======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 10 October 2016 ISSUE #153 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. On September 29th, Cirque du Soleil asked fans to hang on to our tight ropes and put up our jazz hands because the October 3rd episode of Dancing With the Stars was Cirque du Soleil themed! Acrobats, aerialists, dancers, and fire-stick performers from six of Cirque's shows was part of one of the biggest episodes ever of ABC's Dancing with the Stars program. Each of the remaining 11 couples performed big-spectacle dances inspired by a specific Cirque show while the company's amazing acrobats performed alongside. It was an amazing two hour spectacle that our very own Keith Johnson caught live on air. And he'll tell you all about it within! Speculation about Cirque2017 has heated up, as a number of artists are leaving their posts for the new creation, which is still Extreme Sports themed. Joey Arrigo has left Kooza for the new show (Mike Tyus has arrived at Kooza to take over the Trickster role), Thomas Hubener who was most recently cast in TORUK has joined the new show too. Darius Harper of Kinky Boots (tour) and The Book of Mormon (Tour) fame has also joined the 2017 production as well. There are new artist finds each day (mostly on Instagram) so it should be interesting what 2017 shapes up to be! In other artist news, Betina Quest has joined TOTEM as its new singer. (https://youtu.be/QAUL7DnLEd4). She'll get a new costume to boot! (https://goo.gl/eCiybG). And Gilles Ste-Croix, who spearheaded the creation of numerous shows that thrilled both international audiences and critics alike including Saltimbanco, Alegría, Mystère, Quidam, O and LOVE, has just published his biography ("Ma place au soleil") in which he tells his exciting life story, marked by daring and by the strong desire to transform dreams into reality. Unfortunately for me it's available only in French, but if you're so inclined, check it out here: < https://goo.gl/CTm5Qq >. It's $24.95 for the print edition (ISBN: 978-2-89705-454-0) and $17.99 digital (PDF: 978-2-89705-456-4; EPUB: 978-2-89705-455-7). You can even browse a preview of the book's 232 pages! And last, but certainly not least (in this abbreviated introduction), is our monthly look at Paramour grosses. Week This Week Potential Difference Seats % Cap Ending Gross Grosses in Dollars Sold ------------------------------------------------------------------ 07-Aug $910,341.70 $1,805,456.00 -$71,126.40 10,245 67.54% 14-Aug $997,867.25 $1,805,456.00 $87,525.55 11,360 74.89% 21-Aug $936,761.55 $1,805,456.00 -$61,105.70 11,376 75.00% 28-Aug $553,422.70 $1,166,264.00 -$383,338.85 6,519 68.77% 04-Sep $890,754.60 $1,592,392.00 $337,331.90 10,218 76.99% 11-Sep $892,797.05 $1,805,456.00 $2,042.45 11,122 73.33% 18-Sep $999,384.45 $1,805,456.00 $106,587.50 12,739 83.99% 25-Sep $800,590.15 $1,805,456.00 -$198,794.30 9,744 64.24% 02-Oct $796,008.80 $1,805,456.00 -$4,581.35 9,903 65.29% 09-Oct $929,646.25 $1,805,456.00 $133,637.45 11,024 72.68% Well, that's all I have time for this month. Let's get to the rest! /----------------------------------------------------\ | | | 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 & Highlights * Q&A –- Quick Chats & Press Interviews * CirqueTech –- The Technical Side of Cirque o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Fascination! Features * "Two Great Tastes: Cirque Takes Over Dancing With the Stars" Written By: Keith Johnson – Seattle, Washington (USA) * "Casting Q&A's - Meet an Artist, Part 2 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= --------------------------------------------------- LA PRESSE -- General News & Highlights --------------------------------------------------- Cirque’s Mitch Garber calls for end of ‘two solitudes’ dividing Quebecers {Sep.20.2016} ------------------------------------------------------- Montreal businessman Mitch Garber called for Quebec’s francophone and anglophone communities to expand their horizons and put an end to the “two solitudes” that has divided them for nearly 40 years. “The refusal of some members of my Jewish and anglophone community to learn and live in French is embarrassing,” he said in a bilingual speech Monday to the Canadian Club of Montreal. The Cirque du Soleil chairman and CEO of Caesars Acquisition Company also said that francophone Quebecers shouldn’t only limit themselves to speaking the language of Moliere. Garber, 52, said former premier Rene Levesque was correct to make French the predominant language of Quebec. But that doesn’t mean that francophones shouldn’t also learn the language of Shakespeare. “The failure on the French side to see the global and cultural benefits for their children to speak at least two languages — including the world’s working, business and Internet language — is paralyzing the potential of generations of French Canadians,” he said. Criticizing Quebec’s high level of student dropouts, Garber said business concepts need to be taught in elementary grades for the success of business people to be valued. “If it’s important for our children to know (Habs goalie) Carey Price’s statistics, we should also tell them who is Alain Bouchard,” he said, referring to the founder of Alimentation Couche-Tard, whose convenience store chain is worth $50 billion. Garber also criticized the opposition Parti Quebecois and the Coalition for Quebec’s Future for their rhetoric following the sales of home renovation company Rona to U.S. retailer Lowe’s, and the St-Hubert restaurant and food-manufacturing business to Ontario’s Cara Operations Ltd. In a free market it’s normal that companies are sometimes sold to foreigners, just as some Quebec companies expand through foreign acquisitions, he said. { SOURCE: Julien Arsenault, Canadian Press | https://goo.gl/1260FF } Cirque at the 2016 World of Wearable Art Awards’ Show {Sep.23.2016} ------------------------------------------------------- New Zealand designer Gillian Saunders has scooped the Brancott Estate Supreme Award at the World of Wearable Art Awards’ Show. Saunders, who had entered 15 garments before her winning entry – “Supernova” – has won eight awards prior to 2016, but this is the first time she has taken the top prize. The World of WearableArt, known as WOW, is a renowned international design competition that attracts hundreds of entries from all over the world. Finalists compete for over $165,000 in prize money plus internships with leading creative companies such as Weta Workshop and Cirque du Soleil. Using the human body as a blank canvas designers create works of wearable art to be exhibited in the annual Awards Show. Designs are brought to life in this spectacular stage performance – a world where theatre, fashion and art collide. Held each year in September in New Zealand’s capital city, Wellington, this unique event draws an audience of over 55,000. Supernova was inspired by “Thierry Mugler’s Chimera dress [from the autumn–winter 1997–8 collection], … the iridescent spiny fins of the Hippocampus from the Percy Jackson movie The Sea of Monsters, and some incredible NASA images taken by the Hubble Telescope,” she noted. “Once all these elements were combined, Supernova was brought to life. The large gems represent new stars being born and the dark shadows represent deep space. Each scale has been individually cut, shaded with marker pens and then hand-sewn on to the garment. Each gem has had its sticky backing removed and then glued on by hand.” CHECK OUT IMAGES HERE: < http://www.cirquefascination.com/?p=9033 > The Cirque du Soleil Performance Art Costume Award, chosen by Denise Tétreault, Costumes, Lifecycle, and Creative Spaces Director of the Cirque du Soleil, was won by Dylan Mulder for “Digital Stealth Gods”. Mulder receives prize money, flights and accommodation for a one-month internship at Cirque du Soleil’s headquarters in Montréal, Québec. “Digital Stealth Gods” also won the Wearable Technology Award. The World of WearableArt competition has encouraged an explosion of creative activity, inspiring designers from a wide range of backgrounds including art, fashion, textile and industrial design, jewellery, architecture, law and home making, to name a few. The range of garments produced for the event is simply breath taking, as the rules of competition mean that anything that is in any way wearable can find a place on stage, as long as it is original, beautifully designed and well-made. WOW gives entrants freedom of expression without the constraints of commercialism it encourages lateral, original thinking and provides the opportunity to be innovative and inventive. WOW runs in Wellington, New Zealand, through to October 9, and will be seen by 58,000 people live during its run. It employs over 350 cast and crew. This year, 133 entries by 163 designers (some worked in pairs) were received, competing for a prize pool of NZ$165,000. { SOURCE: Lucire | https://goo.gl/PevcxF } Daniel Lamarre to give ISE 2017 Closing Keynote {Sep.28.2016} ------------------------------------------------------- Daniel Lamarre, the president and CEO of Cirque du Soleil, will present the Closing Keynote speech at Integrated Systems Europe on Friday 10 February 2017. For over 30 years, Cirque du Soleil has been at the cutting edge of live entertainment creation and production with shows such as Varekai, Amaluna, TORUK – The First Flight (inspired by James Cameron’s Avatar), The Beatles LOVE and Michael Jackson ONE combining stunning acrobatics, theatrics, visuals and music. Cirque du Soleil has consistently shown how creative expression can benefit from the adoption of the latest audiovisual technologies when used to enhance and complement a show’s key storylines. Today, the company operates across five continents and is the world’s largest theatrical production company. Before taking on his current role Lamarre enjoyed a long and distinguished career in international business development in the creative industries, including time spent with the TVA Broadcast Group, National Public Relations and Burson Marsteller. Lamarre is currently responsible for Cirque du Soleil’s business strategy and financial growth. He balances this with maintaining the integrity, culture and values of the company alongside overseeing Cirque du Soleil’s creative department and the creation of all news shows. He believes that creativity is the key to successful commerce and cites his ability to alleviate fear for business people who look to operate on a global scale as one of his key attributes. Two of Lamarre’s greatest business achievements involve the music icons Michael Jackson and The Beatles. Cirque du Soleil’s production of LOVE, based on The Beatles’ music, is the only live show ever agreed upon by the group. The celebration of Michael Jackson’s work ONE was produced after fierce competition with other entertainment giants working with the performer’s estate. Both accomplishments highlight Lamarre’s highly developed business skills and his ability to connect and establish a close rapport with the giants of the creative community. In 2012 he collaborated on the creation of the C2MTL Conference, a one-of-a-kind coming together of leading creative and business professionals. Lamarre said: “As emerging technologies continue to grow their influence on live entertainment, it is timely for me to participate in ISE 2017. I will have an opportunity