======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 19, NUMBER 5 May 2019 ISSUE #184 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. It should come as no surprise that Alegría: In a New Light takes center stage in this month's issue, as the show made its worldwide premiere on April 18th, followed by its gala premiere on April 25th. Inside you'll find texts from the Press Kit, which was released at the end of April ("ALEGRIA: The Return of an Icon, in a New Light") and a small collection of articles/reviews found in the press on the show's premiere ("Alegria Returns in Force" - A Collection of Articles Celebrating Alegria's Premiere). Of course, we also wanted to talk about the show's new soundtrack but as many of you know, the new album - which was due to be released on April 25th - was delayed for reasons unshared. With no new release date given, we can only speculate as to the reasons for the delay (the addition of an accordion? A complete change in music from what was recorded?), but there's no denying the new music is certainly in demand. And considering some of the hatred this new version of Alegria has stirred up amongst some fans, this is a good thing, even if it's frustrating to wait. What we don't have to wait for is Alegria's tour plans through early 2021. Check out the ITINERAIRE section to see where Alegria's blue-and-white swirled big top (so named "SOHÏEL" by Guy Laliberte before the final dress rehearsal audience. The name means "Messenger of the Sun") will be TENTATIVELY going throughout 2019 and 2020! That being said, there's PLENTY of other news to highlight this month. In fact, thanks to an article from the Las Vegas Review-Journal (that you can read in full within, we can celebrate the fact that Mystère, (which just celebrated its 12,000 performance) has had its contract extended another five years. “... and if I believe (hotel owner) Phil Ruffin, and I do, the show is there forever,” Lamarre said. Lamarre also went on to say that Cirque never considered reassessing its staging of MJ ONE following the explosive HBO Documentary "Leaving Neverland", nor is it ready to pink-slip the acrobats in its shows. “I think the challenge for us is each show has to be distinctive, to have new ideas to apply to acrobatics. We’re not saying no, forever. But now, our clientele looking for acrobatic shows is very well served.” Mr. Lamarre is speaking of the company's new show "R.U.N", which does not feature the acrobatics that Cirque du Soleil is famous for. Opening October 24th, “R.U.N” is presented as a kind of “Fast & Furious” action-adventure film set for the stage - a new project you also can read all about within. In addition to other projects - which include SYMA, VARELIA, VITORI, REBEL, and JOYEUX CALVAIRE from Cirque du Soleil's recently rebranded Events + Experiences subsidiary (previously 45 DEGREES), there's something called "Cirque du Soleil AXEL" on its way. Registered on April 11th, this trademark is to be used for "Entertainment services, namely, conception, creation, production, and presentation of theatrical performances; conception, creation, production, distribution and presentation of audio-visual performances and multimedia entertainment content rendered live and recorded for the purpose of distribution through broadcast media; production of multimedia theatrical performances." As always we'll have to wait and see what this will end up being! And I think that will do it for this month. So, let's go! /----------------------------------------------------\ | | | Join us on the web at: | | < www.cirquefascination.com > | | | | Realy Simple Syndication (RSS) Feed (News Only): | | < http://www.cirquefascination.com/?feed=rss2 > | | | \----------------------------------------------------/ - Ricky "Richasi" Russo =========== CONTENTS =========== o) Cirque Buzz -- News, Rumours & Sightings * La Presse -- General News & Highlights * Q&A -- Quick Chats & Press Interviews o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Outreach -- Updates from Cirque's Social Widgets * Webseries -- Official Online Featurettes * Videos -- Official Peeks & Noted Fan Finds o) Fascination! Features * "ALEGRIA: The Return of an Icon, in a New Light" Texts from the Press Kit Edited By: Ricky Russo - Atlanta, Georgia (USA) * SPECIAL /// "Alegria Returns in Force" - A Collection of Articles Celebrating Alegria's Premiere * Jean David's Quel Cirque, Part 5 of 12: "Persuasion" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ------------------------------------------------------- ICYMI: Discover SYMA and VARELIA from Cirque at SEA {Apr.10.2019} ------------------------------------------------------- Cirque du Soleil at Sea is a unique entertainment concept created by MSC Cruises, the world’s largest privately owned cruise line, and Cirque du Soleil, the world leader in live entertainment. In March 2019, two brand new Cirque du Soleil at Sea shows, SYMA and VARÉLIA, launched on board MSC Cruises’ new flagship, MSC Bellissima. The leading cruise line has revealed today details of the inspiration and creative process behind these two original new shows along with the exclusive first images of the spectacular performances. Every element of each new Cirque du Soleil at Sea show is unique from the concept and storyline, the characters, the costumes and makeup through to the music, staging and sound effects. The concepts are first developed by the experienced and talented creative team based at Cirque du Soleil’s international headquarters in Montreal, Canada. Following a rigorous casting process and intensive ideation workshops, the shows are then refined and brought to life on board the ship in the custom-built entertainment venue, the Carousel Lounge, designed to meet the specific needs of Cirque du Soleil. The long-term partnership will result in eight original shows that can only be seen on board the Meraviglia class ships. Each ship will offer two brand new contrasting shows to deliver a truly unique and intimate experience for MSC Cruises guests. SYMA is a fantastical odyssey into the heart of an imaginary world, and the search for a mysterious island inhabited by phantasmagorical creatures. The guests on board MSC Bellissima are embarking on a journey of discovery, just like the main character of the show. Immersive video images, an original set design, bioluminescent lighting and acrobatic feats make SYMA an unforgettable show. VARÉLIA is a tale of modern chivalry where love and courage triumph over the greatest divides. A medieval tale with a futuristic twist, VARÉLIA follows a classic story arc in a cartoonesque world which adds a humoristic touch. Audiences will delight in the acrobatic feats, the laser show and the unique set design. CHECK OUT IMAGES OF SYMA AND VARÉLIA HERE LINK /// http://www.cirquefascination.com/?p=12519 With these two new shows, Cirque du Soleil continues to push creative boundaries with the introduction of innovations in staging, makeup, costumes and performances. Some of the highlights include: o) The Underwater Creatures characters in SYMA have ultraviolet iridescent makeup, which, along with parts of their costume, glow under special lights built into the custom-made Carousel Lounge o) The creative team have used video projection mapping for the first time in SYMA to project content onto tangible set elements and props on stage to add yet another visual element to the show. This technology enhances the guest experience by animating static objects and surfaces. o) The finale of VARÉLIA includes a breathtaking roller skating duo spinning at incredibly high speeds while completing complex tricks. This, coupled with an aerial hoop duo, creates a spectacular floor- to-ceiling climax. o) Laser lights are used in VARÉLIA to create a futuristic and changing set design. They convey the theme and atmosphere of the show. With a strong focus on aesthetic principles the lasers create graphic figures and illusions where Cirque