======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 7 July 2016 ISSUE #150 ======================================================================= Welcome to the one-hundred and fiftieth edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Fascination has hit quite an important milestone with this issue - our 150th! I wish I had some words of wisdom to impart at this occasion, but to be brutally honest with you, I've been so busy with my new house and new baby that, well, I've really not had the time to think about what it means to reach this mark. Back in May 2012, when we reached our 100th issue, I entertained the notion of shutting things down, but then changed my mind and suggested keeping a weather eye out for June 2014, because although I could not guarantee that Fascination would be around forever, my renewed interest would push us through to #125. Only then would we reassess the situation. I did reassess and the verdict was to ask me again when we reached the 150th issue. All I can say now is ask me again when we hit #175 because Fascination still following the sun! Besides us celebrating our 150th issue, we have a few Cirque du Soleil shows celebrating as well. This month marks the 10th anniversary of The Beatles LOVE by Cirque du Soleil. (The show launched previews on June 2, 2006 and held its gala premiere on June 30, 2006). On Thursday, July 14th, Cirque du Soleil will officially celebrate this occasion with Sir Paul McCartney, Ringo Starr and widows Yoko Ono and Olivia Harrison. But fans at home can take part in the festivities in a number of ways too... o) By checking out some of the new re-branding: < http://www.cirquefascination.com/?p=8570 > o) Streaming the LOVE album on your service of choice: < http://gnikn.us/lovestreaming > o) Watching a first-look video of the show's evolution: < https://www.youtube.com/watch?v=VCnwkG5GAtQ > o) And watching the new "While My Guitar Gently Weeps" Video: < http://vevo.ly/3i6APQ > NOTE: The evocative video for "While My Guitar Gently Weeps" was directed by Dandypunk, Andre Kasten and Leah Moyer, and was shot in the LOVE Theatre and at other locations in Nevada. All effects were created using projection mapping and captured live, in-camera. No post production CGI was used. In addition to LOVE's anniversary, on June 4th, JOYA celebrated a momentous occasion - it's 500th performance! And in celebration of reaching this milestone, a documentary about the show's creation has surfaced. Check that out here: < https://youtu.be/tSswSZ2uAG4 >. Cirque's newest touring show reached its 100th performance on Sunday, July 10th. And even OVO is hopping on the happiness wagon, with an invitation to join its re-vamped insect party (now winding its way throughout arenas in North America). You too can look buggy by downloading one of three OVO-themed masks on our website here: < http://www.cirquefascination.com/?p=8436 >. Or you can learn how to make one: < https://youtu.be/zbxFnr_VodU >. The cast and crew of Varekai were treated to something extra-special last month - they performed at the Vatican! Hand Balancer Anna Ostapenko even had the privilege to meet His Holiness, Pope Francis, after the performance. Check out a video < https://goo.gl/jsa1Y8 > and a picture of the meeting < https://goo.gl/OpWv3v >. This isn't the first time Cirque du Soleil performed at the Vatican either. On November 10, 2004, the cast and crew of Saltimbanco visited the Vatican while on tour and had a touching meeting with Pope John-Paul II. An engaging special performance was created for the Pope and over 6,000 other spectators. Can you imagine? * * * If you were curious about what offerings Cirque might have in store aboard the MSC Meraviglia, imagine no longer. With just 12 months to go until the first guests set sail on-board the ship, MSC Cruises - the Swiss-based world's largest privately-owned cruise line has revealed further details of its first next-generation smart ship. With the first cruise scheduled for June 4, 2017, MSC Meraviglia will feature the ultimate in entertainment, alongside a broad range of dining options and luxurious wellness choices. The highlight of on- board entertainment will be represented by the world leader in artistic performance, Cirque du Soleil, thanks to the exclusive Cirque du Soleil at Sea partnership with MSC Cruises. Two unique Cirque du Soleil shows will be performed on-board in the evenings, 6 nights per week, at the purpose-built Carousel Lounge. In addition, MSC Cruises will offer an exclusive on-site dinner service for up to 100 of the 450 guests booked for the show. MSC Cruises designed a custom-made entertainment venue, the Carousel Lounge, for MSC Meraviglia and its three sister smart cruise ships. Featuring the latest technology, this ground-breaking venue, which has been designed to meet the needs of Cirque du Soleil and its performers, will be a stunning circular performance space with a 180-degree circular glass wall. We've touched on this before here (http://www.cirquefascination.com/?p=6801) and here (http://www.cirquefascination.com/?p=6805). Cirque's offerings begin on July 16, 2017. In the meantime, check out the ship and its itinerary here: < http://mscmeraviglia.com/us/en >. Soda Cirque, a new touring show based on the life and music of Soda Stereo, is shaping up to be something interesting too. Although I confess to know very little (if anything at all) about Soda Stereo, I am... intrigued by this new show and what of Cirque will blend with it. Over the last few weeks Michel Laprise (the show's director) has teased bits and pieces via the show's Facebook page (which we've listed in our SOCIAL OUTREACH section), but perhaps the most eyebrow-raising blurb about it all has come from Cirque's casting team. They put out a call recently for an athlete / circus performer who was able to hold his/her breath under water for at least two minutes, or for an apnea specialist with acrobatic skills. Huh. Besides the announcement that Cirque du Soleil announced plans for an NFL attraction in Times Square (see the release in our CIRQUE BUZZ news section this month), another thing that makes me go hmmm... is this: On Wednesday, July 6th, Bell Media announced the recipient of their Executive Producer Accelerator Lab Production Apprenticeship position, placing the winner with Marblemedia, an award-winning content creation company. What makes this bit of news interesting is that Marblemedia is working on a primetime series - their first - called ALCHEMY, co-produced with Cirque du Soleil Media. That's right, the same division behind the LUNA PETUNIA series for kids (the 11 episode series will debut on NETFLIX sometime in 2017) and behind PARADISO, a drama with 20th Century FOX Television. That project, which stems from the first-look deal for scripted series CDS Media inked with 20th TV in January 2015, is said to be in the vein of Moulin Rouge: about a girl pursuing her dream of performing at the Paradiso, the most glamorous nightclub in San Lorenzo (a fictional but contemporary city based on 1950s Havana). If it makes it, we'll see it during the 2016-2017 TV season. I'm not sure when we'll see (or hear hear more about) ALCHEMY. As a long-time fan of Cirque du Soleil I'm not quite sure what to make of all the projects outside of what I would consider the company's core offerings. On one hand I applaud the company's desire to expand beyond what they already know, pushing into new forms of entertainment and expression as to not to appear stale. On the other hand, some part of me wishes they'd stop the TV shows, special events, and other forms and get back to what they've already proven to excel at: big top shows. But there's no denying Cirque is finding success in these new projects. * * * PARAMOUR is a perfect example. The cast album of PARAMOUR was recorded on June 29th and 30th and it will showcase all 10 signature songs including "Hollywood Wiz," "The Honeymoon Days of Fame" and "Everything (The Lover's Theme)." Scott Zeiger, President and Managing Director of Cirque Theatrical said, "Audiences have been loving the show each night at the Lyric Theatre and have been asking our staff where they can purchase the music. The creation of this album will allow everyone to take that experience home and re-live their favorite moments." Look for the album to be released later this summer. Otherwise, the show continues to do well financially, or at least well enough: 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% 01-May $1,065,771.30 $1,172,274.00 $46,829.65 11,043 97.07% 08-May $1,074,995.70 $1,367,653.00 $9,224.00 11,443 86.22% 15-May $464,021.20 $781,516.00 -$610,975.50 6,197 81.34% 22-May $907,800.25 $976,895.00 $443,779.05 9,213 97.18% 29-May $1,126,943.25 $1,805,456.00 $219,143.00 13,731 90.53% 05-Jun $1,024,449.62 $1,805,456.00 $102,493.63 12,000 79.11% 12-Jun $1,093,610.45 $1,805,456.00 $69,160.83 11,279 74.36% 19-Jun $971.039.25 $1,805,456.00 -$122,571.20 10,251 67.58% 26-Jun $1,000,730.25 $1,805,456.00 $29,691.00 10,756 70.91% 03-Jul $1,000,312.40 $1,805,456.00 -$417.85 11,748 77.45% But if you're going to see PARAMOUR any time soon, you'll want to know this: Jeremy Kushnier, who plays A.J. Golden in Paramour will take a two-week hiatus from the show from July 10-24. Assuming the role for the two weeks will be cast-member Bret Shuford. During his break from Paramour, Kushnier will film a new feature titled "The Idea of Manhood", the debut motion picture from his brother, writer/director Serge Kushnier. The movie tells the story of "two old friends who unexpectedly spend a day together and end up debating each other's shortcomings," according to press notes. "The conversation and day go places neither of them predicted." Fellow cast member and understudy Shuford's Broadway credits include "Chitty Chitty Bang Bang", "The Little Mermaid", "Beauty and the Beast", and "Amazing Grace". He can also be seen in the film "The Wolf of Wall Street" and the web series "Submissions Only". And speaking of shortcomings, Jose Perez has an update on TORUK: "TORUK – The First Flight, Cirque's Avatar inspired show, premiered December 2015 to mixed reviews, with most negative comments coming from fans expecting to see a "typical" Cirque du Soleil show. If you've seen TORUK, you very well know this is not your typical Cirque show – and this isn't necessarily a bad thing. Maybe it's the fact that two new shows have premiered after TORUK (Paramour and LUZIA), but it seems the negative reviews have died down a bit. Fewer negative comments, however, doesn't mean that the show doesn't need to evolve. In fact, some new elements and acts are being added to TORUK! An aerial straps/rope act is now being presented in the Tree of Voices number, as well as contortion in the Anurai Scene. But perhaps the most interesting number being added to TORUK, is a Boomerang act in the Kekunan Scene. The acts are currently in the show, though they haven't been officially announced as they are still being fully implemented. Expect to hear and see more about the new acts soon! There also appears to be a possible Fire-Knife Dance act, but we didn't get confirmation if this has been implemented in the show yet. Lastly, a quick update on the show DVD – no updates, unfortunately. Although the DVD was filmed back in January, the company has not released any additional information or provided a DVD release date. We have no choice but to anxiously continue waiting, but in the meantime, you can now purchase the show's official program (but on site only)!" * * * Oh and one more thing: CirqueCast Episode #5 - "The Ever Expanding Big Top" - is now out! Join us as we discuss the recent Paramour reviews, the new Criss Angel Mindfreak Live show, and all the news regarding Cirque's huge planned expansion in the not so distant future. Also, we have our first CirqueCast Giveaway! Watch this episode to find out how you can win a Zarkana program and bag! Check us out here: < https://youtu.be/tcGiSAkoYA8 >. And stay tuned for these exciting upcoming episodes: In Episode 6, Jose and I discuss our views on LUZIA, which we saw live in Montreal on the evening of May 24th and May 25th (we published a huge overview of the show last month). And then, in episode 7, we take you behind-the-scenes at LUZIA, and talk with three of the show's wonderful cast-members: Devin Henderson (Hoops), Kelly McDonald (Adagio), and Rachel Salzman (Cyr Wheel). And in episode 8, a discussion with Alain Vinet, the Director of Cirque du Soleil Musique, from his studio at the International Headquarters! So, without further ado - 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 Cirque and Competitive Sports" By: Ricky Russo - Atlanta, Georgia (USA) * "Complexes Cirque - The Peel Project" By: Ricky Russo - Atlanta, Georgia (USA) * "Cirque du Soleil, Wowing the World" By: Matte Hart, 1066 Gymnastics Head Coach A Special to the Fascination! Newsletter o) Subscription Information o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE – General News for the Month --------------------------------------------------- Clay Paky Scenius Light Bal en Blanc "One Drop Moment" {Jun.01.2016} ------------------------------------------------------- Montreal's 22nd Bal en Blanc, Canada's oldest electronic music festival and one of the first EDM festivals in the world, featured an exclusive attraction by 45DEGREES, Cirque du Soleil's events and special projects company. Five Cirque acts performing during the Sultan+Shepard set were lit by an array of Clay Paky fixtures provided by 4U2C. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky products in North America. Held on Easter weekend at the Palais du congres, the Bal en Blanc was produced by Produkt with One Drop as its official cause partner. One Drop is a Montreal-based non-profit, created by Cirque founder Guy Laliberte, whose mission is to provide safe water to communities worldwide. 45DEGREES staged its "One Drop Moment" to showcase this collaboration and provide a taste of what's to come as the partnership continues with Bal en Blanc 2017. "The challenge was to create a unique Cirque moment during a big EDM show with a live VJ and video artist keying," says 4U2C's Karl Gaudreau who served as lighting designer for the attraction. "We made a special design with six Clay Paky Scenius spots and eight Mythos on a 16×16-foot riser in the middle of the space. The dance floor was covered with 90 Sharpys." The event marked the first time 4U2C deployed the new Scenius fixtures. "With Scenius we have finally found the best light!" Gaudreau declares. "The color mix and optics are perfect. It's the best unit for rock 'n roll and theater combinations." 