arcing through the air from one side of the stage to the other to be captured by roving cast members. You find yourself excitedly trying to predict where the next flight or throw will emergefrom .At the conclusion of this number some audience members leapt to their feet with applause. (Personally I was excited and enamored enough to contemplate reaching for my phone to text my friend to immediately get on a train and see the show.) You then find yourself calming through a couple of understated character building numbers before falling into a lengthy night club scene (Act I, Scene 4: "Cafe") where the first introduction of Indigo takes place. Ruby embodies the classic night club singer accompanied by Joey, her understated love-in-waiting composer piano player. The number is a bit flat at first with expectations building toward a wow that just never comes. It is full of life and dancing, just with limited perk (and some odd set pieces that don't seem to play a role in the number.) Then it's on to "Closing Time" (Act 1, Scene 5), a street scene which simply wows. Cast members run and rotate around street lamps, then climb and slide down them, HEAD FIRST! Next comes "Filmstrip" (Act 1, Scene 6), a reinvigorated ‘rewind' scene (IRIS 2.0) where seven dressing rooms appear across the stage as props to set up a heavily choreographed human reenactment of a film strip. This eventually leads through "Screen Test" (Act 1, Scene 7), a reproduction of classic on-camera test scenes shot with characters. Here AJ asks Indigo to provide emotion and depth to her scene, to which she, being inexperienced, has no emotional connection to the given lines. She's then asked to draw upon other life experiences. Thereafter follows "The Night Before The First Day Of Filming" (Act 1, Scene 8), which leads you through building the underlying thread of the show, the relationships between the characters, and sets the stage for the perilous dichotomy of fame, fortune, and love. And then "Movie Posters" (Act 1, Scene 9) - a number that fell flat with me, although others seemed to enjoy it. It fleetingly attempts to recreate live versions of storied movie posters. The cast sets up in front of cameras and a green screen in an attempt to recreate exact positions for movie poster art. Marks are found, positions secured, a live picture is taken which then dissolves into the famed movie poster. For some it works, for others, it's either too long or forced. The last active number in the first act is "Cleopatra" (Act 1, Scene 10), a full cast dance number thematically following familiar Egyptian movie reenactments. The cast is in period dress with shockingly brilliant set design. The dance number ends when Kevin and Andi Atherton - flyers extraordinaire - who come center stage and take flight into and well above the audience (out to about Row P). This is clearly their best work ever, quite literally the pinnacle of their career. They appear to go through 4 sets of straps throughout the number; Awe-inspiring is an understatement! The only detraction I found to their act was their costumes - they're armless half-body white tunics. While they're initially consistent in theme to the ending of the "Cleopatra" dance number, seeing how far afield the rest of the production goes at times, it would have been nice for their costuming to strike out from the number and place focus where it should be... on the artistry of flight. Otherwise, it's hard to imagine them creating a better performance, just hands down great, which leads to a standing ovation. A heart rending act closing (Act 1, Scene 11: "Calamity Jane") number has Indigo torn between glitzy AJ and her pining love Joey and then the curtain drops to end the first half of the show. (And the company receives another standing ovation!) The second act begins after a 20 minute intermission. We open with "The Dream" (Act II, Scene 1) - a dream/nightmare sequence with exceptionally distracting music and visual overlays that last well past need. This act sets the stage for our characters meteoric rise to fame and fortune, as well as underlying contractual obligations (Act II, Scene 2: "The Director's Office"). The fraught relationship and unrequited love between Singer and Composer takes shape as the fame hungry movie producer seems to set his hooks into his red haired trophy. The relationship between the three characters is artistically well interpreted in the next number "Hand-To-Trap" (Act II, Scene 3). This is full on Cirque to its core. The three main characters are artistically represented by flyers, trapeze artists. The love, disinterest, compassion, power and envelopment are all expressed in dance fleeting grasps fingertip embraces. The number culminates in ‘Indigo's' head first dive from trapeze into the waiting arms of Joey. This dive took my breath away! Yet another rising applause point for the audience. The remaining fill numbers are adequate (Act II, Scene 4: "The Director's Office 2"; Scene 5: "On The Set 2"; and Scene 6: "Hollywood Buzz") with the exception of "Press Conference/Dressing Room" (Act II, Scene 7). This number returns us to the show's opening. AJ is on a press podium addressing questions from newsies and photographers below. He excludes Hollywood in every sense - power, glitz, glamour, style, and accomplishment. As each question is offered (sometimes difficult to understand as the backs of the cast are to the audience, with the exception of AJ's), a forced laugh line is inserted. This recurrent HA-HA-HA-HA-HA is repeated 6 to 8 times. And after the first two it becomes a bit monotonous and grating. In order to carry the story line to its culminating form (a placed love/power struggle), they needed such a transition, but its implementation leaves much to be desired. This brings me to near end of the show with the biggest staging of the night "New York City Rooftops" (Act II, Scene 8). The storyline has developed to a point where true love triumphs over fame hungry evil. Fame is diminished and tries to strike back at love. An epic chase scene takes place with fames muscle trying to take back the ‘lost' love of Indigo. A three storey set is constructed to represent NY rooftops complete with water tower, neon signs a flag pole and fire escapes. Trampolines are secreted within one of the roof tops and used in an epic chase. Athletically the number works... well, slightly. You find yourself entertained by the action; swings from props and trampoline work. Unfortunately, the number is a miss to this reviewer. It misses on execution and continuity. I'd put it in the "needs further