to share my vision on how new technologies will have a huge impact on artistic content.” Mike Blackman, managing director of Integrated Systems Events, commented: “ISE and its co-owners CEDIA and InfoComm International are proud to welcome Daniel Lamarre as our Closing Keynote for ISE 2017. It will be fascinating to hear the inside story of Cirque du Soleil from such a respected and successful business development expert.” ISE 2017 will take place at the RAI, Amsterdam from 7-10 February 2017. Registration to attend ISE 2017 opens on October 1st 2016. { SOURCE: Installation International | https://goo.gl/EKYJga } It’s Official – Janecek a World Records Title holder! {Sep.29.2016} ------------------------------------------------------- Luzia’s juggler – Rudolf Janeck – is now officially a juggler- extraordinaire! He achieved the Guinness World Records title for the Most individual juggling rotations in 30 seconds with five clubs! And he did it with 429 rotations! Janecek put his superior eye and hand coordination to the test when he attempted - and succeeded - in setting a Guinness World Record for the fastest juggler on the planet. Performing with Cirque du Soleil’s LUZIA, Janecek took on the challenge during a live sanctioned event Wednesday, Sept. 28 in the west wing of Toronto’s Union Station, 65 Front St. W. Under the watchful eye of official Guinness World Records adjudicator Andrew Glass, he set the benchmark for the most individual juggling rotations in 30 seconds with five clubs. He became the first person to achieve the recognition of fastest juggler in the world in an all-new Guinness World Records category. But he's not the only Guinness World Records holder on Luzia. Luzia's Football Freestyle specialist Laura Biondo is also featured in the Guinness World Records 2017 Book! Go LUZIA! Check out the videos here: o) < https://youtu.be/6MGllE2UlII > o) < https://goo.gl/wdOPI6 > { SOURCE: Cirque du Soleil } Time Out: Taking NYC the Cirque Way {Sep.30.2016} ------------------------------------------------------- What happens when the world’s most famous exporter of “oohs” and “aahs” takes on the Broadway musical? The arrival of one of the most magical, fun-packed and thrilling evenings of entertainment to hit New York City in decades—and an evolution of what live theater can offer. Cirque du Soleil’s first Broadway show, Paramour features all the gasp-inducing acrobatic feats you expect from the Montreal troupe, plus the show-stopping song- and-dance numbers you expect from the best of musical theater. And at the center of it all is a talented collection of musical theater actors and daring Cirque acrobats from all over the world. This cast can roll, tumble and fly—and belt out high notes that will bring you to your feet. With the talented cast of Paramour doing Broadway the Cirque Way, Time Out tasked them with putting the Cirque stamp on other iconic New York landmarks and institutions. And so, this is our city—the Cirque Way. Times Square | Featuring: Ruby Lewis, Amber van Wijk, Ryan Vona, Jeremy Kushnier. Times Square is a home away from home for the cast of Cirque du Soleil’s Paramour—they rehearse there, eat lunch there and, eight times a week, they sing, dance, tumble and fly there during each performance of the show at Broadway’s Lyric Theater. For many in the cast, Times Square had long been a great shining light drawing them to a career on Broadway. Ruby Lewis, who plays Paramour’s leading lady, Indigo, remembers first seeing the bustling square as a nine-year-old when she was in town competing in Petite Miss Dance of America. “My stomach was churning,” she says, recalling the time she first gazed out at the lights from her hotel room. “I was from a tiny town in Kentucky. I wanted badly to live in the middle of it, to dive right in and be a part of it.” Today she says she thrives on the energy of the area. “You can plug into it and really energize yourself in a way you can’t anywhere in the world.” For her co- star, Ryan Vona, Times Square is at its best when it is at its quietest. “My favorite time in Times Square is 3am after a show, after a night out with the cast, walking through seeing all of its beauty. You really appreciate how colorful and how bright and just like a beacon it shines through New York. The American Museum of Natural History | Featuring: Bret Shuford, Rafal Kaszubowski, Tomasz Wilkosz and Mélanie DuPuis. It felt appropriate to bring the multitalented and infinitely malleable cast of Paramour to the Upper West Side’s American Museum of Natural History: Cirque du Soleil’s latest show is an exciting evolution of what Broadway can be; the museum is an ode to the world’s evolution from the time of towering dinosaurs to the peaks of modern science. Paramour stars Mélanie DuPuis and Bret Shuford reached their own peaks inside and outside the institution as they did the AMNH the Cirque Way in front of Time Out’s cameras, shaping themselves into stunning tableaux against the backdrop of—and inside—this NYC favorite. “I feel so close to nature at the museum,” says DuPuis, whose trapeze and hand- to-hand acrobatic work will leave you breathless during the show. “It’s like I travel to other worlds, other times, other places—sometimes I feel like an explorer.” Actor Shuford is inspired by the museum’s connection to the city. “There’s so much history here, not just of the natural world, but of New York. And to be able to walk across the street to Central Park… what could be better? Brooklyn Botanical Gardens Featuring: Ruby Lewis, Amber van Wijk, Ryan Vona. The Brooklyn Botanic Garden—with its tranquil waterways, verdant hills and explosions of colorful flowers—could not be further from the hustle and lights of Times Square, where the cast of Cirque du Soleil’s Paramour spend most of their days. And that is in part what they like about it so much. For Belgian acrobat Amber van Wijk, whose stunning displays of flexibility pulled focus from the flowers on our trip to the garden, the sprawling landscape is a reminder of home. “It reminded me of just walking around in my own backyard [in Belgium],” she says. “There’s so much nature where I live.” Paramour lead Ruby Lewis, on only her second trip to the Botanic Garden, felt a similar connection to nature. Having lived in L.A. for six years, she says “I’ve been without seasons for a while, and the Botanic Garden is a way to acknowledge the seasons.” She loved seeing the cherry blossoms in the spring, and will be back to see the changing of the leaves in the fall. “It’s a truly poetic place—and it’s so close to Manhattan.” Brooklyn Bridge Park and DUMBO | Featuring: Chelsey Arce, Connor Patrick Houlihan, Marie-Lee Guilbert, Philippe Belanger. For Cirque du Soleil performer Chelsey Arce, Brooklyn Bridge Park is the place to be if you want to absorb the full scale of New York City. “It’s a place where you look at New York,” she says. “You think about coming here from another place and you see how vast it is. Finding success in New York is such an incredible thing.” She and a slew of other talented actors and acrobats are living out their own New York dreams as part of Cirque du Soleil’s Paramour, itself a Big Apple success story for the celebrated Canadian company—its first all-singing, all- dancing, all-trapezing Broadway show. Arce joined Cirque acrobats Marie-Lee Guilbert, Connor Patrick Houlian and Philippe Belanger to stun onlookers as they bent and contorted magically against the Manhattan skyline and on the famous Jane’s Carousel. While some of the performers were as overawed by the vista as Acre, it was the carousel that brought Houlihan down to size. “When we got to the carousel it made me think of Mary Poppins,” he says: “The scene where the ride the horses in their cartoon land. Getting onto the carousel made me feel like a kid again.” It’s a feeling the cast says many audience members will get when they take their seats at Paramour. CHECK OUT THEIR PHOTOS HERE: < http://www.cirquefascination.com/?p=9108 > { SOURCE: Time Out | https://goo.gl/D2VTl4 } --------------------------------------------------- Q&A –- Quick Chats & Press Interviews --------------------------------------------------- Meet Rob Laqui – TORUK Puppeteer {Sep.07.2016} ------------------------------------------------------- Cirque du Soleil’s new touring production, Toruk: The First Flight, is inspired by the Avatar world created by legendary filmmaker James Cameron. Set among the unique flora and fauna of Pandora, the spectacle is drawing packed crowds throughout North America. The show’s story follows the perilous future of the Na’vi people who live on Pandora. A pending catastrophe threatens the sacred Tree of Souls, according to a press release for the show, and two Omaticaya boys team up to find Toruk, a mystical red and orange predator that flies above the skies of the Floating Mountains. Rob Laqui is one of the puppeteers who bring the flora and fauna of Pandora to life every night. His job is a tough, physical one, but the actor is living his dream on the road with Cirque du Soleil. “I auditioned for Cirque about 10 years ago, and I auditioned as an actor for their clown auditions,” Laqui said recently in a phone interview while riding in a car in Indiana in between Toruk shows. “Then I thought, hey, I’m going to work for Cirque like tomorrow, and then over 10 years later, they called. And they had a position that sort of matched my profile because I had gotten into puppeteering and full-body and full-size, full- scale puppets. So they called me up for another audition, and I didn’t know that they were looking for specifically a puppeteer. And I just fit, and it worked. And they called, and I said, ‘Of course, a dream come true.’ And here I am in Indiana.” Laqui is a fan of Cameron’s prolific film work and said it’s a huge honor to be attached to this visionary’s project. The world in Toruk should be familiar to people who have watched the box office hit Avatar, but the story actually takes place thousands of years before the movie’s events. So there’s a sense of familiarity and novelty in the air during Toruk performances. The puppeteers in the highly advanced and complex production take care of the many creatures and plants that populate the expansive Cirque stage. “We’re always busy, and we’re always doing something,” Laqui said of his performance. “We’re all of the animals that you see in the production, so it’s really thrilling.” In Toruk, there are six main puppets. These are full-scale, full-body creations that drain much of the energy of the performers. Laqui and his fellow puppeteers are top-level athletes and artists, and that’s good because the show demands a lot of them. What audiences might not realize is how much physicality and strength goes into the puppet work. Laqui said his job requires stamina and fortitude. Sometimes he needs to sit in awkward positions for a long time, and other times he needs to move rapidly around the set. His movements are sometimes un-humanlike, and he needs to learn how to change his body’s instinctual posturing and gesturing. “I think I’m the only puppeteer that actually puppeted all six on stage at one point, so it’s really cool to be able to embody these animals,” he said. “They each have a different personality. Every puppet, every creature has its own kind of way of thinking and way of moving, so … it keeps our interest definitely to be able to do it every night and to sort of perfect what these animals are like.” He added: “The puppeteers have their own sort of training regimen that keeps them on our game and in top physical condition,” he said. “We have also a great team of people that support our physical well-being from the catering staff to make sure that we’re getting the right nutrition to our physio department that makes sure that we can manage injuries or manage any issues that are happening with our body.” Laqui’s role in Toruk is a professional dream come true; however, the role requires so much of his time that there are sacrifices while out on the road. Being a working artist is not the easiest job, although it is creatively fulfilling. “I think what people realize or don’t’ realize necessarily is that they see sort of the glamorous side of what could be deemed as entertainment, but in terms of living it every day, it does take a certain amount of dedication,” Laqui said. “There’s sacrifice that comes with what we do, but also, as we continue doing it, [we] realize that that sacrifice is worth it because it’s such a rare opportunity to get to do this.” One of the challenges of Toruk is the intense touring schedule. Taqui said it’s still cool to get paid to travel, but the busy road trip keeps him away from family and friends. “It definitely takes a little bit of fortitude to sort of keep your sanity on the road sometimes,” he said. “I think the challenge is that you do move so much. Sometimes you kind of forget, especially if you’re staying in a hotel that’s sort of the same brand. You kind of forget where you are, but what’s cool is to be able to experience each city because we don’t have necessarily tons of time in between. So I think a lot of us are very savvy at trying to find something in the city to experience. Like I know for me personally I want to do at least a couple of things in each city to get a flavor of what that city has to offer, so there is a benefit to moving around so much.” As far as performing in a show time and time again, Laqui loves the challenge. The chance to take part in a long-term touring project affords him the opportunity to perfect his puppeteering. When making a movie, an actor has a few takes, and then the scene is put away, never to be augmented again. In live theater and circus performing, there’s a chance to add nuance each night. “The audience is going to get the best that I can deliver that day, but just by the nature of doing it live and doing it over and over again, it’s going to develop into something over time,” he said. “I’m going to find ways to be able to express more efficiently what needs to be expressed over a longer amount of time the more I do it, so I really really love having an opportunity to do a show multiple times to be able to get it right. … It’s more about the process and developing the absolute sort of journey of the expression versus the goal of it. It’s definitely a challenge, and I think some days it’s tougher. If you’re sick, if you’re injured you have to get there some way, but that’s why we get paid the big bucks because that’s part of what we do. That’s part of our job as well is to be persistent at the highest possible level of artistry.” { SOURCE: Hollywood Soap Box | http://goo.gl/Q6gUgh } For its Next Act, Cirque Goes to China {Sep.09.2016} ------------------------------------------------------- FTER entertaining millions of people in dozens of countries over the years, China offers a new realm of possibilities for acrobatic dance troupe Cirque du Soleil. During his visit to China earlier this month, Cirque du Soleil CEO Daniel Lamarre confirmed the entertainment company’s expansion plans in China. In April, Fosun, China’s leading investment group, joined American investment firm TPG to become one of Cirque du Soleil’s largest strategic partners in a deal that will facilitate its global business development. This strategic partnership will enable Cirque du Soleil to access the Chinese market more quickly with unique, high-quality productions. “Only a year after joining Cirque as a strategic partner, Fosun has already opened several doors for us in the Chinese market, allowing us today to announce the next phase of our international growth,” Lamarre said while in Shanghai. Cirque du Soleil, the world’s leading producer of spectacular live entertainment, also provided an update on the creation of its first permanent show in China. The production, which is being created and produced by Cirque in partnership with Hangzhou Xintiandi Group Co Ltd, will bring together creative elements and artists from the East and the West in an immersive experience that will surround and surprise the audience. The production will offer spectators the possibility of two different experiences, depending on where they sit in the theater, which is currently under construction in the Xintiandi District of Hangzhou. The show is expected to premiere in November 2018. In addition to its permanent show in Hangzhou, Cirque du Soleil confirmed an upcoming China tour for its show “Toruk — The First Flight,” inspired by James Cameron’s film “Avatar.” The show, which has been touring in North America since its world premiere in Montreal in 2015, will come to China in early 2018. As President and CEO of Cirque du Soleil Canada Inc, Lamarre is in charge of strategies at both the business development and operations level. He also oversees the organization’s financial sustainability and the perpetuation of its culture and values. Prior to joining the company, he worked for nearly a decade as a journalist while pursuing his studies in communication. He was kind enough to sit down for an interview with Shanghai Daily during his recent visit to the city. Q: In what aspects will you cooperate with Fosun in the Chinese market? A: Fosun is now a shareholder of Cirque du Soleil, which is going to become an accelerator for our growth in China. We will have a lot of projects that will come up in the next few months. The first one is going to be the opening of our permanent show in Hangzhou. We have developed a concept for the show. We are hiring artists and developing the design of the theater, and hopefully we will open by the end of 2018. The other thing is that we are also planning to come out in early 2018 with “Toruk — The First Flight,” our touring show that was done with (“Avatar”), and now with Fosun. They help me see China with Chinese eyes. And they have a good understanding of the country. Now we are trying to identify all the cities where we can tour with our big shows, and we are also trying to identify the cities where we can have a permanent show. Hangzhou is great, but we also think there is potential in cities like Shanghai and Beijing. We have been talking to people in Xi’an, Sanya and other cities as well. So right now we are developing and clarifying our strategy in China with the support of Fosun. Q: There are some Chinese performers in your circus. What is your comment on them? A: First of all, they are the best. So much so that Chinese artists account for 20 percent of all artists in Cirque du Soleil’s 19 shows worldwide. Chinese artists have contributed in a big way to the success of Cirque du Soleil. Compared with other artists, they have better discipline, they train harder and they are just the best performers in the world. Q: With so many entertainment options today, traditional performances like acrobatics and circuses are facing new challenges in many countries, including China. What are your suggestions for artists and producers? A: First of all, we are not a traditional circus, we are a spectacle. What I mean by that is that we use a lot of new technologies, we have original music, we have original costumes, we do original choreography, and we bring something that is very different from a traditional circus. We are much more theatrical, and we spend more money on the production of our shows because we want to attract a broader audience, particularly here in China where there are a lot of good traditional circuses. We don’t want to compete with them. They have their own market, and that’s good. We want to offer something else, and bring diversity in terms of content to the Chinese audience. Q: In your view, what makes your company so successful and so popular? A: We have grown our company market by market, you know. We started in Canada, then in the US and then in Europe; and now in emerging markets like Brazil, Russia and in Asia. We became a global brand by developing country by country. Obviously a lot of international tourists are going to Vegas, so Vegas has also contributed to our reputation by having the most spectacular shows presented there. That is how we have built the brand, and now we are hoping to build our brand in a much faster way in China. Q: As president and CEO, what kind of experiences do you enjoy most from your work? Could you share with us some of your thoughts on management? A: I think I have been blessed to have the opportunity to deal with the Beatles for a Beatles show in Vegas, to deal with Michael Jackson for a Michael Jackson show, and to deal most recently with best producer in the movie business, James Cameron. That, for me, brought the brand of Cirque du Soleil … to the next level. That’s the first thing. As for my experience of management, I think it is very important that if you manage a cultural organization, then you are not a traditional business guy. You have to love artists, you have to love creators, you have to love shows. Again I am very lucky because I love the artists, I love our creators, and that is what makes my management role different from that in a traditional business. Q: You used to work as a journalist. Was that a rewarding experience for you? A: You know the best thing about journalism … is that you have the opportunity to see a lot of different types of people, and you are learning all the time. What I did during my years as a journalist was learn, learn and learn — and that helped me decide what I wanted to be in the future. It was very helpful. I would advise everybody who has the opportunity to be a journalist first. It is an experience that will help you become a good manager after. Q: Do you like Chinese arts and theater? What kinds of art in China have amazed you? A: I love China in general, so that is why I am spending so much time here. I love Chinese art, and I have been very impressed by the director of the opening ceremony of the Beijing Olympics (Zhang Yimou). Yeah, I’ve met with him, this guy is amazing, and he is bringing the movie business and the entertainment business to world recognition. { SOURCE: Shanghai Daily | http://goo.gl/Y5PX9Q } Eirini Tornesaki: Behind the Scenes of KURIOS {Sep.11.2016} ------------------------------------------------------- The internationally renowned Cirque du Soleil productions are a beautiful sight to behold, but the process behind the scenes is as fascinating and mysterious as the shows themselves. The company now has 18 different active shows around the world, employing almost 4,000 people from over 40 countries, yet little is known about how people become part of the company or how the shows are created. Eirini Tornesaki, part of the touring production of “Kurios – Cabinet of Curiosities” opened up to us about what working for one of the most prestigious artistic companies in the world is