du Soleil at Sea artists can thrive. Cirque du Soleil at Sea can be booked in advance at a reduced rate or whilst on board during the cruise for any remaining seats. Guests can either book to enjoy a three-course menu of palate-pleasing dishes served before the show (€35), or sip on a specialty cocktail (€15) and enjoy the pre-show that begins 30 minutes before the start of the Cirque du Soleil at Sea performance. MSC Meraviglia was the first ship to debut the new Cirque du Soleil at Sea concept with the launch of the two shows VIAGGIO and SONOR in June 2017 and recently celebrated the 1,000th performance on board., Work is already underway for the next shows for MSC Grandiosa, that will launch in November 2019. { SOURCE: MSC Cruises } ------------------------------------------------------- Cirque/FCAD launch The Future of Live Entertainment Lab {Apr.10.2019} ------------------------------------------------------- Cirque du Soleil Entertainment Group (CDSEG) through its innovation lab, Nextasy, and FCAD, Ryerson’s Faculty of Communication and Design have come together to launch The Future of Live Entertainment Lab (FOL!E), dedicated to innovation research in the live entertainment industry. This powerful initiative combines Ryerson University’s strength as Canada’s leader in innovative, career-oriented education, with CDSEG’s expertise as a live entertainment global leader, to create a laboratory that will focus on using technology to enhance human performances, developing methodologies for live audience analytics, and generating deep insights into social and economic paradigms shaping the industry. “We’ve always invested internally to push the boundaries of our own creations and creative minds, but FOL!E is our first official step to open up our research and development initiatives to the outside world. There is no doubt this academic partnership will contribute to pushing the live entertainment industry to the next frontier.” says Diane Quinn, Chief Creation Officer at Cirque du Soleil Entertainment Group. Charles Falzon, Dean of FCAD says, “We are thrilled to have found a partner who has at heart as much as we do, the training of the next generation of live entertainment leaders. FCAD‘s research is at the intersection of technology and creative storytelling and who better to partner with than Cirque du Soleil, the biggest and best Canadian cultural export who has raised the bar of innovation in those fields for the last three decades.” Housed in the Catalyst at FCAD, a new interdisciplinary research hub home to 20 labs and centres, FOL!E will bring together faculty and students from FCAD’s nine creative schools to develop projects in high-interest areas for academic and field-based research. Under the leadership of Louis-Etienne Dubois, faculty member in the School of Creative Industries and newly appointed Director of FOL!E, researchers will also have access to CDSEG’s expertise and audience insights coming from the Group’s facilities worldwide including its international headquarters in Montreal. Through a unique interdisciplinary approach that blends technology and creativity, CDSEG has committed funding and expertise to tackle questions of how the changes in audience preferences, emerging technologies and shifting economic conditions are creating new possibilities for the live entertainment’s industry. FOL!E’s initiatives and findings on the potential social, educational, and commercial impacts will be disseminated through academic conferences, journals, an annual showcase event and through Nextasy’s online platform that shares trends and insights in live entertainment and creative innovation. ABOUT FCAD The Faculty of Communication and Design is the cultural and creative hub at Ryerson University. With its nine prestigious schools in media and creative industries, FCAD’s interdisciplinary innovation and education are shaping the future of the creative industries. ABOUT RYERSON UNIVERSITY Ryerson University is Canada’s leader in innovative, career-oriented education. Urban, culturally diverse and inclusive, it is home to more than 45,300 students, including 2,600 Master’s and PhD students, 3,800 faculty and staff, and nearly 198,000 alumni worldwide. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- 45 DEGREES Becomes "Cirque du Soleil Events + Experiences" {Apr.24.2019} ---------------------------------------------------------- Cirque du Soleil, the world-renowned live entertainment provider, has announced a new identity for their events and special projects division. Formerly called 45 DEGREES and a subsidiary, the newly named Cirque du Soleil Events + Experiences now operates within Cirque du Soleil, charged with expanding the company’s bespoke live entertainment offerings to an international clientele under the strength of one unified brand. Cirque du Soleil Events + Experiences leverages the brand’s trademark creativity and technical ingenuity to produce truly unique entertainment that is tailored to meet the needs of partners. For nearly two decades, the company’s events branch has operated successfully in both the public and private sectors. Its portfolio stretches from corporate events for Fortune 500 companies, to cultural attractions commissioned by heads of state, to live performances on some of the most-watched television broadcasts in history. Notable examples include the launch of Microsoft Kinect, the creation of Cirque du Soleil at Sea, an exclusive partnership with MSC Cruises, and two appearances at the Academy Awards. “The events division has extended the Cirque du Soleil brand beyond its traditional activities.” explains Yasmine Khalil, Chief Executive Producer of Cirque du Soleil and President of Cirque du Soleil Events + Experiences. “Events + Experiences initiatives continue to be a key part of our business and we remain focused on raising the bar in the industry with creativity and innovation for new partners the world over.” ABOUT CIRQUE DU SOLEIL EVENTS + EXPERIENCES Cirque du Soleil Events + Experiences creates and produces bespoke live entertainment for an international clientele who are looking for one-of-a-kind, world class experiences. Whether it’s private events, tourist attractions or large-scale productions, each venture is tailored to meet the clients’ objectives and leverages Cirque du Soleil’s unique wealth of creative expertise. For nearly two decades, the division has amassed an impressive portfolio that includes performances at the XLVI Super Bowl Halftime Show and the 84th Academy Awards, and gained accolades for their work on the T.O. by Lipton ad campaign, the Expo Astana 2017 show REFLEKT, as well as Helene Fischer’s 2018 concert tour show design. Cirque du Soleil Events + Experiences is more than circus entertainment; their awe-inspiring imagination can generate endless possibilities making them the ideal partner in the business of amazing audiences. Cirque du Soleil Events + Experiences is a division of Cirque du Soleil. Find out more at cirquedusoleil.com/events. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- ONOD 2019 Raises Over Six Million Dollars {Apr.27.2019} ---------------------------------------------------------- One Drop is thrilled to announce the final results of One Night for One Drop imagined by Cirque du Soleil presented by MGM Resorts International and COLGATE. More than $6 million were raised by the generous support of the foundation’s partners and donors during the seventh annual philanthropic event held inside the “O” Theatre at Bellagio Resort & Casino on March 8, 2019. The evening spotlighted an exclusive lineup of six spectacular live auction items and experiences that raised over $1.35 million, in addition to funds from ticket sales and donations, totaling more than $6 million. For the first time ever, this year’s sold-out event was featured on CBS Television Network and the one-hour, primetime special garnered more than two million views, creating further awareness and advocacy for access to safe water around the globe. All proceeds will directly support One Drop’s safe water access initiatives in some of the world’s most vulnerable communities, as well as educational efforts throughout the Las Vegas community. One Night for One Drop imagined by Cirque du Soleil, co-written and directed by André Kasten and Leah Moyer, mesmerized the 1,800 spectators with an emotional production that included award-winning film score composer Hans Zimmer, celebrated Las Vegas headliner Blue Man Group, internationally recognized choreographers Andrew Winghart and Alexander Ekman, as well as world-renowned creatives Keone and Mari. The performers, who all generously volunteered their time, took the audience on an empathetic journey, drawing inspiration from human connection, friendship, beauty, nature, love and loss, in an aquatic ambiance. { SOURCE: One Night for One Drop } ---------------------------------------------------------- R.U.N – the first live action thriller by Cirque du Soleil {Apr.30.2019} ---------------------------------------------------------- Desert at dawn. A chapel. A gangland wedding is abruptly interrupted. A guy is running for his life. What has he done? What is it worth risking his life for? Follow two clans in this never-ending chase where a striking Bride leads a series of fast paced, thrill-a-minute events through the fictional dark undergrounds of Las Vegas. Prepare to clench your teeth and grip your armrest. 75 minutes of pure live action. Are you in? What would happen if a blockbuster Hollywood action movie was combined with a creative Cirque du Soleil stage production? Cirque du Soleil Entertainment Group is excited to announce R.U.N – a groundbreaking new show and the entertainment group’s first live action thriller, premiering at Luxor this fall. R.U.N is an unprecedented entertainment experience, using live action performance, cutting-edge technology and multimedia to explore the world of stunts. Audiences will be plunged into a sensory experience where special effects collide with human performance, pushing viewers to the edge of their seats. Chapter by chapter, guests will be taken through a gritty, cinematic story featuring bold, rebellious and fearless characters. The show will follow two clans in an adrenaline-filled adventure where a striking bride leads a series of fast-paced chases, combat and stunts through the fictional dark underground of Las Vegas. Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group, said, “R.U.N is very different from the other shows within the Cirque du Soleil portfolio. With R.U.N, we will reinvent the concept of a thriller, drawing inspiration from action movies and graphic novels. This action-packed live performance happening in front of and around the audience, will offer a new form of entertainment to a more diversified Las Vegas guest. We are really excited to bring this unique and edgy concept to Luxor.” Months in development and still in its larval stages, “R.U.N” is an aggressive departure from Cirque’s proven formula, in Las Vegas and abroad. This show is Cirque’s clear attempt to create an action-movie experience in a live Las Vegas Strip production. Expect characters to zoom about on motorcycles and hyped-up cars. There are promises of fistic flourishes, too. “There will be people chasing each other. There will be people literally running around you. There will be fights,” Lamarre says. “The difference here is, it’s a show and not a movie. You’re not just sitting there, you are part of the action.” The show’s title itself is action-driven. The production had been loosely referred to under the working title “Jump,” but Lamarre’s 21- year-old son, Arthur, saw the word “run,” and called off the letters, ‘Are you in?’ “When you see it that way, you feel the possibility of being part of the action,” Lamarre said. “That is what we were looking for.” A MAJOR DEPARTURE ----------------- “R.U.N” will be the company’s 47th original production and 10th resident show presented on the Strip, and it marks a major departure from what audiences have come to expect. There won’t be an acrobat in sight. Although the Montreal-based entertainment company is known for its aerialists, tumblers, contortionists, divers and the like, Cirque is proclaiming this show the dawn of a new era. “We see it as the first live action thriller by Cirque du Soleil. If you take the [top] 10 movies today, [likely] nine out of 10 are action. And that’s why we thought there was potential to do a live action show,” says Daniel Lamarre. The company assembled a team split between Hollywood professionals and in-house experts to bring this show to life. Film director Robert Rodriguez (“From Dusk til Dawn,” “Alita: Battle Angel”) wrote the story, and composer Tyler Bates (“Guardians of the Galaxy,” “Atomic Blonde”) wrote the music. Stage director Michael Schwandt, whose work spans both television and live performance, is directing. Hollywood stunt experts are helping coordinate the blockbuster elements, while Cirque du Soleil executives are making sure that “R.U.N” works as live theater and wows audiences in the way they’ve come to expect from the company’s productions. “We have always wanted to work with people from the stunt industry,” Daniel Lamarre said. “There is a similarity between acrobatic acts and stunts artistry, which is a mix of human performance and technology. We gave them a mandate to invent a new type of life experience, a hybrid between Hollywood film and live performances.” Lamarre says Cirque du Soleil has always nurtured its relationship with Rodriguez. “Because of his movie experience he was able to write a story that will be compelling. And the narrative will be easy for the audience to [follow],” he says. “We have brought together a team that has expertise in stunts, movies and visual effects and the Cirque du Soleil side has amazing experience in theatrical, sound and live performance.” “You have that group coming from the stunt/movie industry combined with our Cirque creative and production people that are used to live [entertainment] and that’s why I like this idea,” Lamarre said. “Movie people working with live people to deliver an immersive experience. When you sit in your seat, we want you to forget you’re watching something and feel more like you are a part of something. You will be surrounded by giant screens and visual effects and a lot of stunts happening live.” And that experience will start when you walk in the lobby. “You will have the feeling as you put your first foot in the door that you are moving into a different world,” Lamarre says of the theater that was occupied for 10 years by Cirque du Soleil’s collaborative production with illusionist Criss Angel. “We are adding screens and we are surrounding the spectator as much as we can to create this idea being part of the action. You might see a scene where a portion of it will be totally live but the background might be movies. When we have conducted our research about what people were looking for in terms of new content in Vegas, people wanted to see a show where they’re not just there as a spectator but they have the feeling that they are a participant. And that’s why immersive is the key word.” Taking inspiration from graphic novels, R.U.N uses live action performance, technology and multimedia to explore the world of stunts. Set in the underground of Las Vegas, R.U.N actually features a script — unlike most Cirque shows — that centers on a striking bride who leads a series of fast-paced chases and combat sequences. There will be around 60 cast members and as of this announcement, 90 percent are selected. “Our casting department has been overwhelmed by how many stunt people there are so now, it’s almost like we have opened a new branch,” says Lamarre. “And we have conducted workshop for many months now to make sure that the stunts would remain very credible when they are live.” COURTING YOUNGER AUDIENCES -------------------------- Lamarre says he hopes the show will attract younger audiences who are perhaps more likely to catch the latest Avengers movie than to buy a ticket for live theater. “We are quite spoiled or lucky that we have been able to maintain a huge volume of tickets on the Strip,” Lamarre says. “I’m not complacent. We do need to surprise people all the time.” Bringing an energetic action movie to life is part of the strategy to attract younger audiences. “We looked to our audiences who are seeing Cirque du Soleil shows, and those who are not seeing Cirque shows — there are a few,” Lamarre said, chuckling. “We talked to people who are show-goers, and people who are not and asked, ‘What kind of content can we offer to you? It was quite compelling in that live action would be a genre to attract new people, and also a genre that Cirque du Soleil fan would find interesting.” Cirque fans who want acrobatics can find them at any of the company’s other Strip shows. “We want to give people something totally, totally different,” Lamarre says. “When people see Cirque on a banner, they expect spectacle.” For Las Vegas audiences who’ve grown accustomed to Cirque’s acrobatic spectacles, Lamarre hopes “R.U.N” will defy expectations. “I would like you to walk from the theater, shake your head and say, ‘Oh my god, they got me again.’” Although it remains the dominant entertainment force in terms of ticket sales on the Las Vegas Strip, Cirque recognizes that audiences are changing and demand is evolving. “You have no idea how important it is for us to go in a new direction,” Lamarre says. “We’re hoping to attract a younger crowd. And as soon as you see the visual of this show, you will get it in a heartbeat.” An innovative and distinctive show that will push the limits of a live entertainment experience, R.U.N is the 10th partnership between Cirque du Soleil and MGM Resorts International. “Throughout MGM Resorts’ more than 25-year relationship with the creative geniuses at Cirque du Soleil, we have watched them deliver spectacle after spectacle, wowing guests from around the world and giving them new reasons to visit,” said George Kliavkoff, MGM Resorts’ President of Entertainment & Sports. “This fall, the launch of R.U.N at Luxor, a show that represents a complete departure from anything Cirque du Soleil has created before, will mark a new and exciting phase of this very successful partnership.” “This is the first of many new and exciting stories coming out of the Luxor, but this is the biggest and we’re really excited about it,” said new Luxor President and COO Cliff Atkinson. “It’s going to be a significant show and it’s really going to change not only MGM Resorts’ entertainment offerings, but we’re also really excited for Cirque to be able to present this departure from what it’s done in the past.” Despite all the Montreal-based company has achieved in Las Vegas and its near-synonymous relationship with Strip entertainment, Lamarre said the creation of an original show remains a challenging, exciting and nerve-wracking endeavor. “You have no idea of the anxiety,” he said. “And it’s healthy. Because if we say, ‘We’re Cirque du Soleil and so people will come,’ it wouldn’t work. That would be the beginning of the end. We’re just totally blind right now, diving in and hoping for the best. We are not stupid either, we have experience and we have great people and I think we are mitigating our risk by doing our homework. But you never know in live entertainment how people are going to react and that’s the excitement of working in the entertainment business in this city in particular.” R.U.N will begin performances on October 24, 2019 and play in the R.U.N Theater at Luxor Hotel and Casino 10 performances a week, Wednesday through Sunday at 7 p.m. and 9:30 p.m. Tickets are on sale now and start at $69 plus tax and applicable fees. Tickets can be purchased by visiting RUNLASVEGAS.com, by calling (702) 352-0221, or (855) 706-5433 as of May 1, or in-person at the R.U.N Theater box office. { SOURCES: Cirque du Soleil, Las Vegas Sun, Las Vegas Review Journal, Hollywood Reporter, and San Francisco Chronicle } ---------------------------------------------------------- Cirque du Soleil to Perform VITORI (Victory) in MALTA {Apr.30.2019} ---------------------------------------------------------- Cirque du Soleil will be performing ‘Victory,’ a show especially created and exclusively performed in Malta Cirque du Soleil will be performing 28 shows over six consecutive weeks, starting from the 27 November, through till the 20 of December in Malta, the Malta Tourism Authority has announced. Speaking at a press conference, at the Mediterranean Conference Centre on Tuesday, MTA Chairman Gavin Gulia said Cirque du Soleil would be performing shows daily from Tuesday to Sunday, with two shows per day on the weekends. “We are honoured that Cirque du Soleil is coming to Malta, and hope that it will go a long way in enhancing the reputation of the Maltese islands, but also the MTA in the production and importation of events. The MTA has focused heavily on events, and hopes to see Cirque du Soleil become one of its foremost flagships,” Gulia said. He added that the MTA hoped that the brand would bring more visibility to Malta. Tourism Minister Konrad Mizzi said that it had been a milestone of the ministry to contract Cirque du Soleil to perform in Malta. “We felt that there was a gap in the market and that it would be well received by not only the Maltese but tourists alike. Hoteliers have already experienced their excitement that Cirque du Soleil will be performing during the later part of the year.” Mizzi said, said that the show, which has been specially created for Malta entitled ‘Victory’ will be centred around a chess team. “We have secured a contract with Cirque du Soleil that will ensure, a new show is performed exclusively in Malta for the duration of our three-year contract with the brand.” The entertainment group’s vice-president, Daniel Lamarre said that they were proud to bring Cirque du Soleil to Malta for the very first time, in Cirque du Soleil history. “The performance is created exclusively for Malta, with the 60 minutes production being the first of the three-year agreement, which will be presented right here at the MCC,” Lamarre said. { SOURCE: Malta Today } ---------------------------------------------------------- Criss Angel fires a shot at Cirque as R.U.N is announced {May.01.2019} ---------------------------------------------------------- Criss Angel has thrown a fireball at Cirque du Soleil, and the company’s new production “R.U.N.” On Tuesday, the day Cirque announced its new, immersive, action-movie- fashioned stage show at Luxor, Angel posted the social-media message, “Sorry, @Cirque it’s already been done” with a kissy-face emoji and the #CrissAngel #Mindfreak @PHVegas #immersive tags. The posts was highlighted by three photos of Angel’s latest show at Planet Hollywood, “Criss Angel Mindfreak,” two of which show fiery scenes. One of those shots shows Angel in Human Torch mode, posing amid plumes of pyro. A Cirque spokeswoman had no comment when asked about the post. Neither Angel or his PR agency, Kirvin Doak Communications, have responded to text for comment. KDC is in the precarious position of simultaneously representing Cirque, Angel and one of Angel’s production partners at Planet Hollywood, Base Entertainment. Officials with Caesars Entertainment, which owns Planet Hollywood, did not respond when asked if Angel was posting with the company’s consent, or was speaking independently. With this post, Angel might well have touched off an early rivalry between his thundering show and Cirque’s new thrill-seeking production. Angel, who has called his Planet Hollywood show “the most technologically advanced live-entertainment production on the planet,” was a Cirque headliner for a decade at Luxor. His second show, “Mindfeak Live,” closed in October. “R.U.N” is