45DEGREES' Frank Helpin directed "One Drop Moment." Barry Russell was the video director and Remi Dubois the VJ. { SOURCE: Live Design | http://goo.gl/z24Zpx } Guy Laliberte's $10M Golf Tourney? {Jun.02.2016} ------------------------------------------------------- Cirque du Soleil founder Guy Laliberte is producing one of the largest putting tournaments in golf history to debut [in Las Vegas] next March with the total prize money expected to exceed $10 million. A 20,000-square-foot, 18-hole putting course will be set up from March 8 through 29 with grandstand seating and live leaderboards. PGA officials at golf facilities across the country will host qualifying events to send their best putters to Sin City. Players from around the world also are expected. The televised Major Series of Putting will offer tournaments for singles and teams, men, women, amateurs and professionals. Two- time Ryder Cup team player Brad Faxon said, "Everyone has a shot at glory. All that's needed is a putter, a ball, skills, nerves and ice in the veins." # # # LAS VEGAS, NV–(Marketwired) – Major Series of Putting (MSOP) will host the largest putting tournament in history in the heart of fabulous Las Vegas in March 2017. Multiple championship events with total prize money expected to exceed $10 million will be held between March 8 and March 29, 2017. Participants from around the world will have the opportunity to test their skills — and nerves — as they compete over several days in high-stakes championship putting tournaments. With crowds of onlookers, live television broadcasts and the opportunity to win and take home a share of the millions of dollars in prize money, MSOP will showcase intensity and suspense unlike anything seen before in golf. "MSOP is setting the stage for golfers from all walks of life to experience the intensity and excitement you'll only reach when you sink that final putt for the win," remarked Brad Faxon, a two-time member of the U.S. Ryder Cup Team with 21 professional victories serving as an advisor to MSOP. "Everyone has a shot at glory! All that is needed is a putter, a ball, skills and ice in the veins!" MSOP will be held within a unique venue featuring a 20,000- square-foot, 18-hole putting course designed by world-leading Nicklaus Design. The venue surrounding the course will feature grandstand seating, live leaderboards, pro shop, sports bar, live entertainment and more. MSOP is inviting PGA professionals at golf facilities throughout North America to host qualifying events through 2016 and early 2017 to send their best putters to represent their clubs at putting's highest level of competition. Any participant will have the opportunity to earn a spot in one of the MSOP Championship events in Las Vegas. Select MSOP tournaments will also offer registration fees for those looking to gain direct entry into one of the events. MSOP will offer a wide variety of putting tournaments. The 2017 MSOP schedule currently includes singles and team events in stroke play and match play with exclusive events for women, amateurs and professional golfers. Additional tournaments will be announced soon. To learn more about MSOP or to find details on local qualifying events around North America as they are announced, visit www.MSOP.com. Interact with MSOP on Twitter and Instagram at @officialMSOP, or on Facebook at facebook.com/officialmsop ABOUT MSOP: Major Series of Putting (MSOP) intends to entertain, challenge and trill people with the simplest and most important golf element – Putting. To achieve such, MSOP will sanction the largest series of putting tournaments in history with millions of dollars in total prize money. In fabulous Las Vegas, participants from all walks of life will have the opportunity to test their skills — and nerves — as they compete over several days in high-stakes championship putting on a 20,000 Square-foot surface designed by world-leading Nicklaus Design. The fun is open to all as qualifying events will be held around North America in collaboration with local golf courses. MSOP is a subsidiary of Lune Rouge Innovation, a new creative company inspired and controlled by Cirque du Soleil Founder Guy Laliberté. For more information, visit msop.com { SOURCE: The Las Vegas Sun | https://goo.gl/8fRXNu } Festivals in Las Vegas: How Much is Too Much? {Jun.06.2016} ------------------------------------------------------- Festivals have been a game-changer in Las Vegas, but how much is enough? John Katsilometes asks this question in his column for the Las Vegas Sun today. His answer provides a few details on how Rock in Rio USA did during its inaugural run in the summer of 2015… # # # A key barometer of Las Vegas' capacity for large-scale outdoor festivals is Rock in Rio USA, the American version of the fest that started in 1985 in Brazil and evolved into a series that would dwarf even Woodstock. Drawing such superstars as the Rolling Stones, Bruce Springsteen, Paul McCartney and virtually every contemporary artist of merit, Rock in Rio now alternates between Rio de Janeiro, Madrid and Lisbon. The festival is divided into two parts, Rock Weekend and Pop Weekend, and boasts considerable range in its multistage setup. It has drawn huge turnouts, including 1.5 million fans at the first event three decades ago in Rio. Lisbon and Madrid have since surpassed 350,000 attendees. But in Las Vegas, the inaugural Rock in Rio USA was a comparatively difficult draw. Unlike Rio, where the festival is the only significant entertainment event in May for a population base of 6 million, Las Vegas offers top-flight entertainment along the Strip all the time in a metro area of about 2 million. From the stacked headliners ranging from Britney Spears and Jennifer Lopez to Celine Dion and Elton John to the seven resident Cirque du Soleil shows, the volume of options for ticket-buyers in Las Vegas is staggering, especially to outside promoters. So initial projections of 82,000 fans per weekend of Rock in Rio USA (328,000 over four nights) were swiftly dialed back. The official tally was 172,000 over two weekends, but sources familiar with the hard numbers put them lower, around 140,000. Financial losses in the festival's kickoff year were considerable — estimated to be $24 million to $28 million. Rock in Rio officials were willing to accept some losses as part of their $50 million investment in delivering the brand to the U.S. for the first time, but industry experts weren't expecting a shortfall of more than $20 million. The festival did produce $25 million in gross revenue, which is impressive, until you consider the huge outlays it made for big- name acts and environmental flourishes. Dedicated to brand and format, Rock in Rio brass built extensive and expensive "Rock Streets" emulating the U.S., UK and Brazil. And attractions included a zipline over the main stage, a Ferris wheel in the middle of the parcel and a reinforced VIP tent that cost upwards of $4 million to construct. "When you look at what Rock in Rio actually delivered, if they made $25 million, most festivals would be doing backflips over that," says MGM Resorts Senior Vice President of Entertainment Development Chris Baldizan, who books events at all MGM Resorts properties, including the outdoor venues. "They stuck to their guns on a lot of things, and the first event was definitely a learning experience for everybody." Will Rock in Rio return to Las Vegas in 2017? After a successful edition in Lisbon in May, there's no definitive word on where it will land when (or even if) it rotates back to the U.S. "We're like everybody else, just waiting to hear back to pull the trigger," Baldizan says. "We will need to hear in the next month or two. We need that information. We should be getting ready to be booking Rock in Rio right now. We are kind of behind the eight ball." Rock in Rio executives say they're coming back, but nothing is confirmed. "We are still working on the next edition of Vegas," CEO Luis Justo said in an email. { SOURCE: https://goo.gl/BQHMY4 } How do Cirque Performers Know They Won't Die? {Jun.07.2016} ------------------------------------------------------- Cirque du Soleil is on Broadway for the first time ever. Cirque's new show, Paramour, opened May 25, giving the world's most famous theater audiences a chance to experience the pit-in- your-stomach thrills of watching the chic circus's acrobats fly through the air. Audiences can rest reassured that everyone's safe. Right? To find out, Popular Mechanics spoke to Brett Copes, the head rigger of Fight or Flight Entertainment, who's spent the last decade flying performers in shows like Cirque du Soleil's O and Iris, and Marvel Universe Live. HEAR THE INTERVIEW HERE: LINK /// < https://player.megaphone.fm/PM8692105380 > As it turns out, Copes says, gravity-defying circus work used to depend mainly on "practical testing" and passed-down knowledge— basically, lessons learned from the 250 years of trial and error that started with the inception of the modern circus. Early riggers also borrowed principles from other precarious fields, like mountain and rock climbing, which existed long before aerialists took to the trapeze and high wires. It wasn't until the 21st century that scientists really started studying the physics and mathematics behind acrobatics. Today, Copes's work is quite scientific. He knows, for example, that, at 6 feet and 180 lbs., our podcast host can generate up to a thousand pounds of force on even a short fall. Copes uses that knowledge to design equipment based on a "design factor," a sort of ratio of risk that he's willing to take. A 2:1 design factor, for example, would mean hanging our host with equipment able to hold 2,000 lbs. In practice, Copes prefers an even more robust margin of error—a design factor of 5:1 or even 10:1. Cirque du Soleil's Paramour sets are a mix of old school and new, a mishmash of very traditional rope-and-pulley rigs alongside computer-operated winches that cost tens of thousands of dollars. That's how the best acrobatic rigging teams are constructed: with the wealth of knowledge and cutting-edge technology that comes from mixing old circus riggers with trained engineers and computer programmers, all united by a single, very important factor: The amount of risk they take really has a direct effect on the performer. To hear more from about rigging, check out the How Your World Works podcast, available now on iTunes. { SOURCE: Popular Mechanics | http://goo.gl/HJcT7h } ABC to develop live musical event 'For The Record Live' {Jun.10.2016} ------------------------------------------------------- ABC, Dick Clark Productions and For The Record are partnering to develop "For The Record Live," a unique, genre-bending production turning the soundtracks of iconic filmmakers into thrilling, immersive live-entertainment events. Created by Shane Scheel and Anderson Davis, For The Record has staged productions based on the work of acclaimed directors Quentin Tarantino, John Hughes, Baz Luhrmann, Martin Scorsese and more. "'For The Record Live' is a first-of-its-kind live musical event made for ABC," said Channing Dungey, president, ABC Entertainment. "The show will be a game-changer for the genre, and the network is proud to partner with Dick Clark Productions and For The Record for this exciting experience." "Five years ago, we set out to create a live event that celebrated movies and the people who make them. We built a production in Hollywood and filled it with talent, paying tribute to the biggest icons of the movie and music industries," said Scheel, For The Record creator and producer. "Over the years, we've been privileged to welcome many of these directors and stars of their movies to our shows. Their experiences at our shows are what sparked the idea for the live television adaptation of For The Record. We could not imagine better partners than ABC and the legendary Dick Clark productions to help make our vision come alive on television." For The Record began in 2010 in a small bar in East Hollywood. Since then, FTR has become the "must-see show" in L.A. and has journeyed beyond California to New York; Chicago; SXSW in Austin, Texas; the Montreal International Jazz Festival; a residency at Ace Hotel in Palm Springs; a dedicated venue on Norwegian Cruise Line's Escape featuring a show that celebrates the soundtracks of '80s "Brat Pack" films; a co-production with Cirque du Soleil in Las Vegas, and an upcoming residency at the Las Vegas Palazzo Theatre, celebrating the movie music of Luhrmann beginning June 25. For The Record will return to Los Angeles Sept. 21 at The Wallis Annenberg Center for the Performing Arts to celebrate legendary filmmaker Scorsese with "American Crime Requiem." For The Record has featured stars and newly discovered talent from stage and screen, including Golden Globe-nominee Evan Rachel Wood, "Dancing with the Stars" champion Rumer Willis, "Pretty Little Liars" Janel Parrish, Tarantino's "Death Proof" star Tracie Thoms, "NCIS: LA" star Barrett Foa, Lindsey Gort, Lindsay Pearce, Ty Taylor of Vintage Trouble, Audra Mae, Ginifer King and the star of Cirque du Soleil's Broadway show Paramour," Ruby Lewis. Watch trailers and find additional information at www.fortherecordlive.com. { SOURCE: Niagra-Wheatfield Tribune | http://goo.gl/IOWB1u } The Park: Vidanta's Bold Vision in Forbes México {Jun.22.2016} ------------------------------------------------------- Grupo Vidanta was featured on the cover of the May/June edition of Forbes México. The profile highlights Grupo Vidanta's incredible forthcoming contributions to Mexico's tourism sector— an exciting partnership with fine-dining/lifestyle industry leader Hakkasan Group, and The Park, a new immersive entertainment collaboration with Cirque du Soleil. Grupo Vidanta's Founder, Daniel Chávez Morán, is also featured prominently for his daring leadership in the field of Mexican tourism. The Park is described by Forbes as, "an ace up [Chávez Morán's] sleeve," a tremendous and fantastical venture set to disrupt the Mexican entertainment industry like never before. The goal of The Park is to fuse Cirque's singular immersive entertainment experiences with Vidanta's innovative approach to luxury vacationing. The magnificent end result will be a fantasy land where families from all over the world can explore a world beyond description. Boasting soaring structures and lush forests with hidden secrets, The Park promises to plunge attendees into a magical realm of acrobatics and adventure. The Park will be the crown jewel of Grupo Vidanta's current development plan—the lead player in a $1.3 billion endeavor meant to further establish Mexico as one of the world's premier tourist destinations. The Park is slated to open at Vidanta Nuevo Vallarta in 2018. Once open to the public, Grupo Vidanta estimates it will receive a million visitors in its first stage, and two million more when its next stage is complete by 2021 or 2022. This mega-park will be at the forefront of new vacation models that combine the world of hospitality with family entertainment. CHECK OUT NEW RENDERINGS OF THE PARK HERE: http://www.cirquefascination.com/?p=8496 AND GET A FIRST-LOOK AT ONE OF THE CHARACTER DESIGNS HERE: http://www.cirquefascination.com/?p=8518 { SOURCE: Grupo Vidanta | http://goo.gl/O2Ejwh } Stella Artois Launches 'Le Savoir', an unforgettable Multi-Sensorial Culinary Journey {Jun.29.2016} ------------------------------------------------------- Stella Artois recently announced the global launch of 'Le Savoir', an unforgettable multi-sensorial culinary journey, set to debut in Montreal in early August. Created in collaboration with sensory experts, Bompas and Parr and Cirque du Soleil's 45 DEGREES, 'Le Savoir' uses time as a metaphor and Stella Artois as the muse to transport guests to a forgotten garden in the heart of the city. Montreal's USINE C (1345 Avenue Lalonde) will play host to 'Le Savoir' from August 4 to 11 before the event travels to New York City and Buenos Aries. "After the success of Stella Artois Sensorium in Toronto last summer, we are delighted to continue sharing unique experiences with Canadians that are inspired by the intricate flavor notes of Stella Artois," said Maria Guest, Brand Director, Stella Artois. "Through this one of a kind program we hope to elevate the hosting experience to another level with new tastes and perspectives as well as inspire consumers across the globe to leave their mark through their own hosting occasions." Guests in Montreal, New York City and Buenos Aires will be transported through the seasons for a multi-sensorial, multi- course dining experience featuring food and beer pairings inspired by the spectrum of flavors in a Stella Artois. Brought to life by culinary wizards Bompas & Parr in unison with the world's leading immersive entertainment and sensory experts Cirque du Soleil's 45 DEGREES, 'Le Savoir' will engage, enhance and awaken all the senses: sight, sound, taste, touch and aroma. The immersive dining experience blends Stella Artois with food, technology, entertainment and performance art to challenge perceptions and awaken the senses. "We're excited to partner with Stella Artois to create a dinner party so sensual and luxurious that it will stimulate the senses as never before.' said Harry Parr, Director of Bompas & Parr. 