like, as well as her singing career and dreams. Q. How did you get started in your music career? I grew up in a very musical family with my two sisters – everyone was talented and played music, and we always played music together. We sang since I can remember, and I studied classical piano, classical cello. In addition, I was part of the choir of the Municipality of Heraklion and played in the string orchestra. So I was completely surrounded by music growing up. Because of that I always knew I wanted to be a singer. Of course people try to change your mind along the way, but they didn’t manage to change my mind. Q. Where did you study music? I decided I wanted to study modern singing so I moved to England when I was 18 and studied there for three years. My school was called BIMM – The British and Irish Institute of Modern Music – so I did my bachelor’s there and I was also performing professionally all over the UK since my second year. Slowly I started doing auditions, taking part in vocal groups or bands, you know, always looking for ways to perform professionally. So I started building that up and before I graduated I auditioned for Cirque du Soleil. Q. What was it like to audition for Cirque du Soleil? They came to London, and a friend of mine sent me the e-mail about it so I thought I would try it. At that moment I didn’t think that is what I wanted to do, but I thought auditioning would be a great experience. You never know when it’s going to be the right time because Cirque du Soleil has thousands of applicants every year. You go through quite a tough process just to be in their database. It’s very competitive, but also it’s a little bit of a matter of luck, because you don’t know when there will be a position where you could potentially fit in. At the audition they tell you if you are at the level that they are looking for and if they will put you in their database, but the database has thousands of people. So you may do your audition and then wait for up to ten years. You never know when you will hear back from them. Q. So what is the audition process, step by step? The first step is to send in videos of what you do, along with some repertoire that they ask you to perform. You go online and you pick songs if you’re a singer, for example, from the list of materials they provide. Then if they like your submission, they call you to their next live audition, which they do all over the world. I submitted my videos and they invited me to the London audition. After the live audition, they put me in the database but I didn’t hear from them for a job until just over a year later. I knew this is usually what happens, so I just put it aside and continued my life in England. I moved to London at that point in time and spent a year being a freelance singer when I suddenly heard from them. After that, there were a few more steps where they asked for more specific videos. And then the last audition was in Montreal, after which they gave me the contract for Kurios. Q. How is your rehearsal/work schedule for ‘Kurios’? It’s a very intense schedule, especially for the touring shows. There is always a creation period. Kurios was being created for about two years before it opened in April 2014. I joined the creation period about three months before opening. So those three months were extremely intense; we would rehearse all day. When the actual shows began we have 8-10 shows per week, and we perform every day except Mondays. We also have to rehearse for the replacements, because if someone doesn’t sign for the following year or we have injuries, we need replacements. In addition to all that, the show changes slightly very often, so we have to rehearse to perfect the adjustments – there are always things to work on! Q. What’s your role and where do you fit into the story? I’m the only singer of the show. I wear a gramophone on my head, actually – my costume is quite cool. My character is called Chanteuse de la Rue (street singer) and I sing throughout the whole show. I sing for around 85% of the length of the show, so I’m just always somewhere – you will always hear the voice. Q. What’s the biggest pro and the biggest con of a touring life? Biggest pro: at first it is quite exciting because you know you are going to experience and actually live in so many places, since we get to stay for two months in each place. I feel like I’ve really lived in most of the biggest North American cities since 2014, and that’s quite cool. On the other hand, it’s a nonstop touring schedule and we get one annual leave (2-3 weeks), so that’s the only time we get to go home. If your home is far away, that means you only get to go back once a year. Touring all year round can also be a little confusing in terms of practicalities, like what clothes you’re going to take with you, so for me I just have everything that I need all year round. I took three suitcases with winter clothes, summer clothes, and all the things that will allow me to have a normal life on tour – my keyboard and microphone and everything I need to get a sense of home and normalcy. Q. W do you see your singing career going? I would like to keep performing, so the longer I can make my living this way the better. But my dream is to at some point present my own music and my own project. So now I’m writing songs, continuing to study music, and I always try to learn and get better as a musician. Q. Do you get to go back to Greece? I grew up in Heraklion and it was wonderful – Crete is one of the most beautiful islands of Greece. Going back is always interesting, because you feel a type of comfort, with the familiar people and places and the sea. I do my best to spend some time there, though sometimes it’s not possible because of the tour schedule. But I try to keep in touch with my parents and my friends no matter what. { SOURCE: Greek Reporter | http://goo.gl/44pSZO } 5Q’s w/Toruk’s Rob Laqui {Sep.26.2016} ------------------------------------------------------- “5Q” is an online-only column featuring five questions about stage productions in the Metro Area with a special focus on the GLBTQ community’s relationship to the production. Periodically, “5Q” will take the form of an interview with actors, directors, writers, etc. to shed some light on the production process. Narrated by a “Na’vi Storyteller” and populated by unforgettable characters, Toruk — The First Flight is a mythical tale set thousands of years before the events depicted in the film Avatar, and before any humans ever set foot on Pandora. When a natural catastrophe threatens to destroy the sacred Tree of Souls, Ralu and Entu, two Omaticaya boys on the brink of adulthood, fearlessly decide to take matters into their own hands. Upon learning that Toruk can help them save the Tree of Souls, they set out, together with their newfound friend Tsyal, on a quest high up in the Floating Mountains to find the mighty predator that rules the Pandoran sky. Rob Laqui is a first generation Filipino American, born and raised in Minnesota. Based out of NYC, Rob has performed with numerous theater and dance companies and was also on the first national North American tour of War Horse and was asked to be one of the puppeteers as Joey appearing in the Royal Edinburgh Military Tattoo in Edinburgh, Scotland. He first auditioned for Cirque du Soleil over a decade ago, but after being accepted into the company’s performer database it wasn’t until fall 2014 when he was approached for the creation of Toruk — The First Flight. Q. Having done puppetry before, how does the style and movement of a Cirque show heighten and challenge your puppetry? Even though Toruk is such a different kind of Cirque du Soleil show, being so large-scale and immersive, my approach to puppetry is the same. We, as puppeteers, embody all the creatures and animals of Pandora so we are very much a part of the visual world that the audience experiences. Our challenge is to make these full-size puppets live and breathe and come alive every night. It’s a wonderful experience as a puppeteer to work with such an amazing company that creates such evocative space. The visual design of the show is so vibrant and detailed that it’s very easy to believe you are on Pandora with the Na’vi. I suppose one of the challenges of puppeteering full-size creatures of Pandora is the playing space is large enough that running around it definitely takes some energy! Q. James Cameron’s Avatar took the world by storm when it premiered. How does the iconic Cirque du Soleil style mesh with the stunning visuals of Avatar? The great thing about our show is that you don’t have to be familiar with Avatar or Cirque du Soleil to enjoy our unique hybrid of a show. Of course, if you are a fan of Avatar and Cirque du Soleil, then you’ll definitely appreciate all the details from the Avatar world filtered through the incredible artistry of Cirque. Working with Cirque du Soleil has been such an inspiration because the level of talent and attention to detail is incredible. It’s such a good match for Avatar because James Cameron and his team created such a rich and complete world that lends itself beautifully to Cirque du Soleil’s style. Q. What does Toruk add to the story of Avatar, and what expectations should people have going into the show? Toruk takes place thousands of years before the events of Avatar. You get to see the Na’vi in their natural world without the influence of the “sky-people.” The audience experiences the flora and fauna of Pandora as well as getting to meet different tribes of Na’vi. Audiences should expect to be immersed into the world of Pandora and the Na’vi tribes that inhabit it. They should expect to see some incredible visuals as well as the physical artistry of the Cirque du Soleil artists. And they should definitely expect to see some life-size creatures of Pandora! Q. Last time Cirque was in town, it was under the big top in the Mall of America parking lot. How does changing the venue to an arena alter or enhance the viewing experience? As I mentioned earlier, this is a different kind of Cirque du Soleil show. It’s larger in scale and more narrative than most shows and we for sure use every inch of space we have to fill the arena with Pandora and the world of Toruk — The First Flight. Another reason this is a unique show is because it was created specifically for arenas so it’s been built large to fill the space. Q. The openness and inclusivity of Cirque for performers from around the world with various identities, including GLBT, is well-known. What does that openness mean for the individual performer and overall performance? Art has traditionally been the refuge for the disenfranchised and circus arts is no exception. Cirque du Soleil started over 30 years ago from street performers and has grown to be the premier company for circus in the world. One of the reasons for this is the inclusiveness and open quality the company has for its employees and artists. How can an artist be at their best if they are second guessing their own identity within the company? How can an acrobat or aerialist perform their incredible physical feats if their focus is split about being accepted by their peers? Cirque’s primary focus is fostering and developing the artist to be the best they can be and that couldn’t be possible if the company didn’t have an open policy toward people of all backgrounds and identities. { SOURCE: Shane