the replacement and opens Oct. 24. On April 19, Angel announced he was cutting the 9:30 p.m. shows from his schedule at Planet Hollywood so he could reduce the wear and tear on his left shoulder. He plans to undergo rotator cuff surgery in March. Angel also reported his show will run through 2024. Meantime, “R.U.N” is to play out in a fully scripted, blockbuster- style format of chase scenes through Las Vegas and hand-to-hand- combat. Its very logo indicates the production’s action-adventure intent, with blood dripping from the show title. The new show also is a dramatic departure from Angel’s magic-centered, star-fronted, format. As Cirque President and Chief Executive Officer Daniel Lamarre said Monday morning, “Having a star is not part of the plan. As with most of our shows, the show is the star.” { SOURCE: Las Vegas Review-Journal } ---------------------------------------------------------- Cirque Rates #1 in Canadian Reputation Study {May.02.2019} ---------------------------------------------------------- Entertainment company Cirque du Soleil outperformed all other Canadian companies to earn the number one ranking in the fifth annual 2019 Canada RepTrak 50, the largest corporate reputation study ever conducted in Canada, Reputation Institute announced today. Mountain Equipment Co-op (MEC), which ranked number one for two consecutive years, fell to the number two spot. Cascades and Canadian Tire are the only two companies that maintained a rank in the top 10. Jamieson’s six point increase translates into an eight point rank jump, moving from 11th to 3rd most-reputable Canadian company in 2019. “Cirque du Soleil built its reputational safety net by delivering an outstanding performance across all of the key business areas of reputation,” said Stephen Hahn-Griffiths, chief reputation officer at Reputation Institute. “The company stands alone as being excellent when it comes to mastering the reputation balancing act.” The study by Reputation Institute, a technology-enabled, data-driven insights company and provider of reputation measurement and management services, was conducted last January and February. It measured the reputation of more than 400 of the largest and most visible companies in Canada and captured nearly 41,000 individual ratings. Once measurement filters were applied, 209 companies were eligible for inclusion within the 2019 Canada RepTrak 50. The top 10 Canadian companies in the 2019 Canada RepTrak 50 are: 01. Cirque du Soleil 02. Mountain Equipment Co-op 03. Jamieson Vitamins 04. Cascades 05. Home Hardware 06. Interac 07. Canadian Automobile Association 08. IMAX Corporation 09. Canadian Tire 10. Metro Inc. Major strategic business factors underscored the significant increase in reputation for Canadian companies vs. non-Canadian companies that operate in the country. These factors included the practice of good governance, the workplace, being perceived as a good corporate citizen, and elevation of leadership as being vital to the overall reputation increase of Canadian companies. The highest improvement came in the area of innovation. “In 2019, innovation has emerged as a significant reputational differentiator for Canadian companies,” said Hahn-Griffiths. “They are on the verge of unleashing their enhanced innovative capabilities and breaking into the top 20 Bloomberg Innovation Index for the first time since 2015. By continuing to push the innovation envelope, Canadian companies are raising their game and becoming more competitive with foreign companies.” About Reputation Institute — Reputation Institute (Ri) helps leaders at the world’s largest companies build credibility with the people that matter most to them by delivering data-driven insights about how they are truly perceived. We do this with RepTrak®, an unrivaled technology that provides actionable insights across industry, competitor, and company analysis. Past and present clients have included Whirlpool, Barnes & Noble, JP Morgan Chase & Co., LEGO, P&G, Cisco, and Telefonica, among many others. For more information, please visit www.reputationinstitute.com { SOURCE: Business Wire } ---------------------------------------------------------- Lamarre: Acrobats still part of the act; ‘MJ One’ to stay {May.08.2019} ---------------------------------------------------------- Daniel Lamarre is not ready to pink-slip the clowns and acrobats in Cirque du Soleil. “I think the challenge for us is each show has to be distinctive, to have new ideas to apply to acrobatics,” Cirque’s CEO and president said this past week in an interview in the company’s Las Vegas headquarters. “We’re not saying no, forever. But now, our clientele looking for acrobatic shows is very well served.” Lamarre’s company has just announced “R.U.N”, a show it stresses does not not feature the acrobats and clowns that made the company famous. The company is expanding beyond the gymnasts and aerial and aquatic artists bounding around its other six shows on the Strip. Opening Oct. 24, “R.U.N” is presented as a kind of “Fast & Furious” action-adventure film set for the stage. The company’s energy is behind that new show, the first Cirque show to open on the Strip since “Michael Jackson One” launched in 2013. Lamarre spoke of the Cirque universe beyond the new show. Some highlights, and note Lamarre’s repeated use of “machine” in describing the company: Cirque never considered reassessing its staging of “MJ One”: Lamarre answered, “No, no,” when asked if the explosive HBO documentary “Leaving Neverland” had initiated discussion of pulling the Jackson tribute show from Mandalay Bay. Lamarre reiterated that Cirque is not involved in the Jackson “estate’s litigation against HBO. He added, “The good news there is that we’re still selling very, very well, and it’s almost as if there is a movement right now from the Michael’s fan to really support everything he does … including ‘MJ One.’” Other production shows can’t match the Cirque “marketing machine:” Look no further than “Fuerza Bruta,” which flamed out after five weeks at a reinforced tent at Excalibur. “We are still in a unique position in Las Vegas, and we saw it recently when ‘Fuerza Bruta’ came in and they had to shut it down after a few weeks because they didn’t have the machine, the marketing machine, that we have,” Lamarre said. “Before you buy ticket to so a show other than a Cirque du Soleil show … you will have to struggle, because I have so many shows to offer to you. I know a lot of people who have come here and seen two shows, three shows, with Cirque du Soleil and they don’t get bored. That dominant situation we’re in has allowed us to maintain the level of ticket sales to succeed.” Cirque is opting for “dynamic pricing” in its ticket strategy: The 40 percent off for “Love” or 2-for-1 deals for “Zumanity” are results of demand for tickets across all Cirque shows. “We did not have this until after 2012, when we found it was a little bit more difficult for us in this city,” Lamarre said. “But now we have ‘dynamic pricing,’ a little bit like an airline company, where we can play with our ticket pricing depending on what day of the week, and the occupancy level and all of that. … We have been able to keep about the same level and even a little bit more ticket sales overall as we’ve done this. The shows are much more stable than people like to think.” Under Cirque, Blue Man Group is an international production: “Blue Man Group has been U.S.