'Le Savoir' aims to showcase Stella Artois' brewing heritage that dates back over 600 years with a legacy of bringing thought, care and detail to everything it touches. From the beer's unique refreshing flavour notes to the iconic Chalice specifically designed to stimulate all of the senses – that same attention to detail is what the art of hosting is all about, creating experiences that leave their mark. For more information about 'Le Savoir' and to purchase tickets for the 'Le Savoir' Montreal±, visit stellaartoislesavoir.com. { SOURCE: Stella Artois } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Criss Angel offers life lessons and levitations {Jun.02.2016} ------------------------------------------------------- Criss Angel 2008: "This show is beyond my wildest fantasy, is beyond anything I could comprehend. This show is an experience that is unlike anything the world of entertainment has ever seen. Believe." Criss Angel 2016: "It's beyond anything, any other magic show in Vegas or the world for that matter … . One thing I know, it will be without a question the most mind-blowing, revolutionary magic show ever to be performed live, with more magic in it than any other show ever." Does the guy ever learn? As a matter of fact, he says, yes. "I could have sat here and been very coy, but honestly I'm bursting with excitement," says the magician not known for coyness. "But I know what we're doing, I know where we're going and I know what else is out there." The relaunch of Angel's long-running Luxor showcase "will really show how far magic has come and how kind of dated a lot of the magic shows are," he says. "Magic, I'll be bold and say, has never seen anything like this." Though his knack for self-promotion hasn't changed in more than six years on the Strip, Angel says other things have since the infamous debut of "Believe" on Halloween 2008. "I'm a different person artistically and as a human being than I was eight or 10 years ago," the 48-year-old New Yorker says. The goal now is to "try to take the lessons that I've learned and to try to put in on the stage in a way that really is something unique and original and, quite frankly, revolutionary for the art of magic." He gets that chance in the new "Mindfreak Live," essentially the third version of his Luxor showcase. What remained of the original "Believe" closed in April to make way for the retitled makeover, which had its "soft opening" last week to gear up for a grand reopening June 30. The new show features cutting-edge video mapping and more than 50 illusions. He hopes those who saw the original, misguided version of "Believe," will "come away (and say) 'Hey, this is what you should have done from the beginning.' " Angel now carries about every credit you can think of — director, creator, star, executive producer — on the title that still falls under the banner of Cirque du Soleil, but one the company has kept creative distance from since its first year. The original "Believe" was a beautiful Cirque fever dream, but its laughable storyline struggled to figure out what to do with the goth-rock magician that people expected to see from the "Mindfreak" TV series. "The biggest problem with the show was Criss Angel was in it," he is able to say now. "If there was an unknown magician in there, it probably would still be running, because it was a good show." But after three years of his A&E channel show filled with daredevil stunts and illusions taking place everywhere but a proper stage, "People were conditioned to think of Criss Angel in a certain way," he says. "Cirque, and really the director (Serge Denoncourt), hid the fact that I was Criss Angel. Wanted me not to act like Criss Angel. Which is crazy if you think about it. But at the time, I went along for the ride." At least for a while. Though "Believe" never went through a long shutdown, within a year it shed most of the dancing rabbits and showgirls in bondage wear. Cirque still ran the business side and included "Believe" in its collective marketing, but stepped back to let the star refashion it into the straight-ahead magic show most fans expected. The guy not known for introspection — or at least not for sidelining it from his overall enthusiasm — said, "I wouldn't change anything. It's the way it was supposed to be." The new show reflects "the knowledge of trials and tribulations I had to go through to get to this point," he says. "You can't just come out of the box and be able to do that. You have to go through this kind of life experience and have the incredible support and infrastructure that I'm blessed to have." "Mindfreak Live" has an autobiographical thread, which starts with a pre-show video and continues in the show referencing early career successes, such as his off-Broadway breakthrough in the early 2000s. Recent life challenges are included as well. A straitjacket escape is now framed in terms of the sacrifices the real Christopher Sarantakos endured in the name of Criss Angel, with footage of past stunts and the shoulder surgery that a Times Square escape led to in 2014. Another segment addresses the leukemia battle of his young son, Johnny Cristopher. "One of the most important things I'm doing in the show is showing the reality of pediatric cancer, what it's like to have a son who has that," he says. "And it's done in a very artful way." The segment aspires to take audiences "to the point where they are seeing a real difficult subject matter expressed through art, and hopefully come away with hope. These kids are really special and magic in their own way." If that doesn't sound like the bare-chested, gold-chain magician parodied up and down the Strip — the sketch show "Spoofical" even planned to portray him as literally a giant douche bag — the older, wiser Angel still hopes to continue his legacy as the guy who brought magic to pop culture "in a way that utilizes and embraces all of these elements you would see on an awards show." The new show makes extensive use of video mapping to create 3-D effects. In a video-game battle with a "sword-fighting ominous character" (who just might sound like retired magician Lance Burton), "the whole scene turns 360 degrees, both me and him and the background." MindFreak-Live-Staged-Set-3 Another levitating effect will reveal "essentially a whole 200-year-old city starting to grow out of the ground … being built from the ground out of the earth," he says. "Not only do I go up, the perspective for the audience changes as I go up. You see over the roof, over the skyline. The audience feels like they're going up with me." Cirque fans take note: There will even be acrobatics. "You will see people doing what's called tricking, where they can flip and do crazy things with their bodies. But it will be presented as a way that's seamless within the illusions and the emotion I'm creating. "We're using things that tie into the magic and using the illusions as the (acrobatic) apparatus, as opposed to bringing in the apparatus you would see in a typical Cirque du Soleil show for them to do their physical magic," he adds. Not for the first time does the conversation drift back to 2008. "It's how we should have incorporated what they do and what I do from the beginning," he says. "But it's easy to say that. Hindsight's 20/20 now." A 60,000-square-foot warehouse to create illusions, some of which were road-tested in a touring show that Angel performed outside the Las Vegas market, puts the magician in a rare position to push a stalled art form forward again. "I work harder than anyone out there, I know that, and I have an incredibly talented team that is beyond what anyone else out there has," he says. "I know at the end of the day, we're going to do something I don't think the world of magic is going to be able to top for many, many, many years to come." Bold claims again, but … "It's just the right time. I couldn't have done this 10 years ago, let's put it that way." { SOURCE: Mike Weatherford, LVRJ | http://goo.gl/eF6PsD } TORUK: Behind the Makeup w/Lisanna Ohm {Jun.03.2016} ------------------------------------------------------- Looking at the finished product — a blue-hued otherworldly creature with lightning-quick, graceful movements — it's hard to imagine that just an hour before, Lisanna Ohm appeared to be a normal human. But in that relatively short time, Ohm has transformed herself into the Tipani chief from "Toruk — The First Flight." Check out Lisanna applying her makeup in this time-lapse video: http://goo.gl/kUjQIu The role requires Ohm to apply her own makeup, a process that involves a lot of contouring, the application of four shades of blue cream-based makeup, huge quantities of finishing powder, and intricate lines and dots that are true to the characters from the hit movie. "It's all about shading and mixing colors. You want to bring out the cheekbones," Ohm said as she was more than halfway through transforming her face into one of an extraterrestrial creature. "You don't realize how many steps are needed." Ohm is one of about 40 performers onstage at any given time during the performance. In addition to all the tricks, movement and acting required, performers have been trained to apply their own makeup. "Some days are better than others," Ohm said of the transformation. "But it's never horrible." Ohm said she listens to music and chats with other performers while putting on her makeup and garb. "You don't feel in character until you're onstage," she said. "Toruk," written and directed by Michel Lemieux and Victor Pilon, is a prequel to the 2009 film. The live production is Cirque du Soleil's 37th since 1984. The story is narrated by a "Na'vi Storyteller" and tells a tale set thousands of years before the film "Avatar" and before any humans came to Pandora. "I'm excited to be a part of the prequel," Ohm said. "It's setting the stage for the movies." As the Tipani chief, Ohm gets a good amount of stage time. "It's a fun character to play," she said. "I go through a lot of emotions." But good luck attempting to tell her apart from the dozens of other actors on stage. "It's hard," she said. "My fiance even has a hard time telling who I am." To prepare for the production, Ohm watched the movie about five times, focusing only on the scenes that involve the Na'vi people. She said it helps her to emulate the movement and behavior of her character. Ohm has tapped into her 20 years of competitive gymnastics to take on the rigors of the role. "It's really intense as far as a cardiovascular standpoint," she said. "You are running around a lot." Cameron has seen the production twice, Ohm said, and it has his seal of approval. "He checks off on everything," Ohm said. { SOURCE: The Baltimore Sun } Small in Size – Mini Lili Makes a Big Impression {Jun.12.2016} ------------------------------------------------------- There are several moments during Cirque du Soleil's latest show, "Kurios: Cabinet of Curiosities,'' when the audience thinks to itself: No way! One, surely, is when Mini Lili makes her first appearance, popping unexpectedly from the prodigious belly of the character Mr. Microcosmos. How is that possible, you say? Easy: Mini Lili is small, very small. The character, a diminutive dame whose furnished apartment inside Mr. Microcosmos's stomach is the picture of Victorian elegance, is played by Antanina Satsura, who at 3-foot-2 and barely 40 pounds, is one of the world's smallest people. Unlike the show's aerialists, acrobats, and contortionists, Mini Lili doesn't do much except swan around. Still, when she's onstage, you can't take your eyes off her. "To me, it was important that it be not only about her height, but about this sparkle that she has, this spirit that she has," says the show's Quebecois writer-director, Michel Laprise. "Mini Lili has got that Hollywood timeless presence." Last week, we sat down with Satsura as she got ready — "Kurios" is under the big top at Suffolk Downs through July 10 — and talked (with the aid of a translator) about growing up in Russia and her life as a circus performer. Born in Belarus, Satsura, 62, had worked as an accountant for seven years before being offered a job with the Moscow State Circus. It never occurred to her to say no. "I would get onstage with another small person and we would disappear," she says, describing one of her early acts. "Then two bigger performers would appear." It made her happy to hear the audience laugh and she didn't feel at all exploited. Satsura, who worked for the Moscow circus for 25 years, is also a talented seamstress and enjoyed making costumes for the performers. "I always wanted to be onstage and I loved the audience," she says. "Being onstage gives me energy and interest in life. You should live your life the way you are." Satsura has done that. She said she's glad to be small and doesn't want to "hide." Indeed, when she's not working, Satsura likes to go walking. "People here are very friendly. I never have any communication problems," she says. "When I go to a store and I can't reach for something — if, for instance, the milk is too high for me to reach — I ask someone for help and they always help me. No one has ever refused to help. I never feel like people are surprised to see me." And it's OK if directors call because they need someone small. "I am always happy when I get invited to be in videos, in commercials, in movies," says Satsura, who played an elf in the 2007 film "Fred Claus," starring Vince Vaughn. "Most of the small people are happy for those opportunities, too. It is your choice. You get offered, but you can refuse if you don't like something." When the folks from Cirque du Soleil contacted her — they'd seen her in a video on YouTube — Satsura was retired, living with her dog in Minsk and tending her flower garden. But the opportunity to travel the world — "Kurios" will be in the US for two more years before it heads to Europe — was irresistible. How long will she perform? "We'll see," she says, winking. { SOURCE: Boston Globe | https://goo.gl/oLFJIc } Meet TORUK's Gabrielle Martin! {Jun.15.2016} ------------------------------------------------------- Cirque du Soleil present "TORUK – The First Flight" inspired by James Cameron's AVATAR. This live experience envisions a world beyond imagination set thousands of years before the events depicted in the film. The word Toruk, in the Na'vi language, refers to the great leonopteryx, the mighty red and orange predator that rules the Pandoran sky. Central in Na'vi lore and culture, this fascinating creature is crucial to the Na'vi clan's sense of destiny and interconnectedness — and is about to be ridden for the very first time by a Na'vi. A featured acrobat in this ensemble is Gabrielle Martin of Vancouver. An aerialist, contemporary dancer, and emerging choreographer, her foray into contemporary circus and dance was nontraditional. She has a background of sports, competing in AAA women's ice hockey. In her late teens, Martin began movement training in contact improvisation, but oh, and somatic practices such as Authentic Movement, Release Technique and Body Mind Centering. Simultaneously, she dedicated herself to training and performing 'street circus' with Nucleus, a collective of actors, musicians, and self-taught circus artists, and also trained in fire manipulation, stilt walking, and character animation. Desiring more formal training, Martin attended Concordia University and earned a BFA in Contemporary Dance along with independent training in aerial arts at La Caserne. While at Concordia, she presented her own aerial choreographies at professional dance festivals through Floating Seed, an aerial- contemporary company she co-founded. Upon graduating in 2009, she continued to choreograph her own work, presenting in Montreal, Toronto, Geulph, and New York. In 2010, Gabrielle's choreography, 'Box', was short-listed to top ten in the Sadler's Wells Global Dance Contest. From 2010-11, she was selected, through a competitive process, as a choreographer in four different mentored creation residencies, including: the Regroupement Québécois de la Danse – Creation Workshop for Emerging Choreographers (Montreal), and Dance New Amsterdam's RAW Material program (New York). From 2011-2015, Gabrielle toured with "Cavalia," an equestrian and nouveau-circus production, performing aerial rope/corde lisse, bungee trapeze, aerial hoop, dance, and harness dance numbers. She joined the creation of TORUK – The First Flight in July 2015. It's her first production with Cirque du Soleil. Read what she has to say about persevering and pursuing your Dreams: Q. How did you get involved with this company, Cirque du Soleil? I think, as a circus artist, dancer, performer, Cirque du Soleil has always been a company that I admired. I was really moved by the work, the mix of the physicality, the storytelling and the fantasy of the circus world. It was on my radar for quite a while. I really went after it. I did a live audition about two years ago. I made it a point to knock on their door every few months, and submitted updated videos of my work, and continued to research what they were looking for in their shows. What kind of casting profile I fit and to really tailor performance material towards that and keep in good contact with the casting director. I was very proactive. They contacted me when they were casting for this creation, TORUK. I had to send them further dance, movement and acting video that was specific to the Na'vi character. Q. You're originally from Vancouver? I grew up in Vancouver. My father is from Zimbabwe and my mother is white Canadian, British, French mix. Q. As a writer being involved in the circus seems so abstract. As a child, I would have never thought it could be a career for someone. It just seemed like adults at play. But I completely understand how the art form attracted you? I love Cirque du Soleil. I started in sports as a teenager. I'm Canadian. I played ice hockey. I did martial arts. My parents knew to put me in sports. When I became a teenager, I was living in a neighborhood that was very artsy and eclectic. I was exposed to fire dancing. There was one organization that did a lot of public parades with puppets and stilt walking. I think that was my first introduction to a type of circus arts. I was drawn to the performance world. I was really passionate about sports because I love being physical but it was kind of missing something. It was a natural transition into dance and circus arts because I could still be as physically stimulated and disciplined but with artistic expression. I was lucky to live in a neighborhood where I was exposed to those styles of art. I saw my first Cirque du Soleil show when I was 18. And, I had more of a frame of reference for something that I'd want to be a part of one day. Q. How fascinating is it to bring an Avatar-inspired production to this art form? When the film Avatar came out, I loved it. I thought the message was really great. The Na'vi beings were very interesting to me. 