Lueck, Lavender Magazine | https://goo.gl/CkzF9O } --------------------------------------------------- CirqueTech -- The Technical Side of Cirque --------------------------------------------------- Masque Sound On Cirque Du Soleil’s Paramour {Sep.14.2016} ------------------------------------------------------- When Cirque du Soleil Paramour, the organization’s first show created expressly for Broadway, took flight at the Lyric Theatre on May 25, Sound Designer John Shiver and Associate Sound Designer David Patridge were putting the finishing touches on a custom audio equipment package provided by Masque Sound for Cirque du Soleil’s first musical. Cirque du Soleil marks its Broadway debut with a glamorous tale of the quest for fame in the Golden Age of Hollywood. This groundbreaking event transports you to a sublime world of emotion and awe as it walks the exhilarating tightrope of the heart. In designing the sound for Paramour, the duo wanted to ensure the audio was evenly distributed while maintaining its transparency. “The principles of sound design are the same regardless if you are doing something super simple or very complicated,” says Patridge. “We want to provide every seat in the house with a clearly audible sonic experience. One of the luxuries on Paramour was that we had the band for almost six weeks with the cast on stage. This is very unusual, as typically we get the orchestra at the last minute and for a very short time before going into performances. This allowed us to really get things dialed in and we were able to achieve what we set out to do.” The biggest challenge faced by the designers was the acoustics of the venue itself. “The Lyric Theatre is one of Broadway’s largest houses with more than 1700 seats,” adds Patridge. “The theatre has been beautifully renovated but did have some acoustical hindrances. There are many surfaces of flat reflective plaster in the theatre that are not ornamental, which makes the sound coming out of the speakers bounce around on the walls and ceiling. This is where we found difficulty in balancing intelligibility while also making sure we had enough fill speakers to overcome the reflective energy. I think in the end we managed to meet the challenge and every seat in the theatre has good sound.” With the theatre’s acoustical obstacles, speaker selection was critical. The team relied on Masque Sound to provide a custom PA system from Czech Republic-based, KV2 Audio. According to Patridge, “We went in a new direction with our speaker selection for Paramour by using KV2 Audio speakers. We were exposed to them when we did a show in Germany a few years ago and really liked the sound. They make point source speakers as opposed to line arrays. They are large and therefore have a lot of low- frequency information in addition to detailed high’s and mid- ranges; they sound like a high-fidelity speaker. We asked Masque Sound to make a large purchase of KV2 equipment for this show and we were very happy they obliged. We have a variety of KV2 boxes in the show including most of the main PA, surrounds, delays and fills. They are a newcomer to Broadway and the sound is incredible.” For the console, Masque Sound provided the designers with the tried-and-true Broadway main staple, DiGiCo SD7 with theatre software and Waves audio plug-ins. Another interesting component to the custom audio package was the use of Lectrosonics SSM Micro Belt Pack Digital Hybrid Wireless audio for compandor-free digital quality. “The form factor of the SSM is really excellent for theatre work,” says Patridge. “It fits very well under a costume or wig without feeling bulky and is quite a bit smaller than what we have been using. It sounds really good and has great battery life. We paired those with Lectrosonics Venue 2 six-channel single rack receivers.” The designers also used Clear-Com’s HelixNet intercom system for the first time. The system is one of the larger, if not the largest on Broadway. It’s fairly new to the Broadway market and allows for multiple channelization over a single XLR. It does a lot of things that traditional partyline intercoms don’t do without going into digital intercom, which can be a more complicated and expensive set up. “In addition to the HelixNet system, we also utilized Clear- Com’s FreeSpeak II digital wireless intercom system,” adds Patridge. “It uses Wi-Fi type frequencies and operates in a different manner then we have been using, which is the standard UHF type Telex wireless intercom. It was not entirely risky because we had good reports before we put it on the show. There was a small learning curve, but we managed to push it to its limits. We used 16-20 wireless intercoms and it ended up working really well; everyone is very happy with it. The Clear-Com products are new to Masque Sound as well and they were very interested in following the set up and learning from it. Masque Sound treated us very well and provided lots of support.” Rounding out the sound package was a selection of microphones including DPA d:screet 4061s for the cast, and DPA d:dicate 4011s and Neumann TLM 102s for the orchestra. Paramour also marks the first time the designers have ever had to put a wireless microphone in a vacuum cleaner. “Scott Kalata at Masque Sound continues to be a go-to person for us,” adds Patridge. “He brings it all together in a big picture sense and we certainly call upon all of Masque Sound’s technical expertise when putting the show together. We love working with Masque Sound. In addition, our Second Engineer Lucas Indelicato and longtime Production Engineer Kevin Kennedy both did an incredible job as did John Gibson, head of sound at the Lyric Theatre. John has been a pleasure to work with and turned out to be a vital asset to us. Thanks to this wonderful collaboration, Paramour looks and sounds great.” Paramour is currently playing at The Lyric Theatre (214 W. 43rd Street, New York, NY). For more information and to purchase tickets, please visit www.cirquedusoleil.com/paramour. About Masque Sound Founded in 1936 by a trio of Broadway stagehands, Masque Sound evolved into one of NYC’s most successful theatrical sound reinforcement, installation and design companies specializing in theatrical, house of worship, sporting, corporate, TV broadcast and live concert events. Celebrating more than 75 years in the industry, the company is led by Vice President Geoff Shearing. The company also operates Florida-based Professional Wireless Systems, a leader in the development and implementation of wireless technology. Credits range from major Broadway shows and tours including Phantom of the Opera, MAMMA MIA!, Lion King, Jersey Boys, The Book of Mormon, Once, Kinky Boots, Aladdin and Fun Home to yearly Super Bowl broadcasts and installations of varying sizes, including Western Connecticut State University, the Jim Wise Theatre at the New Jersey Institute of Technology (NJIT) and the historic St. Patrick’s Cathedral. Masque Sound’s 70,000 sq. ft. corporate headquarters and main assembly facility is located at 21 East Union Ave., East Rutherford, NJ, 20 minutes from midtown Manhattan. For more information, call (201) 939-8666 or visit www.MasqueSound.com. { SOURCE: Live Design | https://goo.gl/hDcqdN } Varekai: “Color and Cirque” {Sep.21.2016} ------------------------------------------------------- Sound & Stage speaks to Eric Gerard, production manager for Cirque du Soleil’s visually captivating show ‘Varekai’, ahead of its Dubai arrival. After three years of absence, Cirque du Soleil is set to make a welcome return to the United Arab Emirates with one of its signature productions, ‘Varekai’. The show tells the story of a solitary young man, parachuted into the shadows of a magical forest and a kaleidoscopic world filled with adventures both absurd and extraordinary. The acrobatic spectacular has wowed close to 10 million audience members all around the world since its first premiere back in 2002, and now the colorful world of Varekai will come to life at Dubai World Trade Centre from Friday, September 16th to 24th. With such a demanding production to organize, Sound & Stage managed to grab a few minutes of production manager Eric Gerard’s time before the show arrives in Dubai, where he explained just a few of the key factors involved in bringing the circus spectacular to the UAE stage. Logistics “The first stop before our run in Dubai is Beirut, where the show has been loaded into 23 40-foot sea containers transferring in from our time in Spain. With only a few days in between our last show in Beirut and our premiere in Dubai, we will transport the entire show with two Boeing 747 cargo planes. As the last show is underway in Beirut we start to load the 75 plane pallets, weighing in at about 206,000kg total of gear to make the show happen. This includes everything from the office printer cases to the four 10m long carts holding the 300 individual trees that make up the Varekai forest.” Set-Up “Depending on the venue, the show has various timelines for set- up. In Dubai specifically, we will spread the setup over several days. The venue itself is not designed to hang the entire weight of the show. In this case, we will hang parts of the show from a ground-supported structure from StageCo. This itself takes a day to set-up even before the show arrives. Once the ground support is in place it will take 15-20 hours to fully load in the show once the planes arrive and are unloaded.” Safety “At Cirque du Soleil, we operate in a fast paced environment, but safety is always a top priority. Our technicians and staff are trained with first aid qualifications, as well as our continual training in show specific conditions and scenarios. We work together as a team to ensure that at any point in the operation of the show the scenarios are controlled and planned out.” Technology “Varekai is a very colorful show. Between the color pallets used in the costume, lighting, and projection designs, it really creates a wonderful visual experience. The show uses various technologies to ensure the audience is always visually captivated in what their experiencing. One technology specifically is the use of BlackTrax. It’s a technology worn by the artists to allow their position to be tracked around the stage. This information is then translated by a computer to allow the automated lighting system to make sure the performer is followed and lit without the use of a manual spotlight wherever they go. It’s really innovative technology.” { SOURCE: Sound and Stage | https://goo.gl/WwZULc } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia & Totem} o) ARENA - In Stadium-like venues {Varekai, TORUK, OVO & Séptimo Día} 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: Manchester, UK -- Sep 7, 2016 to Oct 9, 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 9, 2017 Koozå: 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 -- Apr 13, 2017 to May 7, 2017 Manila, PH -- Jun 26, 2017 to Jul 30, 2017 Kurios: 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 Winnipeg, MB — TBA Portland, OR — Aug 28, 2017 to Oct 8, 2017 Vancouver, BC — Oct 19, 2017 to Dec 31, 2017 Luzia: 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 Brussels, BE -- TBA ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ Varekai: 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 Seville, ES -- Jan 18, 2017 to Jan 21, 2017 Gijon, ES -- Jan 25, 2017 to