-centric, North American-centric, and Cirque 450 cities around the world, and has a distribution machine that is totally unique,” Lamarre said. “Nobody in the world tours at that scale. So when you do an acquisition like Blue Man Group, you can tour that show in 450 cities as well.” “Mystere” has been extended at T.I. “We’ve renewed the contract for an additional five years, and if I believe (hotel owner) Phil Ruffin, and I do, the show is there forever,” Lamarre said. “It has been there for 25 years. It is the granddaddy.” Will Cirque du Soleil remain the Strip’s predominant production company in five years? “Totally, and I would hope that we would be growing,” Lamarre said. “This one is a major test for us because if ‘R.U.N’ can achieve what we think it will achieve, then it will bring another growth pattern for Cirque du Soleil.” As for anyone who wants to partner with the company in future acquisitions, Lamarre said, “We’re still in the lookout, always … yep, because the business model we have developed is working and now it has intrigued interest from people. Now, people are calling us.” { SOURCE: The Las Vegas Review-Journal } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ---------------------------------------------------------- BWW Interview: Lauren Herley & Jennifer Lecuyer of BAZZAR {May.02.2019} ---------------------------------------------------------- BroadwayWorld checked in with BAZZAR’s leading lady, Floating Woman – portrayed by Lauren Herley, and the Artistic Director of the show, Jennifer Luceyer: Q. Welcome to Doha, how do you like it? Lauren: I have had a nice time. We had some time off when the tent was getting a set up and getting transferred from Oman to here. I found some nice discoveries in the Pearl, there are lovely studios here and I did some teaching and training there. It was very nice. I find the food here very good. Jennifer: I didn’t have as much time as Lauren did. Things go extremely fast in tours so we don’t really get to see much but we did a media shoot with some of our talented dancers and acrobats in the shows. We visited amazing museums. L: I visited the Museum of Islamic Art. J: And I visited the one that has sand sculptures which is shaped naturally. L: And there is also Qatar Museum. J: Beautiful architecture, they were all amazing. Q. Before we move into questions about production, would you like to tell us about yourself? How you started your career, how did you start with working in Cirque du Soleil and everything else? L: For me, I started my ballet classes when I was six years old and from there I transitioned to competitive artistic gymnastics but continued bar trainings in ballet. Until the age of seventeen, I was focused on those. Then, I transitioned to circus. I moved to San Francisco and Montreal. I graduated from a school there; school of artist for circus. Immediately after that I started touring internationally. J: I am coming from a figure-skating background and moved to the dancing. From dance I moved to aerial arts and started working as aerial dancer. As an artist, you have to keep planning on your next steps so in the last few years I was taking a step back from the stage and signing contracts for aerial directing. From one contract to another; I ended up with the Bazzar with incredible artists and technicians. Q. Great story! Speaking of Bazzar, it was premiered on 14th of November, 2018 in Mumbai, India as the first Cirque du Soleil show in India. If we will rewind back to your memories of the date; how was your experience? L: It’s so funny that I was thinking about it today because I shared a picture and expressed how butterflies were fluttering, so many butterflies. I did a lot of international premiers in my career but Bazzar was highly special. We were taking something back to its roots; we were going back its very source which the show was created of including being in a country Cirque du Soleil has never been. I took a lot of element of courage for the team. It was so special and gave me a lot of nerves but only the good ones. It was emotional and awesome. J: The crowd there too… Every single night was full, full, full. The reaction as well was so loud and sincere. We had such great audiences, so I believe that the audience was fed by watching the show and artists on the stage was fed in return by their reactions. It was a beautiful experience. Q. We wish to ask Lauren a bit of her character who is childlike, pure and a little bit of curiosity added into the mix; how do you find yourself in her? L: I think sometimes you get cast for a role if the directors say that she’ll be able to tap into this character or sometimes they see elements of the character which you have already. I think I got the part because both of these reasons; because I really have to tap into this floating woman character and have to leave me ego aside. As I tapped into her world, I fell in love and got to rediscover her every night. Also, Jennifer as our artistic director; gives me fresh and awoke moments that I don’t realize which are sincere, strong and beautiful. She tells me; oh this will work! Which makes me realize I can go further in that direction. Actually my director gave a note to me about floating woman describing her as a sensual doll. Doll part is covered by the make-up design for her which is kind of childlike but on the other hand, she wants to be sensual which requires to be grounded and knowing her capabilities as a woman. In the meantime, having a heart of a kid and trusting in people and things by allowing her body to be swept away by the power and emotion. J: I feel that Lauren has done a continuous research for the character by adding details and trying new things all the time which allowed character to grow so much and have many facades including having a big contribution to the performance. Q. Amazing. Actually this brings me to my other question and this one is for you Jennifer; it is abundantly clear that Cirque du Soleil has a slightly different type of performance understanding than which we know as a stage performance such as theater or musical. Considering the difference of the experience as well what do you think is your artistic perspective of the show? J: It is important to keep the directors’ visions all the time. During the process of the creation, you cannot answer all the questions about the show. It has to live in time and space so we can figure out the past and answer the questions. My job is to remember the words of our show director and be honest of what show has to say. I am not putting my vision in it but looking at the bigger picture to see what works best for the show, for the seed, the center of the show. After that I feel more confident of bringing ideas forward. It is not about what I think but what serves the best. Then we have discussions with the artists such as yes, I saw it but it made me think of another thing, let’s try that. During the time I try to be completely honest; my suggestion doesn’t have to be the best option all the time, of course. That’s why we have our long discussions which makes us grow into it. Q. Great ambiance to work in. We’ll proceed with very common question; what is your favorite character and scene of the show? L: That’s hard! It is impossible to select one character from the show because they all add up to create Bazzar as what it is. I can’t say any of the characters but there are some of my favorite moments from the show are my interactions and eye contacts I get to make for a moment as I pop out of the box. I get to make eye contact with other characters and it takes me to the point of here and now. It gets me to a point where I can actually play with my team. It is not just some choreography but I feel the oh, yes! These are some of the moments that I really connect with somebody and it becomes a real play on the stage rather than directions of stand there, look there. Q. And what about yours? J: I cannot select any of the characters but guess that I appreciate the parts grown with a lot of details. There are quite a few of those moments in the show and keep adding a new one everyday even just yesterday, Lauren and I were discussing of a transition and we found what was going to work so well. As a specific example of a moment with layers of details; in the act we have a scene with one of our musicians and he is really interacting with main characters. At first he was just present without theatrical attributes. Then we developed him with