'Toruk' takes place thousands of years before the movie. It's its own story; that's different from what you see in the movie. What I love about performing the Na'vi character is that it's a different type of physicality than I've been charged to perform in the past as a circus artist and a dancer. As female circus artists we're often put in a generic, sexy, feminine role. I appreciate something that's more complex than that and where the physicality is not just about being graceful in a way we've seen before. The Na'vi are very graceful but there's more to them. They're powerful, curious, agile. That's fun for me to play. Q. In between shows and tours, how do you spend your free time? I don't necessarily turn off when I go home or am on break. I always want to improve my skills where I can. In the coming weeks we have a couple weeks off. I already have some coaching lined up to develop my skills further. There are some things that I just want to work on. I have time to go in and continue to be artistic but free in the sense that it's not at work; it's not specifically for the show but it's skills related to the show. To be at this level, with Cirque du Soleil, you have to really love what you do. It will be a break because I won't be doing it 10 hours a day, just a few hours a day. Q. If you were addressing a group of pre-teen ballerina and gymnasts, what advice would you give them? I would definitely say the generic 'don't give up.' I have really had a lot of rejections and obstacles. You come to understand that anybody who has a certain level of success for the most part have had their share of obstacles and rejection along the way. I have had so many moments where I didn't feel my career was going anywhere or in the past, not with Cirque du Soleil, but I have had injuries that I questioned whether or not I could keep going as an artist and I am just so happy that I didn't give up in those moments. Otherwise, I wouldn't be here. Dream big. Cirque du Soleil for me in my field is one of the biggest dreams that you can have. It's a great company to work with and had so many shows traveling the world. They reach such a wide audience. It was a pretty bold goal for me to have considering that I came to dance and circus arts late in my life. It's possible. If you don't dream big, it won't happen. Do your research. Look at all the steps required and really know what's being produced by the company you wish to work with – what are they looking for in artists. Be aware of your weaknesses. Don't be afraid to look at them so you can actually work on them. Be very aware and disciplined as an artist. There isn't a clear cut path. { SOURCE: Rolling Out | http://goo.gl/YWubQv } Meet Eirini Tornesaki – Kurios Vocalist {Jun.30.2016} ------------------------------------------------------- Meet Eirini Tornesaki, the sole vocalist in KURIOS by Cirque du Soleil and a Berklee Online student. Berklee Online grants Eirini the flexibility to earn a specialist certificate in songwriting while she travels across the world with KURIOS. VIDEO /// < https://www.youtube.com/watch?v=n6dUnQseuC4 > "Traveling with a touring show, is a very exciting job! My name is Eirini Tornesaki. I'm the vocalist of the show Kurios, by Cirque du Soleil. And also, a Berklee online student. My character in Kurios, is called Chanteuse du la rue, which means street singer. I wear a gramophone on my head, and I'm the only singer in Kurios. During my performance with Kurios, I felt like I wanted to start writing my own songs. So I went on Berklee Online, and looked at all the courses. And I thought, oh my God, I don't even know what to choose. I started Commercial Songwriting Techniques. I really liked it and I wanted to continue. Right now, I'm studying for the Specialist Songwriting Certificate and I'm currently on the Songwriting Melodies course. And what I love about singing for Cirque, is actually the amount of shows. You spend all of your time performing, which is a dream. We move from city to city every two months. Studying with Berklee Online, while on tour, I think it's a fantastic way to keep learning and evolving because when you're touring and changing location, it could be difficult to have a teacher that is always there. Or, it's a community of musicians that you could exchange knowledge with. So having that on an online platform, I think it's amazing. Studying songwriting inspires me and motivates me every day. It just keeps me focused on that goal of learning how to write my own songs." { SOURCE: Berklee Online } --------------------------------------------------- SPECIAL ENGAGEMENT –- More In-depth Articles --------------------------------------------------- Poetry in Motion: A Day in the Life of a Star Trapeze Artist {Jun.18.2016} ------------------------------------------------------- Backstage at the enormous white circus tent in Orlando that is home to Cirque Du Soleil's La Nouba, Renato Fernandes is preparing to fly through the air. The Brazilian acrobat is the first and only trapeze artist in the world able to execute a daring move called the "Double Twisting Double Layout and Half," recently premiered in his "Flying Tapezee" act. Fernandes, who is 35 years old, is part of a fifth generation of circus artists. He and his 26-year-old British girlfriend Sarah Turner, who is also a La Nouba artist, are expecting twins. This is the most recent chapter of a love story that began three years ago, right here in this tent. "The first time I saw her I asked her to dance and she turned me down!" says Fernandes, laughing. "Months later, I started taking chocolates to her locker. I asked her to help me with my warm-up exercises, and nothing. It took nine months for her to give me a hug! When she finally agreed to be my girlfriend, I went with her to England to meet her parents, then I invited her to Paris. There, in the Eiffel Tower, on my knees, I gave her an engagement ring." Now, Fernandes prepares for his moment of glory, his twisting layout, which has been seen by thousands of people from around the world. What few people have seen is what a typical day for a circus artist is like. Cirque Du Soleil opened its doors exclusively for Nexos, where we spent a day with Fernandes. 11:00 a.m.: Rise and Shine "I sleep deeply", says Fernandes, born in Poços De Caldas in the Brazilian state of Minas Gerais. "Although I get to bed at two or three in the morning, I don't get up until about 11. The first thing I do is shower, than I enjoy a good breakfast – always accompanied by protein shakes – and then I'm off to the circus." 12:00 – 2:00 p.m.: The Workout "Renato trains three times a week for two hours at a time," says La Nouba chief trainer and dance captain Mathew Sparks. "Aside from that, from 5 p.m. to 11 p.m. he's in constant motion, since he performs two shows per day. That makes his work very physical. It keeps him going from 30 to 36 hours a week." "My training begins by placing an 11-pound ankle weight (5 kilos) on each foot to keep steady on the floor while I do 150 extensions in different directions, with a Thera-Band between my hands," says Fernandes. "Then I jump for a few minutes on the trampoline, to warm up my body and I continue with stretching exercises on the floor. To end, 10 body pull ups and 10 shoulder pull ups." His girlfriend is training with him, despite the aches and pains of pregnancy. "She's very nauseous today, but we're happy, and as us artists know the show must go on," says Fernandes. "The only thing is, because her act (Power Track) involves a lot of jumps, she'll be in a special position for the coming months." 2 p.m. – 3 p.m.: The First Flight Rehearsal time, flying on the stage for an hour. Everything ends before 4 p.m. The stage must be empty then, so the technicians can test all the equipment, including cables, lights and sound. 4:30 p.m.: A Long Make-Up Session This is a long and detailed process, not suitable for the impatient or hyperactive. It takes several layers of base, and takes between 70-90 minutes. "It's curious–says Fernandes, always smiling. "It takes over an hour to put it on, but only three minutes to take it off when I go home." The Not So Rigorous Diet Minutes before jumping on stage, Fernandes grabs something to eat. Usually he brings something from home, or he buys a snack from the little store near the make-up room. "I eat everything! I don't follow a rigorous diet, I just make sure to get enough protein." Backstage, the vibe is surprisingly relaxed. "He likes to spend time with us, his friends," says Miguel Vargas, the trapeze trainer and also a La Nouba artist. "Since we come from so many different places, the circus is our family, and getting together is an important part of our lives. On the weekends one of us will cook and invite everyone else. Renato makes a great barbecue." "Since we do 500 shows a year, our work becomes something very natural," stresses Fernandes. "That's why behind the scenes we're playing backgammon, having a little nap, kidding around or eating. Zero nerves!" Let's Fly! The platform from which Fernandes will take flight is some 52 feet (16 meters) high. While he waits, he chats with the other trapeze artists: "We talk a little bit about everything; we discuss the news, just like you would in any other job. Until I grab the trapeze. When I have it in my hands, nothing else exists. For 18 seconds the world stops for me." His concentration is unwavering. "My concern will always be that the audience is happy. " And if something unforeseen happens? "I have to smile and try to get back on my feet as soon as possible. There is a protocol in place, so that my colleagues and physical therapists act immediately." 11:30 p.m.: Home, Sweet Home After the show, Fernandes goes home directly and quickly. "Because the work is so physical, I just want to go to bed. The first thing is eat…I cook. Later Sarah and I relax doing puzzles. From Paris we brought home one of the Mona Lisa with 1000 pieces, and we put it together in a few days. We watch a little TV, and end the night with a bath. But instead of bubbles, ours has Epsom salts, to relax the muscles and calm any pain. And then to bed!" { SOURCE: American Way Magazine | http://goo.gl/DJMou7 } Saban Brands & Cirque du Soleil Média Announce Funrise as the Global Master Toy Licensee {Jun.21.2016} ------------------------------------------------------- Saban Brands and Cirque du Soleil Média announced today that Funrise Toy Corporation, an industry leader in the innovation of some of the most popular children's products, will be the global master licensee for its new animated preschool property, Cirque du Soleil Junior- Luna Petunia. The much-anticipated "Cirque du Soleil Junior – Luna Petunia" Netflix original series for kids will premiere in late 2016 exclusively for Netflix subscribers worldwide. A full range of preschool toys will then hit the U.S. retail market in fall 2017, with categories including dolls, accessories, playsets and bubble machines as well as plush, role play, dress up and more. "We're excited to have Funrise on board as the master toy partner for Cirque du Soleil Junior – Luna Petunia and, as experts in the toy space, they will no doubt create an innovative toy line to accompany this groundbreaking new series," said Janet Hsu, chief executive officer of Saban Brands. Inspired by the creativity and artistry of the Cirque du Soleil brand, the new series chronicles the adventures of a girl named Luna Petunia who lives in the real world, but plays in the fantastical land of Amazia. In the series, Luna will learn how to make the impossible possible, teaching preschoolers the importance of believing in themselves and all of the wondrous things they can do. "Cirque du Soleil Junior- Luna Petunia will inspire kids to see the world with unlimited possibilities. We trust that Funrise will elevate the franchise and create an imaginative toy line that will encourage wonder and foster creative exploration," said Jacques Méthé, president of Cirque du Soleil Média. Funrise will take curriculum and inspirations from the screen to the playroom as they bring to life the beautifully artistic Amazia and its whimsical cast of characters. "We are thrilled to partner with Saban Brands and Cirque du Soleil Média on such a magical and playful new series," said King Cheng, chief executive officer of Funrise. "We know imaginations will instantly be ignited once the new 'Cirque du Soleil Junior – Luna Petunia' series premieres, and we can't wait to debut the new toy line to help inspire kids to create their very own imaginative adventures." About Cirque du Soleil Junior- Luna Petunia -- Developed in partnership by Saban Brands and Cirque du Soleil Média, Cirque du Soleil Junior – Luna Petunia is an all-new original preschool property, which will debut as a Netflix original series for kids in late 2016. Inspired by the wondrous worlds of the Cirque du Soleil brand, the groundbreaking new series will chronicle the adventures of a little girl named Luna Petunia who lives in the real world, but plays in the fantastical land of Amazia where she learns how to make the impossible possible, teaching young viewers the importance of believing in themselves and all of the wondrous things the mind and body can do. For more information, visit www.sabanbrands.com. About Funrise -- Founded in 1987, Funrise is an adventurous innovator and an industry leader in the manufacturing and distribution of the most popular children's toys. Simply put…we create fun! Funrise is the manufacturer of leading power brands such as TONKA, My Little Pony, Stackins, Baby Alive, Gazillion Bubbles, Booger Balls, Sing-a-ma-Lings and Shelcore's line of pre-school toys, making their product offerings diverse and full of fun for kids of all ages! Funrise Toy Corporation is a wholly-owned subsidiary of Matrix Holdings Limited. Funrise U.S. headquarters are located in Van Nuys, CA, with an office in Hong Kong, and additional showrooms in Minneapolis, Bentonville, United Kingdom and Australia. For more information, visit www.funrise.com. About Saban Brands -- Formed in 2010 as an affiliate of Saban Capital Group, Saban Brands (SB) acquires and develops a world- class portfolio of properties in the entertainment and lifestyle sectors. SB applies a global 360-degree management approach to growing and monetizing its brands through content, media, marketing, distribution, licensing and retail to markets worldwide and consumers of all ages. Saban Brands Entertainment Group (SBEG) develops innovative branded content that resonates with consumers across all media platforms. SBEG's growing entertainment portfolio of brands includes Power Rangers, Popples, Glitter Force, Cirque du Soleil Junior – Luna Petunia, LA BANDA and others in development. Saban Brands Lifestyle Group (SBLG) drives major expansion within the company's diverse portfolio of fashion and lifestyle properties. SBLG's portfolio currently includes Paul Frank, Macbeth, Mambo and Piping Hot. SB operates a global network of offices in Los Angeles, London and Sydney. For more information, visit www.sabanbrands.com. About Cirque du Soleil Média -- Cirque du Soleil Média is a long-term joint venture between Cirque du Soleil and Bell Média with a mission to develop new and original media content specifically for television, film, digital, and gaming platforms. Headquartered in Montréal, the company develops entertainment projects for sale and licensing around the world, leveraging Cirque du Soleil's creative resources and infrastructure with Bell Média's production experience, media platforms, and diverse distribution capabilities. { SOURCE: Saban Brands } NFL Is Teaming With Cirque du Soleil to Draw New Fans {Jun.23.2016} ------------------------------------------------------- Cirque du Soleil, known for breathtaking acrobatics, and the NFL, known for bone-crushing hits, today announced plans for an NFL attraction in Times Square, a first-of-its-kind attraction in the heart of New York City. The four-story innovative exhibit, located on the corner of West 47th Street and 7th Avenue at 20 Times Square, is set to open Fall of 2017. Cirque du Soleil will spend about $40 million to build the 40,000- square-foot space and pay a licensing fee to the NFL, which will provide memorabilia and access to the NFL Films library. The profits will be shared by both sides. It may seem an odd pairing, but the two sides say their partnership makes business sense. Cirque gets to align with the country's most popular sports league, and the NFL, battling bad publicity over concussions, domestic violence and other issues, is uniting with a popular, uncontroversial entertainment brand with a broad, international following. "It's new for us," said Daniel Lamarre, the chief executive of Cirque du Soleil. "We try to push the boundaries of new technology in live entertainment. NFL is a huge brand; it's the number one sport in America… [and] they share our point of view in getting close to the general public," Lamarre added, "Obviously they have their own issues like any other organizations. But for us we see football in North America as being an amazing event that you see at every level," referring to how children, teenagers and college students play football and that even non-athletes rally behind a team. "We see the NFL Times Square experience as an opportunity to leverage our creativity to bring