Jan 29, 2017 Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017 Dublin, IR -- Feb 8, 2017 to Feb 12, 2017 Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017 Leeds, UK -- Feb 22, 2017 to Feb 26, 2017 Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017 Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017 Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017 Lyon, FR -- Apr 13, 2017 to Apr 16, 2017 Budapest, HU -- May 12, 2017 to May 14, 2017 TORUK - The First Flight: Minneapolis, MN -– Sep 28, 2016 to Oct 2, 2016 Winnipeg, MB -– Oct 5, 2016 to Oct 9, 2016 Fresno, CA -- Oct 27, 2016 to Oct 30, 2016 Ontario, CA -- Nov 2, 2016 to Nov 6, 2016 Los Angeles, CA -- Nov 11, 2016 to Nov 13, 2016 Phoenix, AZ -- Nov 16, 2016 to Nov 20, 2016 San Diego, CA -- Nov 23, 2016 to Nov 27, 2016 Sacramento, CA -- Nov 30, 2016 to Dec 4, 2016 Portland, OR -- Dec 7, 2016 to Dec 11, 2016 Vancouver, BC -- Dec 14, 2016 to Dec 18, 2016 Edmonton, AB -- Dec 22, 2016 to Dec 26, 2016 Inglewood, CA -- Jan 12, 2017 to Jan 15, 2017 Wichita, KS -- Jan 26, 2017 to Jan 29, 2017 New Orleans, LA -- Feb 1, 2017 to Feb 5, 2017 Guadalajara, MX -- Feb 10, 2017 to Feb 12, 2017 Mexico City, MX -- Feb 16, 2017 to Feb 19, 2017 Monterrey, MX -- Feb 23, 2017 to Feb 25, 2017 Cleveland, OH -- Mar 3, 2017 to Mar 5, 2017 Philadelphia, PA -- Mar 8, 2017 to Mar 12, 2017 Hartford, CT -- Mar 15, 2017 to Mar 19, 2017 OVO: San Juan, PR -- Oct 20, 2016 to Oct 23, 2016 Santo Domingo, DO -- Oct 27, 2017 to Oct 30, 2016 Erie, PA -- Nov 17, 2016 to Nov 20, 2016 Quebec City, QC -- Nov 23, 2016 to Nov 27, 2016 Montreal, QC -- Nov 29, 2016 to Dec 4, 2016 Kingston, ON -- Dec 7, 2016 to Dec 11, 2016 Grand Rapids, MI -- Dec 14, 2016 to Dec 18, 2016 Detroit, MI -- Dec 22, 2016 to Dec 25, 2016 Kansas City, MO -- Dec 28, 2016 to Jan 1, 2017 Sioux Falls, SD -- Jan 4, 2017 to Jan 8, 2017 Loveland, CO -- Jan 11, 2017 to Jan 15, 2017 Colorado Springs, CO -- Jan 18, 2017 to Jan 22, 2017 Tulsa, OK -- Jan 25, 2017 to Jan 29, 2017 SÉPTIMO DÍA – NO DESCANSARÉ: Buenos Aires, AR -- Mar 9, 2017 - May 14, 2017 Cordoba, AR -- May 2017 Lima, PE -- June 2017 Santiago, CL -- July 2017 Bogota, CO -- September 2017 Mexico City, MX -- October 2017 Guadalajara, MX -- November 2017 Monterrey, MX -- December 2017 Select US Cities -- 2018 --------------------------------- 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 November 9 Special / Limited Performances: 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 October 9-11 o November 28-December 13 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 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) ======================================================================= FASCINATION! FEATURES ======================================================================= o) "Casting Q&A's - Meet an Artist, Part 2 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) o) "Two Great Tastes: Cirque Takes Over Dancing With The Stars" Written By: Keith Johnson – Seattle, Washington (USA) ------------------------------------------------------------ "Two Great Tastes: Cirque Takes Over Dancing With the Stars" Written by: Keith Johnson - Seattle, Washington (USA) ------------------------------------------------------------ It was quite the bombshell (and a well-kept secret) when it was announced that the USA version of Dancing With The Stars would host a night of ballroom dancing inspired by the music and shows of Cirque du Soleil. Coming, seemingly, out of the blue, reactions ranged from “Yeah!” to “WTF?”. For those unaware, Dancing With The Stars (DWTS) is one of the most popular syndicated reality shows in the world. The idea is simple – professional ballroom dancers (all champions in some way) are paired with celebrities with varying levels of dance experience, to compete against each other in ballroom dancing, their efforts judges by 3-4 judges and audience voting. Originating with the BBC in Britain as “Strictly Come Dancing,” it has been franchised into 42 countries. The US version is now in its 23rd season (with seasons in fall and spring) and has consistently been a top 15 network show for the last 10 years. An average episode is watched by between 10-11 million people, with the franchise global audience standing at more than 250 million people worldwide. To me it sounded like a good fit, but rife with the possibility of can’t-look-away train wrecks, depending on the synergy between celebrity, Cirque show and music. The idea was intriguing but posed questions – how do you bring the Cirque ethos into a ballroom dancing competition show? What music do you pick for what dances? Does the in-house band (Ray Chew Live) play the music, and how close will it be to the original band sound, or do they use pre-recorded tracks? How successful will the professionals be in crafting routines that aren’t overshadowed by Cirque-ish elements? “Theme” nights are common on DWTS. My Most Memorable Year, TV night, Movie night, Halloween night, and the corporately-synergistic-Disney night (as DTWS is broadcast on the Disney-owned ABC network). Cirque has had exposure on DWTS before to be sure – a “Love”-infused dance in November of 2015. But this is the first time an “outside” brand has been chosen as the theme for an entire show. Both sides benefit. DWTS gets to incorporate the intellectual property of a content-rich brand whose product is imagination. What Cirque gets is much more. 10.5 million people watched the Monday, October 3, 2016 broadcast. Consider that in order to reach 10.5 million people, by our approximate calculations, every Cirque show (resident, touring and arena) would have to play two shows a day, seven days a week with 100% sold out houses for over four months! And Cirque reaches that many people for two solid hours with this one show, with a demographic rich with the people Cirque would most like to reach – people with an appreciation for the arts! With popcorn in hand my wife and I sat to watch the broadcast end to end, as well as the following days results show and the “DWTS All Access Webcast” that broadcasts to the Internet simultaneously with the main show. We watched the great, the almost-great, the OK, and the not-great. And I’m here to give a quick run-down of the show with particular emphasis on how the performances incorporated the Cirque “magic.” In the tradition of the show, my “Cirque Score” will look at this aspect exclusively, on a 10-point scale. What we were expecting to see, in general, we got. No retired show music (people can’t buy tickets for shows that aren’t playing). All the US-based resident shows covered except Criss Angel Mindfreak Live. Three songs from the Beatles and Michael Jackson shows that didn’t feel too Cirque-ey. A song from Kurios, but no other touring shows, which left out Luzia, Ovo, and Toruk-The First Flight (which might have mixed branding and metaphors anyway). Right off the top of the show, judge Bruno Tonioli invoked the creedo of the evening: “We want to be transported into the mesmerizing, magical world of Cirque du Soleil. So free your imagination, and let the show begin.” (Wonder who wrote that for him.) The “stars” entered to logos of the shows they represented blasted on the ballroom big screen. The opening features several characters from Cirque shows, from the Red Bird of Mystere to the Green Bird of La Nouba, KA warriors, and others. In order of performance, they were: 1 - Football Star Calvin “Megatron” Johnson Jr. & Lindsay Arnold Jive to “Bella Donna Twist” from – Kurios The scene was set with a control panel prop from the scientists lair (that host Tom Bergeron tried to use to make a latte later). The costumes were very evocative of the show, with gears on Johnson’s jacket and goggles for Arnold. Projections on the floor made it look like the Kurios stage, and Anne, the upside down aerial bicyclist from the show swung in the air above the ballroom floor. A nice opening to the show with lots of Cirque ambiance. And here we must mention the music. The score for many of the acts was played by the in-house band, Ray Chew Live. It was a nice arrangement and sounded very much like the show. To these ears, though, it was just different enough to catch the ear as being different and not what we were used to. But it was being played live in front of 10+ million people! DWTS Score - 23 | Cirque Score - 9 2 - “Brady Bunch” actress Maureen McCormick & Artem Chigvintsev Argentine Tango to “High Bar” from Mystère With the Red Bird bounding about upstage, and Taiko Drums downstage, the dance was involved and connected with the show. The drama of the show was well incorporated into the choreography. Though they had trouble during the week, the couple pulled off a very nice tango. DWTS Score - 24 | Cirque Score – 7 3 - “One Tree Hill” actress/singer Jana Kramer & Gleb Savchenko Foxtrot to “Here Comes the Sun” from The Beatles LOVE. This couple visited the Love Theater in Vegas for some training. The music track was pre-recorded original Beatles. While there was a graphic similar to the “sun” LED ball used in the show, there really was very little Cirque influence here. DWTS Score – 23 | Cirque Score - 5 4 - “Taxi” Actress Marilu Henner & Derek Hough Pasa Doble to “Battlefield” from KÀ With decoration of a Wushu warrior and 4 flag bearers, the arrangement by the band was a nice approximation of the original music. Hough played a villain who gets stabbed by a flying(!) spear at the end of the dance. Henner struggles with being “in her head” so has trouble appearing smooth and giving over to the dance. The set, however, was very nice, with flames and graphics of the theater. DWTS Score – 21 | Cirque Score - 9 5 - VH1 talk show host Amber Rose & Maksim Chmerkovskiy Tango to “Tickle Tango” from Zumanity This Tango was hot and sexy, inspired by Zumanity but with no real Cirque content. This was right in Ambers wheelhouse, as she was an exotic dancer in her youth. A large amount of TV time was taken with a possible body-shaming comment made by one of the judges during last weeks show, where both sides aired their views but neither side apologized. With her ample top and bottom set off against a thin middle, looking on the TV screen like an exaggerated hourglass, her awareness of this issue must have been a part of much of her life. DWTS Score – 24 | Cirque Score - 5 6 - Rio Olympic Gold Medal swimmer Ryan Lochte & Cheryl Burke Viennese Waltz to “Jeux d’Eau” from ”O” This couple also went to Vegas, with Lochte spending time in the “O” pool learning from some of the shows synchronized swimmers. The headless Elizabethan costume and a carousel horse provided set decoration. The music was a beautifully played version of the “O” CD opening track, with Ray Chew onstage playing a white piano in front of raindrops falling from the ceiling. The couple wore contrasting half- black, half-white outfits that I initially thought were inspired by the Zebra costumes (Lochte later said his character was based on Le Vieux (“Eugen”) though I don’t see the resemblance). The performance, especially the music, was fantastic, described by one blogger as, “A sophisticated, content-rich waltz that beautifully paid homage to the water-based show.” I couldn’t agree more. DWTS Score – 22 | Cirque Score - 10 7 - Musician/Producer Kenny “Babyface” Edmonds & Allison Holker Tango to “Come Together” from The Beatles LOVE From the sublime to the ridiculous. The