development" category. It's certainly action packed, in fits and starts, but otherwise... And no, I won't spoil the show's ending. So I'll stop right here! The show I attended was its second full run through. The first being a closed showing the night before, in front of family and friends. The show ran long, 2:45 and started 15 minutes late (after ‘encouragement' by the NY audience.) As the curtain dropped at finale those in attendance (including Guy Laliberte) jumped to their feet –including myself - in an extensive standing ovation. As the next weeks prior to its scheduled May 25thopening progress, the show will tighten up as the cast gets comfortable working together. The show should coalesce nicely, with some hopefully sizable reconstruction. I'd say the show was about 70% there. Go, enjoy it. It's possibly one of Cirque's best Great White Way offerings. ------------------------------------------------------------ "JOYA, A Night in the Mayan Jungle" A Special to the Fascination! Newsletter ----------------------------------------------------------- Amelia (@xameliax) is a 27 year old luxury lifestyle blogger from the Midlands. On her blog you'll find a mixture of everything from beauty reviews to recipes, beautiful places to visit and stay, wearable style, restaurant recommendations, lifestyle articles and more. A couple of weeks ago she and her husband Joe took a trip to Riviera Maya in Mexico for a week of luxury. While they were there Cirque du Soleil invited them over to see JOYA (in exchange for an honest review of their experience) for an evening they deemed as a Theatrical & Culinary Intimate Experience… and that it was. # # # We've seen Cirque Du Soleil once before when they visited the UK last year with Kooza. We travelled down to London to see them perform at The Royal Albert Hall and it was honestly one of the most magical and breathtaking pieces of theatre I have ever seen. We felt as if we'd stumbled into a mysterious big top and experienced something secret leaving awed and amazed at the sheer skill and beauty of the circus. As you can imagine we were incredibly excited to see them again especially in a residency performance and with a three course meal with champagne beforehand too! We had no idea what to expect when our taxi pulled up to the front of a magnificent mangrove jungle that housed the big top and a series of wooden bridges. There is a bar at the bottom where you can sit and enjoy a drink before the show in the Mexican sunset and it was quite simply lovely. We were booked in for the Dinner & Champagne package at 6pm (show starting at 7pm) so we went straight up to the big top and stepped into the magical world of JOYA. Inside the big top is truly wondrous. Bathed in blue light with jellyfish shaped lights on the ceilings and walls covered in books, it really gets your mind whirring as to what's in store! We were led to our table just a few rows back form the stage which is set in the round and settled in listening to the live band serenading us throughout dinner. If you don't fancy eating (although I'd highly recommend you do) there are stools on the higher rows for those wishing to watch the show and not enjoy the culinary part. Ok, let's talk about the food. Everything apart from the glasses and dinnerware is edible…even the menu!!! This is some serious Heston Blumenthal stuff going on here. There were two choices for main beef and fish (with a vegetarian option on request I'm sure as nothing was too much trouble) and a set starter and desert. There was an ice cold bottle of Mercier champagne waiting for us too which surprised me – maybe it's because all my experience of Champagne on holiday (apart from in the south of France) has consisted of sweet sparkling wine pretending to be the good stuff but I just wasn't expecting real Champagne or incredible food for that matter. Oh how wrong I was. I won't spoil the surprise of what exactly was on our plates as I'm not sure how often they change their menus but it was all spectacular. Perfectly cooked fish, melt in the mouth sticky slow cooked meat and beautifully fresh accompaniments – this is some seriously good food guys and well worth the extra $'s on your ticket. All enjoyed with your champagne and the band playing away on stage, such a lovely atmosphere. Desert came served in a book. Yes a book. With a selection of sweet things perfect for any palette and it was totally delicious. We felt like kids in a sweet shop with so much thought going into the food and presentation. I can't stress enough how ‘worth it' the meal and champagne package is – we loved every mouthful and sipped on the second half of our bottle as the show began. JOYA is a light-hearted journey into the Mayan Jungle with animals and creatures from land, air and sea and it truly takes you on a ride. There is storytelling, audience interaction and of course amazing feats of strength, acrobatics and skill -and it's funny too! A lot more light-hearted than our previous Cirque Du Soleil experience (Kooza) which was more mystical than comical, JOYA is fun for all the family and if you're in one of the ‘best' table seats you're in for a real treat. There weren't as many tricks in JOYA as I've seen in other shows but there were enough to make you sit with your mouth wide open in total awe of what's happening in front of you! The band and vocalists were out of this world and it was just wonderful. I don't like to give too much away about productions like this – what happens in the big top stays in the big top – but I can say it's a fantastic show and an absolute must if you're in Riviera Maya or Cancun. When the performance is over you're led out into the gift shop where you can buy all sorts of gifts to commemorate your evening at the circus – I was actually tempted by one of their beautiful tropical looking scarves. Our hotel arranged a taxi for us and it was around 40 minutes to the big top, when we finished our driver was there waiting safe and sound and all for £35 return. We honestly had one of the most incredible evenings we've had so far on a holiday and JOYA is a real wonder. JOYA runs Tuesday-Saturday with various show times and tickets starting from just $77 USD. Our showing was full so I'd say it's worth booking in advance. # # # Check out Amelia's blog (with pictures!) here: http://www.xameliax.com/joya-cirque-du-soleil-mexico/ ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 16, Number 5 (Issue #148) - May 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. { May.10.2016 } =======================================================================