to life another one of the world's greatest brands and expand our capabilities beyond live productions," Scott Zeiger, Cirque du Soleil Theatrical President and Managing Director told CNBC. "It will be a hub full of surprises and excitement," Zeiger said. "NFL Times Square will offer highlights of the previous football season, current and former player appearances and live broadcasts from NFL Network." The price point for a ticket will likely ring in somewhere in the $30 range, according to Zeiger. The whole experience will last about an hour. Learn more about this new experience by reading the official press release below. And find the NFL Time's Square Experience online at: o) WEBSITE: https://www.nfltimessquare.com/ o) FACEBOOK: https://www.facebook.com/NFLTimesSquare/ # # # Located in the crossroads of the world, the NFL Times Square experience will be a must-see attraction for football fans in North America and around the world. The revolutionary exhibit will capture fans' incredible passion for football through an engaging blend of high-tech displays, as well as immersive and interactive elements. Fans will have the opportunity to test their skills to see how they measure up to professional football players, learn game strategy, in addition to experiencing the adrenaline-pumping action of the NFL. The attraction will include an approximately 350-seat theater. When fans step inside the theater, they will be surrounded by high-definition screens and state-of-the-art technology, and will be treated to an awe-inspiring multimedia experience. The 20-minute show, co-produced with NFL Films, will invite fans to immerse themselves in the NFL and experience what it feels like to be in the game, on the sidelines and behind the scenes. "The NFL and Cirque du Soleil are two iconic global brands. We are pleased to team with this industry leader to set the new standard of excellence in sports and entertainment," said NFL Chief Marketing Officer Dawn Hudson. "We are thrilled to re- imagine what it means to authentically engage with fans by providing them an immersive, innovative experience celebrating football and available year-round. We hope to bring fans of all ages and avidity into the huddle and give them an all-access pass to players and teams." In addition to the multimedia show and interactive activities, there will also be educational programming on the art of tackling and passing, on-site retail, stadium-style food and beverage offerings and special artifacts on display. Hall of Famers, current and retired players from around the League will be making appearances and participating in fan experiences. The NFL Times Square experience will mark Cirque du Soleil's first official experiential sports venture. World renowned for their live show productions, this new exhibit will showcase their extensive capabilities as creative content providers and continue to position them as an industry leader, bringing the NFL to life like never before through their creative vision and innovation. "Our new venture with the NFL signifies the next phase of Cirque du Soleil, and we see tremendous opportunity in working creatively with the League as well as other world-class brands throughout the world. No other brand in professional sports is as strong and popular as the NFL and we are thrilled to have the opportunity to showcase the NFL from a whole new perspective," said Daniel Lamarre, President and CEO, Cirque du Soleil. "We are happy to facilitate an experience that brings NFL players closer to football fans from around the world," said NFL Players, Inc. President Ahmad Nassar. "This will be a unique and innovative showcase of professional football and an example of how our business can be a unifying force." Cirque du Soleil will work closely with the Witkoff Group, a leading global real estate development and investment firm, on the development of the space, located at 20 Times Square. Leading sports and entertainment presenter AEG will also be part of the project as a financial partner. Several other strategic partners involved in the project include world-renowned architecture and design firm Rockwell Group, as well as the Thinkwell Group, a design and production agency that will help develop the custom content-driven experiences within the exhibition. They are going to work under the guidance of Scott Zeiger, Producer, and Jean-François Bouchard, Chief Creative Officer and Creative Guide of Cirque du Soleil. Steve Witkoff, CEO of Witkoff, added, "This is an exciting time in our partnership with Marriott and Ian Schrager, and we are thrilled to welcome Cirque du Soleil and the NFL to the new EDITION Times Square in New York. It's incredibly gratifying to add such a unique element to the property that will bring an exceptional experience to millions of football fans and visitors to New York from all over the world." { SOURCES: http://goo.gl/VJ37I7, https://goo.gl/uCVjEI } ======================================================================= 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 & Paramour} 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: 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: 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: 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 -- Dec 9, 2016 to Jan 29, 2017 Dallas, TX -- Feb 17, 2017 to Mar 26, 2017 Houston, TX -- Apr 6, 2017 to May 21, 2017 Luzia: Montreal, QC -- Apr 21, 2016 to Jul 17, 2016 Toronto, ON -- Jul 27, 2016 to Oct 16, 2016 San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017 San Jose, CA -- Feb 9, 2017 to Mar 19, 2017 Seattle, WA -- Mar 30, 2017 to May 21, 2017 Denver, CO -- Jun 1, 2017 to Jul 9, 2017 Chicago, IL -- Jul 21, 2017 to Sep 3, 2017 Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017 Totem: 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: 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 Beirut, LB -– Sep 7, 2016 to Sep 11, 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 03, 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 Gijon, ES -– Jan 25, 2017 to Jan 29, 2017 Lyon, FR -– Apr 13, 2017 to Apr 16, 2017 Budapest, HU -– May 12, 2017 to May 14, 2017 TORUK - The First Flight: Ottawa, ON -– Jun 29, 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 Birmingham, AL -– Aug 19, 2016 to Aug 21, 2016 Nashville, TN -– Aug 24, 2016 to Aug 28, 2016 Evansville, IN -– Sep 1, 2016 to Sep 4, 2016 Brooklyn, NY -– Sep 7, 2016 to Sep 11, 2016 Newark, NJ -– Sep 15, 2016 to Sep 18, 2016 Milwaukee, WI -– Sep 22, 2016 to Sep 25, 2016 Minneapolis, MN -– Sep 28, 2016 to Oct 2, 2016 Winnipeg, MB -– Oct 5, 2016 to Oct 9, 2016 Philadelphia, PA -– Mar 8, 2017 to Mar 12, 2017 OVO: Windsor, ON -– Jun 29, 2016 to Jul 3, 2016 Memphis, TN -– Jul 8, 2016 to Jul 10, 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 Detroit, MI -– TBA --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Saturday through Wednesday, Dark: Thursday/Friday Two shows Nightly - 7:00pm & 9:30pm 2016 Dark Dates: o 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 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 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) PARAMOUR: Location: Lyric Theater, Broadway, New York City Performs: Wednesday through Monday, Dark: Tuesday One/Two Shows Daily: 2:00pm (Wednesday) 7:30pm (Thursday & Monday) 8:00pm (Friday) 2:00pm & 8:00pm (Saturday) 2:00pm & 7:00pm (Sunday) ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) FOTOS -- Images From Cirque & Other Photographs o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- FOTOS: Images From Cirque & Other Photo Links --------------------------------------------------- KOOZA -- https://goo.gl/KPBvEV -- International Handstand Day KURIOS -- https://goo.gl/TNDvWD -- International Handstand Day KURIOS -- https://goo.gl/KCTxHR -- TORUK visits KURIOS KURIOS -- https://goo.gl/2TtV2S -- Aviator Visits Canadian Embassy KURIOS -- https://goo.gl/1PhOJO -- The Aviator LUZIA -- https://goo.gl/Zzg2OV -- BTS Fashion Photo Shoot #1 LUZIA -- https://goo.gl/mo5blD -- BTS Fashion Photo Shoot #2 LUZIA -- https://goo.gl/3hkF7L -- Contortionist Tries Aerial Straps LUZIA -- https://goo.gl/MSy1f3 -- LUZIA & OVO Visit PARAMOUR LUZIA -- https://goo.gl/0m1BiW -- International Handstand Day LUZIA -- https://goo.gl/7uTvUx -- Emily Tucker Transforms (makeup) OVO -- https://goo.gl/cq7LlX -- Backstage in Bangor, Maine OVO -- https://goo.gl/HZ7Kp0 -- Getting Key to City of Bridgeport OVO -- https://goo.gl/k8fxIQ -- Animation Beings in Hartford OVO -- https://goo.gl/tjaUZ7 -- In Atlantic City (Sand castle) OVO -- https://goo.gl/zjyZfl -- Greetings from Atlantic City! PARAMOUR -- https://goo.gl/hlFiE7 -- BTS Album Recording! TOTEM -- https://goo.gl/CQu6yB -- Cake from Charm City Cakes! TORUK -- https://goo.gl/zgy9ti -- Cast with Young Fans #1 TORUK -- https://goo.gl/mUvmq4 -- Cast with Young Fans #2 TORUK -- https://goo.gl/m1s2E5 -- AvatarMeet Meets Cast! TOTEM -- https://goo.gl/sT7zJr -- Final Performance in Tokyo VAREKAI -- https://goo.gl/OKSq3h -- Cast for Russian Leg of Tour --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- AMALUNA -- https://goo.gl/f3xKCU -- Hello Frankfurt! AMALUNA -- https://goo.gl/QE4Nr4 -- Hello Knokke! KA -- https://goo.gl/QsJz9b -- International Handstand Day KOOZA -- https://goo.gl/gJrJCm -- Last Show in Buenos Aires KOOZA -- https://goo.gl/8Wg5IP -- Kooza Extends in Santiago! KURIOS -- https://goo.gl/OzN4qq -- Ignoring the Laws of Physics KURIOS -- https://goo.gl/SP0hmD -- Kit Bandleading on Rola Bola KURIOS -- https://goo.gl/m77T29 -- Kit Bandleading on Acro Net LUZIA -- https://goo.gl/5lMmpf -- Five Minutes to Showtime! LUZIA -- https://goo.gl/TlnMl4 -- Cyr Wheel & Trapeze Act LUZIA -- https://goo.gl/o0BLeP -- Russian Swings Finale Act LUZIA -- https://goo.gl/GmwwKY -- Aleksei's Contortion Act LUZIA -- https://goo.gl/q77x0W -- The Rising Red Dress LUZIA -- https://goo.gl/6PFdnI -- Fan Video: Cierra Los Ojos LUZIA -- https://goo.gl/GqUbPH -- Fan Video: Aerial Straps LUZIA -- https://goo.gl/zKsXVO -- Fan Video: 360 Swing LUZIA -- https://goo.gl/pIjMLB -- Fan Video: Russian Swings LUZIA -- https://goo.gl/5SO9wE -- Fan Video: Clips of Luzia MJ ONE -- https://goo.gl/XKxkpl -- Cut us some slack Paulo Souza! "O" -- https://goo.gl/28MrDb -- Having a little poolside fun OVO -- https://goo.gl/h8RnUu -- Bugs go Round and Round OVO -- https://goo.gl/vew9Lj -- At the Atlantic City Boardwalk OVO -- https://goo.gl/QU7QwW -- OVO in Arenas, new Images OVO -- https://goo.gl/U0egBT -- Fan Video of OVO in New Jersey PARAMOUR -- https://goo.gl/cEbaeD -- World Premiere PARAMOUR -- https://goo.gl/ve6QZO -- What Arists do with Time Off PARAMOUR -- https://goo.gl/5gJIhB -- Ruby Lewis Gets Glamorous PARAMOUR -- https://goo.gl/rfyBkh -- Caught Up in a Love Triange SODA -- https://goo.gl/DeMmCk -- About the Music SODA -- https://goo.gl/w9oSN3 -- Surprises About the Show SODA -- https://goo.gl/RqJrvO -- Charly Alberti and Zeti Bosio SODA -- https://goo.gl/psVlSN -- Where it Starts Getting Real LOVE -- https://goo.gl/F76xaA -- Special Hot Wheels Cars! LOVE -- https://goo.gl/7OKeos -- A sea of possibilities TORUK -- https://goo.gl/VtrnoA -- Na'vi Help Kick-Off PVDFest TORUK -- https://goo.gl/57O8Rv -- About the TORUK App TORUK -- https://goo.gl/jFGf7b -- Props Tech, Mathieu Prud'homme TORUK -- http://goo.gl/oCr4iH -- Timelapse Makeup Video TORUK -- https://goo.gl/2DjoJn -- 5at5 w/Acrobat Jessica Ward TORUK -- https://goo.gl/q12vjC -- Artist Rituals Before the Show TORUK -- https://goo.gl/RDmQcH -- 5at5 at Denver ComicCon TORUK -- https://goo.gl/z5WA0Z -- 5at5 w/Paul Frommer TOTEM -- https://goo.gl/Th3rbC -- Breaking Strength Records TOTEM -- https://goo.gl/0xVtYZ -- 6/9 Rock Day in Japan TOTEM -- https://goo.gl/Gk7DZN -- Who is the Crystal Man training? TOTEM -- https://goo.gl/3DUFGz -- International Handstand Day TOTEM -- https://goo.gl/oyauq0 -- Final Performance in Tokyo VAREKAI -- https://goo.gl/fDF7f8 -- Coming to Beirut! ======================================================================= FASCINATION! FEATURES ======================================================================= o) "The Cirque and Competitive Sports" By: Ricky Russo - Atlanta, Georgia (USA) o) "Complexes Cirque - The Peel Project" By: Ricky Russo - Atlanta, Georgia (USA) o) "Cirque du Soleil, Wowing the World" By: Matte Hart, 1066 Gymnastics Head Coach A Special to the Fascination! Newsletter ------------------------------------------------------------ "The Cirque and Competitive Sports" By: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- On Thursday, June 23rd, we Cirque fans got the shock of our lives (well, to be honest, the next in a long line of shocks...), and all it took was an article in the New York Times announcing a new project Cirque was undertaking. We didn't even have to look past the first sentence before clutching our chests, our hearts palpitating (it's the big one, Elizabeth!): "Cirque du Soleil, known for breathtaking acrobatics, and the NFL, known for bone-crushing hits, today announced plans for an NFL attraction in Times Square, a first-of-its-kind attraction in the heart of New York City." WAIT. SAY WHAT? It may seem an odd pairing – Cirque and the NFL, the article suggested, but the two sides said their partnership made perfect business sense. Cirque would get to align with the US's most popular sports league (the National Football League) and thus expose the brand to a different clientele, and the NFL would be uniting with a popular entertainment brand with a broad, international following, with the hopes of elevating the brand above some of the mud-slinging it's gone through lately. As a long-time fan of Cirque du Soleil, I don't think I buy the combination makes sense – artistically or otherwise - but I'm willing to keep an open mind. "It's new for us," said Daniel Lamarre, the chief executive of Cirque du Soleil. And that's an understatement. But is it really? When you sit down and think about it, Cirque du Soleil really isn't a newcomer on the sports scene. Through its Special Events team (now 45 DEGREES), the company has made numerous appearances at sporting affairs over the years --in Las Vegas, for example, characters routinely throw out the first pitch at nearby baseball games; in 2007, Cirque was included at the NBA All-Star Game... Roxane Potvin performed the Canadian National Anthem prior to tip off and a mélange of musical selections ("Blizzard", "O Makunde" and "Pageant" were heard for the half-time show performance, which included the baton twirling segment from KÀ); in 2010, artists from The Beatles LOVE performed at the NHL Awards ceremony held at the Palms Casino-Resort there; Cirque performed a portion of Viva ELVIS at the 2010 Sprint Cup Series awards ceremony at Wynn Las Vegas, featuring dance, acrobatics and live music in celebration of the king of rock 'n' roll; and who could forget the rousing opening ceremonies 45 DEGREES created for the 2015 Pan Am Games in Toronto? It might even surprise you to learn that Cirque du Soleil has also been involved with the Olympics. Guy Laliberte and Gilles Ste-Croix were creative consultants in the creation and production of the Atlanta Olympic Games' opening ceremony. In collaboration with AT&T, the major sponsor for the U.S. Tour at that time, Cirque even brought two acts from Quidam to Atlanta. Hand Balancing was presented as the first part of the Santana concert on July 31st and German Wheel opened Ray Charles' and Joan Osborne's concerts, August 1st and 2nd. Almost 10 years later, two performances specially created by Cirque for the organizing committee to help launch the official logo of the 2010 Vancouver Winter Olympics. The special presentation, which aired on CTV, were put together from a talented team from "O", including: seven artists, six riggers, and under the artistic direction of Rob Bollinger (Artistic Director), and Krista Monson (Artistic Coordinator), and under the technical direction of David Chabira (Head Rigger). So as I say they aren't new-comers to the sports arena. (I mean, come on, many of the company's acrobats were once Olympic athletes!) In the past we've reviewed a number of the special events that Cirque has produced, many artistically as rich and interesting as their main productions. Back in April 2014, when Michel Laprise was publically announced as the writer and director of KURIOS – CABINET OF CURIOSITIES, we took a peek into some of the special events Michel had been involved in creating (as he had taken on the role of Special Events Designer in 2006): The Opening Ceremonies of the Montreal Outgames (2006), the launch of Fiat Bravo in Italy (2007), the performance event celebrating Quebec City's 400th anniversary (2008), the opening show at the Eurovision Song Contest held in Russia (2009), the Opening Ceremonies of the FIBA International Basketball Federation World Championships in Istanbul (2010), and the launch of Microsoft's Kinect console at the Electronic Entertainment Expo (2010). With the advent of this newest announcement we thought we'd take a quick look at two other sporting