dance concept involved a series of spotlights lighting up sections of the dance floor. But the spotlights were on a timer, and it was up to the couple to move from one lit area of the floor to the next by a deadline, otherwise they would be in the dark. They got off to a bad start and never recovered. The music again was a pre-recorded Beatles original track. The darkness also meant there were no Cirque elements I could, um, see. Sorry. DWTS Score – 18 | Cirque Score – 4 8 - Little People: LA star Terra Jolé & Sasha Farber Samba to “Tzelma” from “O” Again, the sound of the band was a very close approximation of the shows music. This is the first little person the show has had, and she has improved steadily week-to-week, though the height differential between her and her partner and her different body mechanics continue to be a challenge. Though the dance was good, it missed the beauty and longing present in the show, that was better incorporated by Lochte. DWTS Score – 25 | Cirque Score - 7 9 - Gold Medal Gymnast Laurie Hernandez & Valentin Chmerkovskiy Jazz dance to “The Way You Make Me Feel” from Michael Jackson ONE Gymnast Hernandez has been a leaderboard top performer since the beginning. There is something about the dedication and practice towards perfection that athletes are used to (as well as body awareness and ease of movement) that often helps them stand out in this competition. The 16-year old is also a big Michael Jackson fan, having costumed as him for 2 Halloweens. The dance is an interpretation of the video, with Val playing the part of Jackson. He has also done two routines to Janet Jackson songs, so is no stranger to Jackson-family music. With those factors in play (a favorite artist of the contestant, a familiar dance style and song, and a partner experienced in video dance interpretation) it was as if the producers had set her up for success. It was HOT, best dance of the night, and earned the first perfect score of the season. It was really great, but Cirque presence was missing. DWTS Score – 30 (Perfect Score) | Cirque Score - 5 10 - Singer Vanilla Ice (Robert Van Winkle) & Witney Carson Viennese Waltz to “La Nouba” from La Nouba The new ladder aerobatic act and Green Bird added atmosphere to this act, with Ice dressed as a ring-maker in a costume I couldn’t see as being very Cirque-related. The music was another great rendition and the dance was good but not great. Ice pointed out during the video package that he had five concerts to perform that week, so would only have a couple of hours between sound check and show-time to practice with Carson each day. Complaining about outside commitments has often been the kiss of death to voters, who figure if you’re not devoting all or much of your time to the competition you shouldn’t stay. DWTS Score – 23 | Cirque Score - 8 11 - Indy Car driver James Hinchcliffe & Sharna Burgess Quickstep to “The Hollywood Whiz” from Paramour A great way to end the show. Driver Hinchcliffe has been the surprise of the season, a true non-dancer (unlike many DWTS celebrities who have had prior dance training of some sort) who is coming into his own. His Hugh Jackman-like good looks and good-humored nature have endeared him to voters, as has his improvement as a dancer. Hinchcliffe plays director AJ Golden, with red-maned Burgessn – perfect to play Indigo. They visited the show in New York to meet the cast and get pointers. This is a more straight-up interpretation of the opening number of the show, incorporating show acrobats Chris and Remy. It sparkles, dazzles and entertains. DWTS Score – 28 | Cirque score - 10 The Tuesday night results show was a double elimination, with Babyface Edmonds (who had the lowest judge’s score of the night) and Vanilla Ice being eliminated. We are still in the early going where the worst dancers are eliminated before voting blocs, name recognition, and personality and character appeal become more important toward the middle of the competition. What, you thought they were just judged on their DANCING? Several times during the show a character or prop would make an appearance. The boot tricycle and bubble piano from LOVE, the Green Bird from La Nouba interacting with the judges. There was no attempt during these pieces to attach the object/character to a particular show. In this context it worked – it was all “CIRQUE” and I think brand awareness in general was the goal here. Though doing so might have made it feel like an infomercial, there was little context given to the theme of the show the contestants were “inspired” by. Something quick in the behind-the-scenes video package that explained “this show involves a scientist who unlocks a turn-of- the-century steam-punk-ey world of incredible visitors from another realm” (in the case of Kurios) would have been fine. As it was they were presented visually with no explaining context. The video package showed Lochte practicing in the “O” pool. Why is there a pool, what does it have to do with the theme of the show? Why is that half-naked red bird fella flipping about on the stage during the Mystere number, what’s he all about? There was next to no effort expended to explain that all these shows are different from one another, so they all ended up looking no different from one another. As my mother is happy to explain, “I’ve seen Cirque du Soleil once already.” That felt like a missed opportunity, but perhaps the TV show structure didn’t allow for it. I thought there would be a 30 or 60 second advertisement by Cirque, something to the extent of – (beautiful shots of acrobats and circus acts doing impossible things in the background) “all these shows you’re seeing interpreted here? They’re all different, all beautiful, and all worth seeing, and you can see them by going to CirqueduSoleil.com or calling this number for tickets.” Which might have brought the point home a bit more, but again risked the infomercial concern. While being interviewed on the DWTS All Access webcast, longtime Mystere Red Bird Ross Gibson revealed that plans for the Cirque/DWTS mash-up had been in process for several years. And that is likely an understatement. The amount of negotiation between Cirque, DWTS, and ABC over what Cirque shows to feature, what songs from those shows, clearances for the Jackson and Beatles songs, what pieces of Cirque intellectual property to include in the show, how to design costumes similar to but not exactly like Cirque costumes, even how the Cirque and DWTS logo would mesh must have been daunting. Add to that scheduling Cirque artists to perform at the show and the amount of prep with rigging, lights, costumes, makeup, stage management, safety, the list goes on. I’ll bet the “cast list” of people involved from the Cirque end is a long one (and deserves to be published - which we’d be happy to do if you want to contact us, Cirque)! This was an interesting foray for Cirque du Soleil, as it was for Dancing With The Stars. While it certainly raised Cirque awareness among millions of people with one show, I don’t think it did much to convince viewers to see multiple shows. That will now be their next challenge. Highlights from the show can be found on the Dancing with the Stars YouTube channel: < https://www.youtube.com/user/ABCDWTS > under “Week 4.” ------------------------------------------------------------ "Casting Q&A's - Meet an Artist, Part 2 of 6" Edited By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ Ever wonder what it would be like to become a Cirque du Soleil artist? Of course you have! Who hasn’t? Wonder no longer! Through a series of interviews on their casting website, Cirque du Soleil invites us to get to know some of their performers (past and present), and discover how each of them went from a career as an athlete, circus performer, instrumentalist, singer, dancer, actor, clown, or in another specialty to becoming a Cirque performer. They’re fantastic reads if you’ve had the pleasure, and if you haven’t, well, don’t despair. We’ve collected all 30 artist interviews for you to peruse in this series, which, due to the page count, we’ll publish in six parts. Last month we began with Q&A's from Anthony Gatto, Claudel Doucet, Denise Stefanie Gonzalez, Eric Scribner, and Eve Castelo Branco. We continue now with Hassan El Hajjami (Hip-hop & Breakdance), Jean-François Houle (Bandleaders), Jeanne Dioman Gbou (Ethnic & Traditional dance), Julia Lopatkina (Acrobatic gymnastics), and Kristin Allen (Gymnastics). # # # HASSAN EL HAJJAMI France | Dance, “popping" style Q. YOUR BIGGEST ARTISTIC ACHIEVEMENT IN YOUR PRE-CIRQUE CAREER: Juste Debout 2007 #3 in the World, European Champion 2004, World Champion Battle of the Year in 2003 (Pokemon Crew), Champion France 2003 Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND. Dancer, Performer, Choreographer and Artistic Director of the Lyon Opera Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? September 2005 Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? Cirque called and asked me to do an audition in Paris along with about 10 other “poppers". Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP? The audition lasted a whole day but thankfully I was in good shape and in the end I had a lot of fun competing for the role of “Walrus"! Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW? I had to do dancing and acting workshops, and learn English! Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? I get a lot of satisfaction from my role in LOVE. My solo act is fun and I get to play one of the most important characters in the show. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? Having a solo in one of the most important shows in the world is an honor. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? Being around so many other talented artists helped my transition and helped me increase my own level as an artist. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? It’s one of the best experiences I’ve ever had. I was able to learn a new language and meet new people… and to be a part of such a creative force is magical. Q. HOW IS LIFE IN LAS VEGAS? Vegas is filled with lots of fun people and things to do. The creator of the Electric Boogaloo lives here and in my spare time we hang out and dance together! Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US? Peace and love! * * * JEAN-FRANÇOIS HOULE Canada | Music Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND. I was producing music and touring professionally as a bass player, bandleader and “electronic noise-maker” for 20 years. Q. WHEN DID YOU JOIN CIRQUE? In 1996 I joined Cirque as a bass player/bandleader on the Asian tour of Alegrìa and in 2001 joined in the creation of ZUMANITY. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? In 1996 Cirque was looking for a musical director for the Alegrìa tour in Asia and a friend, who was the bandleader for Mystère, referred me. Q. HOW DID YOUR INTEGRATION GO (EITHER IN MONTREAL OR IN A SHOW)? Very well. My second integration, during the creation of Zumanity, was very cool because everything had to be created from scratch for my role. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? I like being able to perform music that supports an acrobat’s live performance, anything can happen… Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? Being part of one of the most prestigious companies in the entertainment industry and, at the same time, being part of a large family. I like the friendships between artists and how we are all motivated by the same thing: to make each show the best show possible! Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? As I had always worked in similar projects that included many musicians and technicians, my integration went very smoothly. Q. HOW IS LIFE ON TOUR AND IN LAS VEGAS? I liked touring because it gave me a chance to see Asia and Europe. Now that I live in Vegas, I love that too… the city is so dynamic! Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US? I very much liked being part of the creation of Zumanity. It was a very unique experience and I’m proud of what we did with it. * * * JEANNE DIOMAN GBOU Côte d'Ivoire | African Dance Q. HAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? F.I.T.D. – My dance group won the International Theatre Festival for Development in Africa Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND. I was a member of the “Ballet national de Côte d’Ivoire", a traditional dance group and an African contemporary dance troupe called Terzo Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? I began with Dralion in April 1999. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? Some people from the Cirque casting department came to the Ivory Coast in 1998 to see my group perform and videotape the show. Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP? The taping of my performance in the show was sort of my audition. Soon after, Cirque called to ask if I would like to work for them. Q. HOW DID YOUR INTEGRATION GO (EITHER IN MONTREAL OR IN A SHOW)? My integration into the role was a little difficult because the type of dance I was required to perform was different from the very traditional dance style I was used to. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? My role in Dralion allowed me to express my inner energy with a lot of fast movement and big facial expressions. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? I enjoy being able to work and live with people from many other cultures and disciplines, something I would not be able to experience in the Ivory Coast. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? It went very smoothly. The only difference is now I do the same dance every day. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? Cirque allows you the opportunity to do what you love and to learn from a lot of different people. Q. HOW IS LIFE ON TOUR? I love it. Life on tour is fun and fabulous! The only thing is we don’t always have enough time to do all personal stuff we like to. * * * JULIA LOPATKINA Russian Federation | Acrobatic gymnastics Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? I won the World Championships in 1999, 2000, 2002, 2004, European Championships in 2001 and 2003, World Games in 1997 and 2001, and the National Championships in 1997 and again from 1999 to 2004. Q. PLEASE TELL US ABOUT YOUR ATHLETIC BACKGROUND. I have been in Acrobatic gymnastics since I was 7 years old and my main discipline was Women’s Pair. Over seven years, my Pair’s partner Anna Mokhova (who works on Quidam now) and me won repeated World and European Championships as members of the Russian National Team. We were very lucky to work and interact with the best coaches and athletes throughout our athletic careers. In addition, I graduated from University with a Bachelor’s degree as a coach of Sports Acrobatics. I can definitely say that acrobatics is my life! Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL? I joined Cirque du Soleil during the general formation period in Montreal in 2005. Soon after, in 2006, I was invited to join “O" in Las Vegas. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? The first time I heard and learned about the organization was in 1999. At the time I was actively training and didn’t think that at some point I would become a Cirque du Soleil artist. However, six months after I finished competing as a professional athlete in 2005, I found myself accepting an invitation to the general formation in Montreal. Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP? To be a performer and not just an athlete was the most difficult skill I had to acquire. Learning to combine tricks and emotions, to express more than just acrobatics and opening myself to something so new was most challenging for me. Also, developing my acting, dancing and vocal skills, as well as learning make- up, were very new and interesting to me. Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW? In the beginning, I was just watching and learning everything around me. The next step was to slowly learn new tricks, choreography and cues. It was only after that, that I finally took part in the show. I think that the formation in Montreal was a very helpful experience for me. Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? When you are working in any Cirque show, you are taking on a huge responsibility to be the best in what you do. I am always reaching for new knowledge and trying to learn things from the performers around me. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? For me, it is being part of a big circus “family" and having the opportunity to work with professionals in my field, to communicate with interesting people from different countries and doing something I love to do. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? When your sport career comes to an end, you think you will never feel such strong emotions as the feeling you get standing with a medal. But it is not true! Cirque gave me a possibility to continue my career, only in another role. The transition was not that hard, as I continued to be engaged in my favorite activity. Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE? It is a wonderful opportunity to try new things, to discover new emotions, skills and impressions, and to begin a new and interesting life! Q. HOW IS LIFE IN LAS VEGAS? Las Vegas is a big and beautiful city. It is not the same as other cities in which I have been. There are a lot of people from all corners of the world and it charges the city with a special power. I like to live and work here! * * * KRISTIN ALLEN United States | Acrobatic gymnastics Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING CIRQUE? Right before my partner, Michael Rodrigues, and I joined Cirque du Soleil, we won the 2010 Acrobatic Gymnastics World Championships in Poland. Becoming World Champions was our biggest achievement and our ultimate goal. Also, in 2009, we made history by becoming the first American acrobatic gymnasts to win a gold medal at the World Games. Q. TELL US ABOUT YOUR ATHLETIC BACKGROUND BEFORE JOINING CIRQUE. I started acrobatic gymnastics when I was 9 years old, and I competed in the sport for 10 years. Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? I joined Cirque in 2010. We were approached by a Talent Scout. He contacted us two weeks after we sent in our letter of retirement to FIG (International Gymnastics Federation) to offer us a position in the show Viva ELVIS. It was the perfect transition. We were in Las Vegas just a month after we finished competing. Q. WHAT KIND OF EXPERIENCE WAS TRAINING TO PERFORM FOR VIVA ELVIS? We worked with an acrobatic coach and a dance choreographer to create our act in Viva ELVIS. They helped us develop our characters in the show. We were already playing characters in our regular competition routines, so it's been rewarding to be able to push our acting even further. I've loved having the opportunity to embody the essence of Priscilla Presley every night. Q. WHAT WAS IT LIKE INTEGRATING INTO THE SHOW? I think that we started to do the skills that are very traditional to Acrobatic gymnastics but in a new context. It's very cool since it's really similar to a competition routine in a way but with more acting and more dance and performance. It allowed us to grow in that aspect. Q. HOW HAS BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOWED YOU TO EXPRESS YOURSELF IN YOUR DISCIPLINE? Our act is similar to a competition routine in a way, but with more acting, more dance, and more performance. We were able to do traditional acrobatic gymnastics skills in a new context. For many years we trained to be consistent for competition, and I believe this has helped us to be consistent every night in the show. We take pride in giving our best performance to each and every audience. Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL? There are so many things I love about working for this company, but if I had to pick one thing, I would say that I love the performance aspect. Every audience brings a new energy. Even though I am doing the same acts every night, they feel fresh and exciting every time. Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR CURRENT CIRQUE CAREER? Cirque du Soleil has been the best transition from competition to a professional career. I believe it's the biggest thing you can do after a competitive career in acrobatic gymnastics. Working on a Cirque stage gives you credibility and takes you to the next level as an athlete and performer. Q. HOW IS LIFE IN LAS VEGAS? As in any move to a new city, there is an adjustment period. However, there is something very special about immersing yourself in a new place. Las Vegas has a unique and wonderful performance community that I am so grateful to be a part of. Q. WHAT WOULD BE YOUR ADVICE OR SUGGESTION TO YOUNG PEOPLE FROM ACROBATIC GYMNASTICS? Keep being passionate about the sport and develop the performance aspect of your routines. Also, consider taking some acting and dance classes on the side, because it will help your performance within the sport as well as in a future career. Q. WHAT OPPORTUNITIES HAS CIRQUE GIVEN YOU? A lot of amazing experiences! We were able to travel and do many guests appearances at various special events, including live TV performances. One of my favorite opportunities was going to Graceland to perform at Elvis Week. Q. WHY WOULD YOU RECOMMEND THAT AN ARTIST JOIN CIRQUE? I think Cirque du Soleil takes incredible care of their artists. All you have to do is focus on performing, and everything else is taken care of. The creativity that you are around is unlike anywhere else. It is so inspiring. Acrobatically and artistically, I believe it's the best environment you can be in. # # # Stay tuned for more pieces of this series coming soon! In Part Three: Lionel Hamel (Stringed instruments), Lisa Skinner (Artistic gymnastics), Marco De Santi (Extreme sports), Melissa Urbano (Martial arts), and Michael Joseph Hachey (Stringed instruments). In Part Four: Miho Kono (Synchronized swimming), Miro Lacasse (Physical Actors), Noriko Takahashi (Diverse abilities), Odmaa Bayartsogt (Other disciplines), and Oleksandr Pylypenko (Athletes). In Part Five: Paulo Lorador (Balancing), PJ Bogart (Diving), Raphaël Sanchez (Keyboards), Ross Gibson (Tumbling), and Sabú Alegría (Wheels). And in the final installment: Suo Liu (Martial arts), Tumelo “Michael" Moloi (Other dance styles), Vanessa Convery (Jazz & Tap dance), Zara Tellander (Female vocals), and Zeng jiao JIAN (Martial arts). ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 16, Number 10 (Issue #153) - October 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. { Oct.12.2016 } =======================================================================