special events Cirque du Soleil has put together: REFLECTIONS IN BLUE for the 2005 XI FINA World Championships in Montréal and the infamous SUPERBOWL XLI PRE-GAME SHOW in 2007. REFLECTIONS IN BLUE ------------------- "When a fisherman casts his net, he encounters a beluga, who invites him to see life from the water. At the same time, a young mermaid discovers the sea in all its beauty... and all its dangers." This tribute to the importance of water in our lives invites a fisherman to see what life is like from the water, showcasing incredible athletic and artistic expression; Reflections in Blue - a unique and magical opening ceremony event developed exclusively for the opening ceremonies of the XI FINA World Championships in Montréal, which took place from July 17th through 31st. On this very special evening the swimming pool was transformed into a fantastic aquatic universe. Spectators were taken to a place where reality meets fantasy as the rites, myths and richness of the sea are interpreted in Cirque's own special way. But alas, as the opening ceremonies came to an end, so did Reflections in Blue… never to be seen again. In addition to Lyn Heward, Director of Creation, Guy Caron acted as the show's Director, and was assisted by Fernand Rainville. A number of other Cirque collaborators put their touches on the unique show too. And, contrary to what one might think, this was not a remake of "O". "Our goal," explained Lyn Heward, "[was] to recall the rituals and myths that have grown around water, and to showcase their richness. While in 'O' we touch on two of the disciplines featured in competition at the championships (synchronized swimming and diving), we've never worked with swimming or water polo. But here, all four disciplines are represented." The Show A series of tableaux taking place in, on and above water will follow the fisherman and the mermaid through their discovery of water. "We'll see the element from its own point of view," explained Lyn, "and not from a human one." The Water Tree is where Reflections in Blue begins. It represents the essence of life... in the water. As you took your seat you will notice reflections of the scene before you projected onto the giant screen and you will gradually realize that you have become immersed in an exotic underwater world. Then the sun rises, bathing the scene in warm yellow light as its rays penetrate the water bowl to reveal a beautiful adolescent girl. She frolics and dances in her small universe, the only world she has ever known. She jumps out and looks around then dives right back in. But she soon begins to feel too confined in her bowl... This highly original vision gave us, among other things, the following scenes: The dream of walking on water (a tight-wire stretched over the water); Playing in the water (a water polo game between aquatic creatures!); The seduction of water (a contortion act under the midnight sun); The sensuality of water (bungee presented as diving); A final act where swimmers embodied schools of fish. Nearly 150 members of Montreal aquatic sports teams performed in the show, in addition to ten artists from other disciplines, including tight-wire and bungee. The athletes from the 170 participating countries were also greeted with a Cirque du Soleil touch. Would you be surprised to know during the parade of athletes they were walking on water? Performers Sébastien Allard, Sam Alvarez, Zorigtkhuyag Bolormaa, Eliane Bonin, Mason Davis, Delly Di Lauro, Sébastien Duval, Chantale Gallant, Akian Guadette, Manon Gautheir, Charlyne Guay, Reda Guérinik, Ronnie Le Grand, Isabelle Michon-Campbell, Isabela Moraes, Carolina Moraes, Patrick Paquette, Didier Pasquette, Laurence Racine-Choinière, Karl Sanft, Stéphane Verdie, and Anatoly Zalievsky, along with 200 volunteers. Creative Team Lyn Heward Director of Creation & Executive Producer Bob Whelan Production Manager Guy Caron Director Fernand Rainville Assistant to the Director Jean-François Bouchard Set Designer François Barbeau Costume Designer Denise Sauvé Choreography Debbie Brown Choreography Martin Lord-Ferguson Music Arranger Jacques Paquin Acrobatic Rigging Designer Steve Dubuc Technical Director Éric Villeneuve Projection Designer Alain Lortie Lighting Designer Harvey Robitaille Sound Designer Eleni Uranis Makeup Designer Michael Curry Puppet Designer Patricia Ruel Props Designer SUPERBOWL XLI PRE-GAME SHOW --------------------------- While some special productions turn out to be amazing, once-in-a- lifetime events you never want to forget (like "Reflections in Blue") others, well... I think you'd like to forget, such as the Superbowl XLI Pre-Game Show event. Rumors of what Cirque du Soleil's next "special" performance would be hit fans like a ton of bricks (much like the current NFL announcement did) – Cirque performing at the... what? THE SUPERBOWL?! Could it be true? Throughout the autumn months of 2006 fans debated back and forth, some believing the rumors, others not. But then on January 9, 2007 rumor turned into reality... Cirque du Soleil and Miami-based artist ROMERO BRITTO will team to celebrate South Florida and football in an unprecedented performance in the Super Bowl XLI pregame show on CBS at Dolphin Stadium in South Florida on Sunday, February 4, the NFL announced. Inspired by Brazilian street theater, sixty professional performers and hundreds of students will invade the stadium with a high-energy extravaganza of music, dance, gymnastics and circus arts linked by a splashy, multicolored football theme. The Cirque du Soleil performers will be a living, breathing canvas for Britto, whose signature pop-art has come to define the color and vibrancy of South Florida. The objective of the performance is to heighten the excitement of the game and encourage the fans to root for their teams. The performance will focus on the spirit of competition as two groups of percussionists in stylized team colors perform powerful acrobatic choreography to energize and inspire the players and the audience. Palm trees, ocean waves, fishes, helmets, footballs, birds and flowers share a unifying visual signature by renowned pop-artist Romero Britto, and Grammy Award composer/performer Louie Vega supplies the red-hot music (with his Elements of Life Orchestra featuring vocalist Anane) in a shimmering setting that climaxes with gigantic images portraying the rival team colors and emblems. Who is Robert Britto? Romero Britto is a Brazilian neo-pop artist, painter, serigrapher (silk screen printer), and sculptor. He combines elements of cubism, pop art and graffiti painting in his work, using vibrant colors and bold patterns as a visual expression of hope and happiness. Born in Recife, in Northeast of Brazil, Britto lived an extremely modest childhood while growing up among a big family of eight brothers and sisters. However, Britto's innate creativity allowed him to fill his life with images of a bigger and more beautiful world beyond his own. Self-taught at an early age, he painted what he saw and what he imagined on surfaces such as newspapers, cardboard or any scraps that he could find. With an inordinate passion to excel, he prospered academically. Still, Britto's artistic nature eventually led him to seek experiences outside the classroom. In 1983, Britto traveled to Paris where he was introduced to the works of Matisse and Picasso. After exhibiting in a few galleries and private shows, Britto was encouraged to travel to the United States where Pop Art was flourishing. Britto has lived in Miami, Florida since 1989. Shortly after Britto arrived in the United States, Michel Roux, founder of Absolute Vodka's Absolute Art Ad Campaign, happened by Britto's first studio in Coconut Grove, Florida. Roux quickly asked Britto to reinterpret the famous bottle, which would be published and seen by millions, and the rest is history. One Day, One Game, One Dream? According to the production team, the show would be based around the "One Day, One Game, One Dream" theme adopted by the football contest, referring to the entire South Florida region working together to win and then present the Super Bowl; it would need to last nine minutes, but team would only have four minutes to set up and just two minutes to tear down; and it would feature 350 artists, 278 of them volunteers. And it would go something like this: while a circular stage was being set up, cartoon-like characters dressed in football uniforms would work the crowd, inviting them to join in a noise-making competition. Then a percussion fight of the kind we saw in DELIRIUM between two teams teams, fitted out by Romero Britto in the colors of the Colts and the Bears, would do battle. Other artists, mostly from Saltimbanco, would then fly from Russian swings to simulate place kicks, soaring over goals of footballers' heads. Meanwhile, fast track artists - from La Nouba - would tumble their way down a section of the field through fields of inflatable palm trees. Err, um, okay? Getting setup was a bit of a challenge. All week the production team had been glued to the weather. Mother Nature's mood swings had a significant impact on rehearsals, not to mention the logistics of this major challenge. Strong winds can make the Russian swings flyers fly, but not quite the way Cirque du Soleil intended. Not to mention the rain showers, which made the natural turf football field very slippery for artists conducting their "extreme cheerleading" routines. The field was swarming with people during a first "plenary" session. Fast track artists were having fun masquerading as bathers, while those on the Russian swings tried to cope with the whims of the wind - and find reference points for themselves in an utterly blue sky. While all this was going on, Fernand Rainville and Geneviève Dorion-Coupal were explaining the rudiments of group movements - to music and in harmony - to some very young-looking groups of extreme cheerleaders. One of the major concerns for Cirque was to make sure the natural turf was not damaged. Therefore, acrobatic equipment had to be modified to ensure that weight is uniformly distributed on the ground. The artists' shoes, the stilts of the giant pink flamingos - all had to be adapted to make sure that nothing will sink into the surface, to protect both the field and the artists' safety. And speaking of the pink flamingos… the Wednesday before, Patricia Ruel did an inventory check of the 350 costumes produced for the occasion and proceeded with fittings for the "Tropical Birds." Well, only nine artists were able to try out their costumes. The remaining ten had been sent to the Wildlife Department by agents at the Memphis sorting center of Ciruqe's shipper, FedEx! When they saw the words "tropical birds" on the box, they were obliged to follow procedures to ensure that no birds were being mistreated. The costumes finally arrived safe and sound on Thursday. Event Creators Jacques Méthé Executive Producer Fernand Rainville Director and Director of Creation Patricia Ruel Set, Props and Costumes Designer Geneviève Dorion Coupal Choreography design Daniel Cola Acrobatic Coach Gabriel Pinkstone Project Aassistant Linda Dupuis Production Manager Marie-Josée Adam Coordination Jocelyne Fortier Cordination Marie-Hélène Delage Cordination Stéphane Lemay Technical Director Jean-François Tremblay Assistant to Technical Director Isabelle Girard Accounting The show did go off without a hitch, but it's safe to say it wasn't the most well received special event presentation... especially by Cirque du Soleil fans. Even so, Cirque du Soleil would be invited back to the Super Bowl, this time through a collaboration with Madonna for her first Super Bowl Half-Time show in 2012's Super Bowl XLVI, but that was more Madonna than Cirque. It should be interesting to see what comes of the Cirque/NFL collaboration! (Maybe the inflatable flamingos and palm trees will be on display!) ------------------------------------------------------------ "Complexes Cirque - The Peel Project" By: Ricky Russo - Atlanta, Georgia (USA) ----------------------------------------------------------- A few years ago, at the dawn of our 100th issue, we took a fascinating look back at a number of the quotes, blurbs, and past announcements of new products, venues, or avenues Cirque du Soleil announced it would be exploring (that we then published), wondering what had come of them, as many had quietly disappeared or were shelved, never to be heard from again. We uncovered several in our search through our news archives and then spun our discoveries – or re-discoveries as it were – into a three-part series for Fascination, entitled: "Cirque's Dreams of the Past: A What If?" In Part One, we explored a number of rumors and announcements regarding "permanent" or "resident" shows made through the years that didn't pan out. In Part Two, we examined the number of announced and/or rumored media potentials from Cirque du Soleil – from filmed shows and books to new music CDs – many of which never saw the light of day. And in the third and final installment, we explored what could have been in regards to projects beyond Cirque du Soleil's traditional space – entertainment and media – and dove into the realm of "Complexes Cirque". With the recent release of more details on "The Celebrate Project", the Cirque du Soleil Theme Park and Resort under development in Puerto Vallarta, Mexico (with Grupo Vidanta and The Goddard Group) becoming available, and with us celebrating our 150th issue this month, my thoughts turned back to another of Cirque's once-upon-a-time ideas, one we touched upon a bit in that article series – THE PEEL PROJECT. We've learned a bit more about it since then (thanks to a few documents discovered in our archives), so come with us as we re- examine what might have been along the Peel Basin in the du Havre sector of Montreal. THE PRESS RELEASE ----------------- On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal for the establishment of a world-class entertainment complex to be located on the site of the Peel Basin in the du Havre sector of Montréal. The announcement confirmed the years-old rumors of Cirque involving itself in entertainment venues that would offer a wide range of entertainment options branded with Cirque du Soleil's flair. And they hoped would provide Montréal and Québec with a powerful lever to spur the development of the local economy, tourism and the cultural sector. The project would also have translated into the creation of 6,450 direct and indirect jobs. Loto-Québec would be serving as project manager (investing an estimated at $997 million), contribution from private partners was estimated to be in the order of $178 million), while the Cirque du Soleil would look after design, creative and artistic direction of the project. "This project is what we are recommending to the Québec Government as being the best solution for the future of the Casino de Montréal," explained Mr. Alain Cousineau, Chairman, President and Chief Executive Officer of Loto-Québec. "The recommendation is based on the rigorous studies we have conducted, as well as on the creative genius of the Cirque du Soleil. In addition to being a modern reflection of Québec's cultural dynamism and Montréal's exceptional vitality, the complex will offer visitors an unparalleled entertainment experience while showcasing the historical character of the site." According to the President and founder of the Cirque du Soleil, "the Cirque du Soleil is investing all of its creativity and global expertise in this project in order to ensure that Montréal can fully benefit from the international spin-offs to be generated. Indeed, we are envisioning a concept whose outstanding components will make for a truly world-class entertainment complex. We sincerely hope to be able to invite the millions of people we meet in the four corners of the planet to come and enjoy the new complex, which we are convinced will more than meet their expectations." No Increase in Game Offerings The complex would encompass a 300-room hotel and 2,500-seat performance hall able to accommodate international touring productions. The Casino de Montréal would also be relocated to the site, offering more spacious facilities than the existing establishment on Île Notre-Dame. As outlined in Loto-Québec's Development Plan, however, game offerings will not be increased. In addition, the complex would include a boldly designed spa, an Artists' Wharf, where artistic creators of all kinds will benefit from an extraordinary window on the world, as well as a park that could play host to the Cirque du Soleil's Big Top. The entire complex would bear the signature of the Cirque du Soleil. Exhibition Center Furthermore, Loto-Québec has negotiated an agreement, pending the government's approval, to eventually acquire a parcel of land to the west of the entertainment complex on which a commercial exhibition center could be established for business and trade shows. The cost of acquiring this land is estimated to be $25 million. The Corporation has also received a show of interest from world leaders in the sector in associating with the project as investors and operators. Assuming that all of these conditions are met, Loto-Québec is inviting the economic community, particularly the tourism sector, to mobilize and assume an active role in realizing the exhibition center project. The project made public would also see the construction of a monorail to interconnect the entertainment complex, exhibition center, and the future soccer stadium whose planned construction in the Technoparc was recently announced. As such, the entire sector would enjoy the benefits of a light transportation system allowing for efficient circulation between the principal activities/centers of attraction in the du Havre area. The Peel Basin was proposed as the site for the complex because it is an enclaved area surrounded by physical barriers separating it from residential zones, and because it is located near downtown hotels and Old Montréal, both major tourist attractions. Situated only 2.9 kilometers as the crow flies from the Casino's current location on Île Notre-Dame, the new site would not precipitate easier access to the gaming house. Economic Spin-offs According to a study of economic spin-offs conducted by Université du Québec à Montréal professor Yves Rabeau, the project would create 14,200 jobs/year during the planning and construction period. The operation of the complex and exhibition center would create another 3,150 direct and indirect jobs, and an additional 3,300 direct and indirect jobs would be generated by the tourist drawing power of the complex and exhibition center, for a grand total of 6,450 new jobs over and above the Casino de Montréal's existing workforce. This project emerged from a proposal outlined in the 2004-2007 Development Plan presented by Loto-Québec last year. The Corporation's proposal will remain the subject of discussion and clarification, in particular, as part of the evaluation process announced last week by the provincial Government. If the Government gives the project a green light, it will then be submitted for the approval of municipal authorities and will be the subject of public consultations, as prescribed in municipal by-laws. 2010-2011 Target Loto-Québec and the Cirque du Soleil are committed to cooperating fully with these consultations. The target is to be able to inaugurate the new complex in 2010-2011. "We are firm in our commitment today to approach each phase of this process with total transparency and openness," underlined Mr. Cousineau. "We sincerely hope that this project inspires a spirit of enthusiasm and unity on a par with our creative capacity and sense of innovation." In addition, specific measures will be taken to maximize the benefits of the project for the residents of southwestern Montréal. For example, Loto-Québec intends to adopt various policies to promote the employability and hiring of residents from the sector. Discussions in that regard will be conducted with various community organizations in the area. "This partnership between Loto-Québec and the Cirque du Soleil is made possible by the fact that the two parties share the same values of integrity, social responsibility, innovation, uncompromising customer service and respect for employees," concluded Mr. Cousineau. "If the Government gives its approval to this proposal, we are convinced that Montréal and Québec as a whole will gain a powerful engine for the development of the economy, and the tourism and cultural sectors, while opening an exceptional window on the artistic talents of Québecers and the outstanding quality of life in Montréal." PRINCIPAL PROJECT COMPONETS --------------------------- Loto-Québec and the Cirque du Soleil are proposing the creation of a major entertainment complex encompassing a hotel, performance hall, garden space, casino, and other areas for artistic creation and expression. Showcasing Québec's cultural dynamism and Montréal's flair for living, the complex will be designed by Cirque du Soleil creative personnel, who would endow it with a style and character unique in the world. The project will also reflect and promote the rich heritage of the Peel Basin area, which played a key role in the history of Montréal. And thanks to the numerous green spaces and promenades along the Peel and Wellington Basins, it would allow Montréalers to reclaim a large part of the city's du Havre sector for their enjoyment. 1. OUTDOOR STAGE -- An impressive component of the project is the proposed open-air stage to be equipped with the most advanced technical installations. This stage will be able to play host to shows for up to 8,000-10,000 spectators. 2. PERFORMANCE HALL -- To be operated by a private partner, the performance hall will accommodate audiences of up to 2,500, allowing it to stage major productions like the great musicals that tour the world. 3. HOTEL -- The project calls for the construction of a 300-room hotel to be financed and operated by a private partner. This would be a superior-class establishment which could attract the high-limits players interested in integrated offers. The building would feature some 20 floors and seduce guests with its exceptional views of the Saint Lawrence River and the downtown skyline. 4. CASINO -- As outlined in the Development Plan, game offerings at the casino will not be increased. The casino will occupy a surface area of 53,000 m2, or 16% more space than the existing building, bringing it in line with today's norms within the industry in terms of the density of machines and tables per square meter. For their part, the casino's restaurants and bars will be able to accommodate close to 1,500 patrons at a time, or about double the number the current building can. 5. GREEN ROOF -- To be constructed on a single level, the new gaming house will be particularly noteworthy for its green roof and its natural lighting thanks to its many skylights. 6. SHOPPING AREA AND SPA -- The project calls for the development of boutiques and a 2,000 square-meter spa to be submerged under a cascading waterfall, thus creating a spectacular effect. The commercial area will occupy a total area of 4,500 square-meters. 7. GARDEN SPACE –- A park for all seasons, the Espace Jardins becomes a nexus for culture and creativity where Cirque will premiere all its traveling shows under the blue-and-yellow Grand Chapiteau. 8. THE PEEL BASIN –- The Peel Basin will be restored to its former status as a Montreal landmark, becoming a unique and animated site dedicated to the arts and festivity; a joyful venue that will enhance Montreal's renown and reputation as a tourist destination; a historic international crossroads reclaimed from neglect and rededicated to exchanges between Montreal and the world; a clean, green site in harmony with the environment; a dynamic meeting place for the public and the creative community; and an urban focal point where Montrealers and visitors can catch the irrepressible spirit of Cirque du Soleil. 9. MARINA – Currently disused, the project also proposes the development of a marina in the Wellington Basin, which could accommodate boats in transit. This facility will serve as a permanent testament to the island character of Montréal, while linking the complex to the Saint Lawrence via the Lachine Canal. 10. ARTISTS' WHARF -- Located on the edge of the Wellington Basin which is slated for restoration, the Artists' Wharf will allow artists to create and share their works with the public. These spaces will serve as a vibrant window on Québec culture and will enable local artists to show off their talents to millions of people each year. A private partner will operate a monorail system to span five separate stations. The first will be intermodal and provide a link to Montréal's public transportation system; the second station will be located at the entrance to the entertainment complex; the third will be situated at the parking facility across from the complex; the fourth will serve the future exhibition center; and the last station will be at the soccer stadium to be built in the Technoparc. The complex will also include an underground parking facility able to accommodate 3,000 vehicles. Moreover, Loto-Québec will build an aboveground parking lot in proximity to the complex on a parcel of land currently occupied by a warehouse-type store, thus providing an additional 1,000 spaces. THE DECISION ------------ With every large project comes controversy and such did not escape this new project. To us it looked like a great match; the Montréal Casino had suffered as "high roller" customers took their business to other more exciting cities and Lotto-Quebec obviously felt they had to modernize or risk falling further behind. But there were other concerns than just gaming. Placing this new project in the Peel Basin/Point St-Charles area (which, on our map is marked as an industrial area) had activists concerned that any move would mean more crime and traffic in what some considered a residential area. But Lotto-Quebec officials insisted the area was selected because it was out of the way of most residential areas of the city, yet close to the big hotels and Old Montréal. It would take time for this proposal to move its way through the planning and approval process, but neither party expected the push- back they had received. Ultimately, Cirque du Soleil announced it was withdrawing from the Peel Basin project as of March 10, 2006. The reason: given the context of uncertainty associated with this project, it had become impossible for Cirque du Soleil to pursue its involvement. Daniel Lamarre, Cirque du Soleil's President and Chief Operating Officer, explained: "We cannot live with uncertainty for almost two years, not knowing if there will be a project at all down the road. We must protect the interests of our company and employees, as well as carry on with our development strategy". In view of the Cirque du Soleil's decision to withdrawal from the Peel Basin recreational and tourist complex project Loto-Québec also announced that it would not be pursuing its plans for the relocation of the Casino de Montréal to this sector. The announcement came after the Corporation's Board of Directors confirmed the decision. "The very essence of our project was bound to the dynamic presence of the Cirque du Soleil, to its distinctive signature, its unique style and character which was to permeate all the components of the complex, to its remarkable creativity, and to the Cirque's capacity to attract private partners," underlined Loto-Québec President, Mr. Alain Cousineau. "In the absence of these characteristics, the project is no longer able to distinguish itself definitively within the casino industry of today's new competitive landscape and to maximize its ability to draw visitors from outside Québec." "I would like to thank Guy Laliberté, Daniel Lamarre and the entire Cirque du Soleil team, whose decision I understand," concluded Mr. Cousineau. "We greatly appreciate their collaboration and the fruitful exchange of ideas and expertise in planning this project, which had the potential of enriching Montréal, particularly the South-West Borough, with a formidable development tool." THE FALLOUT ----------- In the aftermath, Alain Cousineau, CEO and Chairman of Loto-Québec, sent out an opinion letter to Québec's major dailies in reaction to the comments made regarding the cancellation of the Peel Bassin project... It was a year ago to the day, on June 22, 2005, that Loto-Québec and the Cirque du Soleil submitted a proposal for the creation of a world- class entertainment center on the site of Montréal's Peel Basin. Over the past weeks, we have read and heard a lot of comments about the reasons for and the consequences of abandoning the project. With many of these comments being based on erroneous and/or insufficient information, it is important to delineate the principal elements of the project in order to allow for enlightened reflection that can help bear fruit for the future. Loto-Québec's investment in the project would not have had any effect on the Government's debt level or interest costs as it would have been financed entirely by the Corporation's borrowing power. The project was profitable and built on realistic (even conservative) economic hypotheses. Indeed, the Interministerial Committee presided over by Mr. Guy Coulombe concluded that, "with respect to the objectives being pursued, the project satisfies profitability criteria, both as an integrated new project, and also as compared to the status quo." The expected rate of return fully justified the investment required, particularly given that the project represented a sustainable solution to the challenges of the new competitive environment confronting the Casino de Montréal's profitability in the medium-term. It is also important to note that the status quo will have an appreciable toll on the Casino's net profits, and consequently, on the dividends ultimately remitted to the Government. All financial scenarios called for Loto-Québec to assume full responsibility for the payment of its property taxes, representing the remittance of an additional $30 million annually to local authorities. It is true that preliminary discussions were held with municipal authorities to examine the possibility that the financial burden of the hotel and performance hall would be along the lines of that of comparable establishments. However, all financial scenarios submitted foresaw a fiscal contribution in accordance with or higher than the current norms for buildings of the same category. While representing a positive element, this infrastructure did not constitute a necessary condition for the realization of the Bassin Peel project. Moreover, at no time did the rejection of this component have any negative consequences on the entertainment center project's profitability or viability. Regarding the actual role of the Cirque du Soleil: The Cirque du Soleil is neither a real estate developer, nor a hotel and theatre operator. Rather, the Cirque is in the business of creative content development, cultural animation, and the production of original shows. If the project had gone ahead as planned, the Cirque would have been associated with it under the same conditions governing the other projects in which it participates around the globe. Nowhere else in the world has the Cirque invested in a performance hall. Why should it have had to be any different in Montréal? The right to use the Cirque du Soleil's logo, signature and trademarks represents such large sums that they are difficult to quantify, but these have as great a value as the bricks and mortar that would have been used to erect the complex. By serving as designer and artistic director of the entertainment center, the Cirque would have lent it tremendous drawing power that would certainly have set the project apart from any other comparable endeavour. The Cirque would have produced shows for the performance hall, which it would have occupied for 10-12 weeks per year. Moreover, it would have offered its special brand of animation both inside and at the large outdoor plaza throughout the year. In addition, it would have developed a unique central bar concept for the Casino thanks to its acrobatic and artistic presentations, and its unparalleled worldwide recognition and reputation would have served to bolster the complex's international marketing efforts. In short, the Cirque would have had a major and significant presence on the site. The attraction of private partners was also part of the Cirque du Soleil's mandate, and several groups expressed an interest in joining Loto-Québec and the Cirque at the outset but could not move forward publicly without confirmation that the project itself was sure to go ahead. Therefore, our discussions with these potential private partners went as far as they could at the time. Although the discussions were held in accordance with a strict confidentiality agreement, suffice it to say that an accord was concluded with a leading international hotel chain and talks were well underway with a major consortium that was prepared to finance the construction of and operate the theatre. We had initiated a constructive dialogue with groups and associations representing Montréal's South-West sector, and highly promising partnership avenues had been paved which would have enabled us to maximize the economic benefits for the district, particularly in terms of employment opportunities. Despite the fact that one group attempted to persuade the others not to collaborate with Loto-Québec, we were definitely heading in the right direction, and I am convinced that we could have developed a project that would have served as a model of productive exchange and partnership with the community, as the Cirque du Soleil has succeeded in doing in the St-Michel district. The Québec Government endorsed the Coulombe Report, authorizing Loto- Québec to invest $35 million and to pursue the development of the project with an eye toward public consultations to be held. The Report clearly established that the benefits for the economic and urban development of Montréal outweighed the potential drawbacks. With respect to the concerns raised by Public Health, we were confident in being able to demonstrate that the principal apprehensions expressed were not well founded regarding the relation between the proximity of the Casino, the "symbolic" increase in game offerings, and the increase in Casino attendance on the one hand, and the increase in the prevalence of compulsive gambling on the other. In any event, the public health questions could certainly have been the object of attenuating measures that would have satisfied all concerned. When the Cirque du Soleil withdrew from the project after the publication of the Coulombe Report, seeing the decision making process as being too uncertain for a commercial enterprise involved in numerous projects around the world, the Bassin Peel project lost its purpose and unique character that would have truly made it stand out from the competition. Being pursued by suitors from all sides, it is quite understandable that the Cirque did not want to risk losing out on any other interesting opportunities elsewhere in the world. The Bassin Peel proposal was a solid project that was anything but short on talent, creativity and potential. It involved a private partner with a tremendous capacity to create and the desire to contribute in a concrete fashion to the promotion and development of Montréal. At the same time, the project involved a public corporation that, confronted with the challenges related to the future of the Casino de Montréal, was hoping to take advantage of the opportunity to create a lever of economic, cultural and tourism development. It is not within the project itself that we must look for what failed to work. Let us hope that this experience will help the groups working at all levels for the advancement of Montréal to work together in order to find the solutions to overcome the inevitable challenges involved in realizing such development projects. # # # The redevelopment project certainly looked interesting, but would it have been a success? We'll never know. Cirque du Soleil may have abandoned this particular project to pursue the expansion of its resident show program and offerings via 45 DEGREES but it hasn't abandoned its ambitions of opening or operating this type of "Complexes Cirque" – its partnership with Grupo Vidanta certainly proves this. And who knows what will come next! But it's interesting to see what might have been, isn't it? ------------------------------------------------------------ "Cirque du Soleil, Wowing the World" By: Matte Hart, 1066 Gymnastics Head Coach A Special to the Fascination! Newsletter ----------------------------------------------------------- Many of you will have witnessed the incredible acrobatics, death defying gymnastics and mind blowing circus and theatre that is Cirque du Soleil. The company which employs over 4,000 people from over 40 countries helps to bring aspects of our sport to a huge audience in numerous shows spanning the globe. Look closely the next time you watch a show and you could recognize some of the acts and support staff. Many of our top gymnasts are part of the Cirque cast, as they look to continue within the sport after their elite careers. One such gymnast who took that step is Beijing 2008 star Marissa King who recently starred in Amaluna at the Albert Hall. Alongside Marissa was top GB coach Chris Bowler, Gymnast Digital Magazine caught up with both of them after the show to find out more about their journey into the "Circus of the Sun". Q. MARISSA, TELL US MORE ABOUT YOUR MOVE FROM OLYMPIAN TO CIRQUE DU SOLEIL PERFORMER. "After my elite career as a gymnast I went to Florida in the summer of 2009 to study and I started competing almost straight away. I competed for four years. I then transitioned out of collegiate gymnastics into Cirque. I knew I wanted to join Cirque. I saw a show in Macau in 2008 when the GB team went there for a pre-Olympic test event and that's when I knew that was something I wanted to do. I went on to audition in 2011 but I finished my collegiate career as I knew going to university in Florida was such a big opportunity and I couldn't have stopped that half way through. I needed to see that through and finish my degree. I actually continued training for a fifth year, took an internship, took a second degree. I took an extra year because I wanted to help with the team still after we won our first national championship. I wanted to do some student coaching to see if coaching was something I wanted to get into. I still travelled with the team, helped the assistant coach and also did my internship within media as media was the second degree I took. I also trained on the side, ready for Cirque. There were so many options and I wanted to see what I wanted to do after I graduated." Q. FOR PEOPLE WHO DON'T UNDERSTAND HOW BIG THE UNIVERSITY GYMNASTICS SCENE IS OUT IN AMERICA, CAN YOU EXPLAIN A LITTLE BIT MORE? "It's very different because in elite gymnastics you have around three big competitions in a year whereas at NCAA (National Collegiate Athletic Association) you can do sixteen competitions in four months and that's something that it took me some time to get used to; the fact that we travelled and competed so much. It was an incredible experience because it's different. It's difficult in its own way. It's slightly simplified routines with less skills but it's all about perfection and performance. In some ways I don't feel like to I got to be myself at competitions until then. At college in America I was really able to express myself. I had a great collegiate career and being part of the team in Florida that won our first national championship was a great moment and a really big deal." Q. SO HOW DID YOU THEN GET INTO CIRQUE? "I saw my first show in 2008 like I said and from then it was something I wanted to do. I knew some other GB trampoline and artistic gymnasts who had gone on to join Cirque and they really inspired me to pursue that. It was just a matter of when. Sometimes it can be difficult because there may be an opening with a show but a certain profile has to fit and that can take time. You might have to wait for a new show to go through creation for new openings to come up and even then they are figuring out exactly what acts they want and who might fit that. You have to get chosen from a pool of people they've chosen to look at. I kept putting myself out there. Every year at national championships we had scouts come and watch and I always connected with them." Q. SO ONCE YOU WERE AT THE CIRQUE HEADQUARTERS IN MONTREAL, CANADA, WHAT WAS THE PROCESS FROM DAY ONE THROUGH TO SHOW ONE? "My formation was quite quick. They wanted the show to be on tour soon. I had to adapt because the setup is very different. Amaluna involves an asymmetric bar routine but the low bar is slightly higher and the stage revolves. I had to explore the structure of the apparatus once I got there and develop and understanding of the show, who your character is and what your role is within the show. Going to HQ was really insightful and a really good stepping stone to see what the journey I was starting was all about. It was a perfect introduction and preparation phase." Q. FOR THOSE WHO HAVEN'T SEEN AMALUNA, HOW WOULD YOU DESCRIBE THE SHOW AND YOUR ROLE WITHIN IT? "It tells the story of a girl coming of age, a washed up sailor she meets and falls in love with, and the challenges they face to be together. My character is one of the amazons, one of the protectors of the island. We're the ones who keep everything in place. It's our island and we are guarding it for our queen. We're strong, we're fierce and we need to be somewhat intimidating to the men when they arrive on the island. It's always nice to have an intention on stage, remember how you are supposed to act and what your place is within the show. You need to keep with that every show, every day. Doing ten shows a week can be tiring and it's hard work but you always work to get in character and stay within that mindset." Q. WHAT'S IT LIKE TOURING WITH THE SHOW? "It's crazy we've been everywhere- Miami, Houston, Tarragona, Madrid, Belgium, Paris and now London. This is my seventh city. I've been on tour for a year but it still feels like I'm relatively new. When I watch videos of my performances back I still feel like there's so much I can improve on. The Royal Albert Hall is just the most amazing venue. When I tell people I've performed here they're all impressed! Standing center stage and looking out is an image I am never going to forget. It's been overwhelming because so many people have wanted to come and see it. It was harder when we were in North America but it's been easier since we've been in Europe and definitely lots more since we've been in London. It's been an incredible opportunity and a great time to be home!" Q. CHRIS, TALK US THROUGH YOUR BACKGROUND WITHIN GYMNASTICS COACHING AND THEN YOUR MOVE INTO CIRQUE DU SOLEIL. "I started as a gymnast. I was a decent gymnast but I was by no means exceptional. I knew I'd reached my potential in my teens. From that point I needed to make a choice and I chose my education. I went to university and I studies sport and exercise science. I started coaching from the age fourteen. I was with Woking Gymnastics Club, I was still training as a gymnast and I got into coaching. That led me to coach at other clubs like Basingstoke Gymnastics Club and I continued to coach through my time at university. When I came out of uni I continued to work my way up through the club system and I found myself at Pinewood Gymnastics Club. I carried on gaining my coaching qualifications to the point where I became a high performance coach and I was directing Pinewood. I did that for several years and I felt I achieved quite a lot in that setting. I helped the club grow and felt I was of integral support to the coaches there who produced several regional, national and European champions across a number of disciplines. I was looking for a new challenge. I originally applied to Cirque du Soleil for a casting position and they interviewed me. A couple of months later I got a call from them and it just so happened that their show 'Totem' was in London at the time. I went to visit the show and caught up with the artistic director and I ended up joining that show when it finished in London in early 2012. I toured the USA with that show as head coach. My main purpose was to guide and support the artists on a daily basis and help the development of the acrobatic content, in line with the artistic director and the original concept for that show. After being on 'Totem' for a few years I was looking for something else and the opportunity to get involved in the creation process for a new Cirque show came up. Toruk (based on James Cameron's 'Avatar') has just started touring the world and I spent a good few months in Canada being involved in its creation process. That was great. It continued to broaden my experiences and learn new acrobatic disciplines. That led me to my position as an acrobatic coach with the show 'Amaluna.' I was drawn to the opportunity to go back to where I started, tour Europe and be a coach for the show when it came to London's Royal Albert Hall. It's a unique, prestigious venue. I was also very open to continuing my own experiences within the company and contribute to another show. 'Amaluna' is quite a new show and has been through some changes and I was asked to assist in continuing to develop the acrobatic content." Q. HOW HAVE YOU FOUND MOVING THROUGH THREE DIFFERENT SHOWS; AS HEAD COACH, TO A CREATION PROCESS AND NOW ACROBATIC COACH? WHICH ROLE PUSHED YOU THE MOST? "They each had different challenges. When I joined 'Totem' I was fresh into the company. I went straight from a gymnastics club setting and competitive setting into the world of live entertainment. That transition at age 27 had challenges. I had to learn how to work with not gymnasts, but acrobats, artists and a whole team. I wasn't dealing with parents, coaches, judges and committee members anymore. I was dealing with lighting technicians, riggers, artistic teams, stage managers and lots of press. That was all new. I was part of a much larger team now. The company is huge. Learning how to find my feet and direction as head coach on 'Totem' took some time. I had to build relationships with everyone there. There were 18 different nationalities and I had to learn how to communicate with everyone. 'Toruk' was a completely different setting. We weren't touring. There was a whole array of people put together working towards the goal of putting together this new, unique spectacle. One of the challenges was the time constraint. When you're delivering a new show you are given a few months. It came with its own challenges. The equipment was totally different. The stage was different. Learning how to work with it all and manipulate the equipment to get the best out of the performers was the real challenge. Part of my role was to really motivate and stimulate the artists too. We had to keep them safe and healthy during long days, six days per week." Q. YOU'VE ESSENTIALLY SPENT YOUR LIFE ON TOUR FOR THE PAST FOUR YEARS. WHAT DO YOU LIKE ABOUT IT AND WHAT DO YOU MISS ABOUT BEING AWAY FROM HOME? "Obviously I miss my friends and family. I'm quite a family oriented person. I do miss my roots to an extent but the touring life is unique. You live, work and socialize with the same people every day. It's full on and it's not for everyone. I guess you either love it or hate it. I've been very fortunate to be able to travel the world and see things that I probably never would have seen otherwise. The challenges of touring include simple things like you can't buy a piece of nice furniture you see and love for your home. You visit all these wonderful places but you can't take it all with you. You have to be selective in what you tour with and you're sort of living out of a suitcase. When you start to settle somewhere it's suddenly time to move on. Every place you go, you get to embrace the people and embrace the culture." Q. WHEN YOU FIRST STARTED COACHING FOR CIRQUE, WHAT SKILLS DID YOU WALK IN WITH? "I felt one of my main strengths was being able to communicate with all the different people, which I got from the club setting. One of the bigger challenges was learning about the new equipment. In a sense, from my original coaching career, yes, I knew how to coach a somersault, I had that underlying principle of gymnastics and biomechanics and what it takes it to rotate and twist and tumble. Then, it was 'what if you take someone who is hanging upside down?' or taking it out of the norm and putting it on unique equipment. In the gymnastics world you will often have one gymnast at a time and on static apparatus that does not move and what happens in a performance is down to that gymnast. Then you go to Cirque and an entertainment venue and suddenly you're dealing with equipment that moves while the artist is on it. In 'Amaluna' there is a turntable so the stage actually rotates while the artists are working on the bars. I needed to know how that equipment works to then be able to relate that back to what the artists do and get the best out of them. As a coach I got the skills set from the club setting to break the acrobatic in the circus would down and understand them and tackle these new challenges." Q. WOULD YOU SAY THAT FOUR YEARS WITH CIRQUE HAS DEVELOPED YOU AS A COACH? "Absolutely. I think when I joined the company it put me out of my comfort zone for sure. I had to learn so much. Working with gymnasts at a high level, we were used to peaking at competitions just a few times a year. As a coach with Cirque I have to manage the artists to perform ten shows a week, 300+ shows a year and try to put out the same energy and the same level of performance every single time because each audience deserves the same show. Trying to motivate the artists after they are tired is important. I have to know them all as individuals so I know when to push, when to support, when to rotate certain skills within an act to keep everyone safe. The mental aspect of being a performer as opposed to a top competitive gymnast is different. They're not training 30 hours a week anymore. They might only be training a few hours a week now and the time up on stage rehearsing on the equipment is limited. A lot of it is maintenance but I also need to look to the development of the acrobatic content so very careful planning is needed by me so when each artist does have stage time they get the most out of it and everything they do is productive." # # # This interview ran in Volume 55, Issue 2 of Gymnast Digital Magazine, published by British Gymnastics. Check out the original post here: http://viewer.zmags.com/publication/0310c1e8#/0310c1e8/18 ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 16, Number 7 (Issue #150) - July 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. { Jul.10.2016 } =======================================================================