our main character, Maestro who is portrayed by Steven. It turned out to be a big part of the show. Now to think of it if we hadn’t had him; it wouldn’t work. We would make it work but it wouldn’t be the same as it is now. We would miss the affection. There are many moments like that in the show with various characters. Some of the dancers have taken over and developed the roles and if they wouldn’t, we would have missed those moments. L: Also it is part of Jennifer’s job. She has a great instinct as an artistic director and she sees those fine details that often cause huge difference over time, on the quality of the show. These are the things that the audience will never know that we spent hours on but that’s makes them have the wow effect and moved by the show. Q. So true, details are the heart of the show. L: Details. J: Details! Q. What do you think the audience should expect from the show? What should they be discovering about the themselves and the show? L: We should keep some secrets! They should come for an experience for themselves, of course. On the other hand, what is special about Bazzar is we are high energized individuals. We go something important to say, each and every one of us and making sure the audience can feel that until the very end. The audience should expect to be swept away. Q. Only leaving the prospective audience with more curiosity! Considering that you have been to Mumbai, Delhi, Abu Dhabi, Muscat and Doha; where do you think the show will take you next? L: Oh la la! J: Where are we going? Well, we know that our next city is Beirut. We are staying in the Mediterranean region. We have our eyes on Turkey as well. The goal of Bazzar is to bring the Cirque du Soleil to bring the circus to the places where they have never been. If you heard of a country where the Cirque du Soleil been before, chances are you won’t be seen us there! We are breaking boundaries and going in to uncharted territories for the Cirque du Soleil to make people discover the beauty of the circus. That’s one of the reasons why this is such an exciting tour. We’ll be able to be in countries which we have never been as well and we have such an eclectic group of people. We are a beautiful family going into new places. Q. Do you have anything to add for our lovely readers? J: Keep an open mind and just join our adventure; this is a very family friendly show ad everybody is welcomed in our tent. As I mentioned; this is a multicultural group of people and everyone is welcomed. They will love it here. L: We like it full, having to share it a tent full of people. J: Yes! L: As in Abu Dhabi, it was full every night and people let themselves to fulfill the experience the most. We engaged with the eye contacts and everything. The more, the better. J: We have seven more opportunities to enjoy the experience together. We are so ready to welcome them. Q. I’ll make sure everyone I know to see this show. J: Thank you! { SOURCE: Broadway World } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Amaluna, Koozå, Kurios, Luzia, Totem & Volta} o) ARENA - In Stadium-like venues {TORUK, OVO, Séptimo Día, Crystal & Corteo} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA} 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 ------------------------------------ Alegría-25th Anniversary: Montreal, QC -- Apr 18, 2019 to Jul 21, 2019 Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019 Toronto, ON -- Sep 12, 2019 to Dec 1, 2019 Miami, FL -- Dec 21, 2020 to Feb 9 2020 Houston, TX -- Feb 21, 2020 to Apr 5, 2020 Austin, TX -- Apr 15, 2020 to May 17, 2020 Chicago, IL -- Jun 3, 2020 to Jul 12, 2020 Washington, DC -- Jul 23, 2020 to Sep 27, 2020 Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021 Amaluna: Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019 Los Angeles, CA -- Apr 25, 2019 to May 26, 2019 Livingston, NJ -- Jun 12, 2019 to Jul 14, 2019 Oaks, PA -- Jul 24, 2019 to Aug 25, 2019 Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019 Bazzar: Beirut, LB -- TBA Koozå: Valencia, ES -- May 30, 2019 to Jul 7, 2019 Gijon, ES -- Jul 31, 2019 to Aug 18, 2019 Malaga, ES -- Sep 13, 2019 to Sep 29, 2019 Madrid, ES -- Oct 24, 2019 to Nov 24, 2019 Kurios: Sendai, JP -- Apr 19, 2019 to May 29, 2019 Singapore, SG -- Jul 5, 2019 to Jul 21, 2019 Sydney, AU -- Oct 2, 2019 to Oct 27, 2019 Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020 Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020 Adelaide, AU -- TBA Perth, AU -- TBA Luzia: New York City, NY -- May 3, 2019 to Jun 9, 2019 Hartford, CT -- Jun 19, 2019 to Jul 21, 2019 Calgary, AB -- Aug 16, 2019 to Sep 22, 2019 Vancouver, BC -- Oct 3, 2019 to Nov 24, 2019 London, UK -- Jan 12, 2020 to Feb 16, 2020 Totem: Geneva, CH -- May 9, 2019 to Jun 16, 2019 Gran Canaria, ES -- Jul 5, 2019 to Sep 22, 2019 The Hague, NL -- Oct 11, 2019 to Nov 10, 2019 Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020 Munich, DE -- Feb 12, 2020 to Mar 8, 2020 VOLTA: Chicago, IL -- May 18, 2019 to Jul 6, 2019 Washington, DC -- Jul 26, 2019 to Sep 8, 2019 Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020 Los Angeles, CA -- Jan 17, 2020 to Mar 8, 2020 Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ TORUK - The First Flight: St. Petersburg, RU -- May 8, 2019 to May 12, 2019 Helsinki, FI -- May 15, 2019 to May 19, 2019 Vilnius, LT -- May 22, 2019 to May 26, 2019 Prague, CZ -- May 29, 2018 to Jun 2, 2019 Munich, DE -- Jun 5, 2019 to Jun 9, 2019 Zurich, CH -- Jun 12, 2019 to Jun 16, 2019 Manchester, UK -- Jun 20, 2019 to Jun 23, 2019 London, UK -- Jun 26, 2019 to Jun 30, 2019 OVO: São Paulo, BR -- Apr 19, 2019 to May 12, 2019 Asuncion, PY -- May 31, 2019 to Jun 8, 2019 Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019 Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019 Santiago, CL -- Aug 23, 2019 to Sep 1, 2019 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Peoria, IL -- May 8, 2019 to May 12, 2019 Grand Rapids, MI -- May 15, 2019 to May 19, 2019 Saginaw, MI -- May 22, 2019 to May 26, 2019 Frisco, TX -- Jun 13, 2019 to Jun 16, 2019 Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019 Allentown, PA -- Jun 26, 2019 to Jun 30, 2019 Kingston, ON -- Jul 3, 2019 to Jul 7, 2019 Erie, PA -- Jul 10, 2019 to Jul 14, 2019 Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019 Indianapolis, IN -- Jul 24, 2019 to Jul 28, 2019 Manchester, NH -- Aug 1, 2019 to Aug 4, 2019 Portland, ME -- Aug 7, 2019 to Aug 11, 2019 Moncton, NB -- Aug 14, 2019 to Aug 18, 2019 Saint John, NB -- Aug 21, 2019 to Aug 25, 2019 Halifax, NS -- Aug 28, 2019 to Sep 1, 2019 Moscow, RU -- Nov 22, 2019 to Dec 8, 2019 Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019 Kazan, RU -- Dec 19, 2019 to Dec 22, 2019 Riga, LV -- Jan 15, 2020 to Jan 19, 2020 CORTEO: Cedar Rapids, IA -- May 1, 2019 to May 5, 2019 Dayton, OH -- May 8, 2019 to May 12, 2019 Windsor, ON -- May 15, 2019 to May 19, 2019 Hamilton, ON -- May 22, 2019 to May 26, 2019 London, ON -- Jun 13, 2019 to Jun 16, 2019 Boston, MA -- Jun 19, 2019 to Jun 30, 2019 Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019 Columbia, SC -- Jul 10, 2019 to Jul 14, 2019 Estero, FL -- Jul 17, 2019 to Jul 21, 2019 Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019 San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019 Denver, CO -- Aug 15, 2019 to Aug 22, 2019 Hershey, PA -- Aug 28, 2019 to Sep 1, 2019 Turin, IT -- Sep 26, 2019 to Sep 29, 2019 Milan, IT -- Oct 3, 2019 to Oct 6, 2019 Bologna, IT -- Oct 10, 2019 to Oct 13, 2019 Pesario, IT -- Oct 17, 2019 to Oct 20, 2019 Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019 Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019 Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019 Graz, AT -- Nov 13, 2019 to Nov 17, 2019 Brussels, BE -- Nov 21, 2019 to Nov 24, 2019 Paris, FR -- Dec 12, 2019 to Dec 15, 2019 Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019 Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019 Granada, ES -- Jan 15, 2020 to Jan 19, 2020 Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020 Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020 Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020 Seville, ES -- Feb 12, 2020 to Feb 16, 2020 Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020 Messi10: Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019 --------------------------------- 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 *) Single Show Dates | 7:00 p.m. Only o) Friday, May 31, 2019 o) Sunday, June 9, 2019 o) Friday, June 14, 2019 o) Sunday, June 23, 2019 *) 2019 Dark Dates: o) May 18 thru 22, 2019 o) August 20 thru 21, 2019 o) September 21 thru 25, 2019 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday Two shows Nightly - 7:30pm and 9:30pm *) Single Show Dates | 7:00 pm Only o) Tuesday, May 21, 2019 o) Tuesday, Jun 25, 2019 o) Tuesday, Nov 5, 2019 *) 2019 Dark Dates: o) 9:30 PM Performance of May 22 o) 9:30 PM Performance of June 26 o) 9:30 PM Performance of November 7 Zumanity: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm KÀ: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm LOVE: Location: Mirage, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 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: Stage Theater New Flora | Hamburg, Germany Performs: One/Two Shows Nightly... o) Monday: Dark o) Tuesday: 6:30pm o) Wednesday: 6:30pm o) Thursday: 8:00pm o) Friday: 8:00pm o) Saturday: 3:30pm & 8:00pm o) Sunday: 2:30pm & 7:00pm R.U.N: Location: Luxor Las Vegas (USA) Performs: Wednesday through Sunday - Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm SHOWS BEGIN OCTOBER 24, 2019 ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= o) WEBSERIES -- Official Online Featurettes o) VIDEOS -- Official Peeks & Noted Fan Finds --------------------------------------------------- WEBSERIES: Official Online Featurettes --------------------------------------------------- *) FINDING HOME Ever wonder what our artists from VOLTA, LUZIA and Amaluna dream about having in a home? In this exclusive series in which we partnered up with realtor.com, each episode depicts the concept of home for our touring artists, who share moments of bliss with their brothers and sisters across their Cirque du Soleil journey. The series makes parallels with Cirque du Soleil shows, acts and artists from VOLTA, Amaluna and LUZIA and to the attributes of home by Realtor.com. o) EPISODE 2: "Nelson's Story" {Apr.09} Nelson Smyles, acrobat on LUZIA, loves to jump around. Discover why he dreams of having a big swimming pool in this episode of Finding Home LINK /// https://www.youtube.com/watch?v=021D0qTWMTM o) EPISODE 3: "Amanda's Story" {Apr.15} Amanda Zidow, cellist, singer and character on Amaluna, grew up in a house filled with music. Learn more about what home means to Amanda in this last episode of Finding Home, in partnership with realtor.com. *) WE ARE VOLTA (YOUTUBE) What is life on tour like? The most random object you travel with? What do you miss most about a “normal” lifestyle? Find out what our VOLTA artists reveal in this new web series, We Are VOLTA. o) EPISODE 2: "What's Unique About it?" {Apr.06} LINK /// https://www.youtube.com/watch?v=_w8qfQJaQA4 o) EPISODE 3: "How Did You Join the Circus?" {Apr.13} LINK /// https://www.youtube.com/watch?v=J-Glwh2n2I4 o) EPISODE 4: "How do the Artists Fuel Up?" {Apr.19} LINK /// https://www.youtube.com/watch?v=S3F-KgUwmVU o) EPISODE 5: "How do you find Inspiration?" {Apr.27} LINK /// https://www.youtube.com/watch?v=a0JzKs6Z7P4 o) EPISODE 6: "Why do you Love your CIRCUS job?" {May.04} LINK /// https://www.youtube.com/watch?v=n8Gd4TMyr0w *) PASCAL SIOUI'S ALEGRIA BEHIND THE SCENES VIDEOS Like he did with VOLTA, through his Facebook and Instagram pages, Pascal is posting videos that he shot during the creation of the new Alegria. o) VIDEO 1: A Teaser LINK /// https://www.facebook.com/Psioui/videos/10157697394799305/ o) VIDEO 2: Installation of the bed in the Powertrack at Scène Ethique LINK /// https://www.facebook.com/Psioui/videos/10157704831979305/ o) VIDEO 3: Commissionning of the Turntables and Powertracks LINK /// https://www.facebook.com/Psioui/videos/10157710399969305/ o) VIDEO 4: Final week at Scène Ethique: Turntable & Powertrack Testing LINK /// https://www.facebook.com/Psioui/videos/10157716177029305/ o) VIDEO 5: First Week at the CDS Studio LINK /// https://www.facebook.com/Psioui/videos/10157722250734305/ o) VIDEO 6: Setting up the Masts, Cuopla, and Stage at IHQ LINK /// https://www.facebook.com/Psioui/videos/10157735820764305/ --------------------------------------------------- VIDEOS: Official Peeks & Noted Fan Finds --------------------------------------------------- o) Full Drone Tour of KA Theater! LINK /// https://www.youtube.com/watch?v=iCoJtPbXP98 o) The Transformation of Alegria's Unforgettable Costumes LINK /// https://www.youtube.com/watch?v=H4C0Icoc4Gg o) Get to Know the New Artists of Alegria LINK /// https://www.youtube.com/watch?v=HHv2HpWY7wo o) Creating the New Alegria Stage LINK /// https://www.youtube.com/watch?v=s-Zpu1dTgvY o) Alegria Acts Revealed - a Sneak Peek LINK /// https://www.youtube.com/watch?v=lxinzpI8F3A o) World Premiere of the Alegria Red Carpet in Montreal LINK /// https://www.youtube.com/watch?v=STInXCB2LKo o) Alegria Fan Video Mashup LINK /// https://www.youtube.com/watch?v=6J2n7bPabuM o) Kurios Music Video: "Fearsome Flight" LINK /// https://www.youtube.com/watch?v=enfGx7IC2Ys o) Mystère's Performance at the Vegas Golden Knights Game LINK /// https://www.youtube.com/watch?v=qKv5JJ_-Ksc o) Another ABC's of Cirque du Soleil LINK /// https://www.youtube.com/watch?v=UiFicdc5tKA o) BMX Legend Mat Hoffman #CirqueWay For a Day on the VOLTA Stage LINK /// https://www.youtube.com/watch?v=s1E7DX79f8s o) Amaluna Music & Lyrics | "Elma Om Mi Lize" LINK /// https://www.youtube.com/watch?v=J6SbR03MWOM o) VOLTA Music & Lyrics Video | "Elevation" LINK /// https://www.youtube.com/watch?v=4zfExknxPCk o) What Does Leo Messi Mean to You? LINK /// https://www.youtube.com/watch?v=uHa7_pCwhJ0 o) ¿Qué significa Leo Messi para ti? LINK /// https://www.youtube.com/watch?v=httu8UP36VM o) HAND BALANCING on CANES | What's it like for this JOYA artist? LINK /// https://www.youtube.com/watch?v=5t9ICsPDGIg o) KA Music & Lyrics Video | "Threat" LINK /// https://www.youtube.com/watch?v=Rv2SIKDbpiM o) A special performance on the latest episode of Arabs Got Talent! LINK /// https://www.facebook.com/arabsgottalent/videos/822546038117214/ o) CORTEO: Johan Juslin and Alexandr Yudintsev Backstage Tricks LINK /// https://www.facebook.com/Corteo/videos/2901678646516564/ o) CRYSTAL: Meet Emily LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/315629582413011/ o) OVO: Meet Our Singer, Larissa Finocchiaro LINK /// https://www.facebook.com/OVO/videos/576798136153803/ o) AMALUNA: Meet the Performance Medicine Team LINK /// https://www.facebook.com/Amaluna/videos/299481044082147/ o) AMALUNA: Meet the Clowns! LINK /// https://www.facebook.com/Amaluna/videos/1739359539499064/ o) AMALUNA: Meet the Stage Managers LINK /// https://www.facebook.com/Amaluna/videos/1125782707582791/ o) AMALUNA: Meet the Sales & Customer Experience Team LINK /// https://www.facebook.com/Amaluna/videos/2376353775934630/ o) TOTEM: Introducing our new Backup Act. Straps! LINK /// https://www.facebook.com/Totem/videos/351068308853860/ o) PARAMOUR: Opening Night in Germany LINK /// https://www.facebook.com/paramourthemusical/videos/1108588229265379/ LINK /// https://www.facebook.com/paramourthemusical/videos/845730495761449/ o) LUZIA: Live from the New York City Premiere! LINK /// https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/458035621405624/ ======================================================================= FASCINATION! FEATURES ======================================================================= o) "ALEGRIA: The Return of an Icon... in a New Light" Texts from the Press Kit o) SPECIAL /// "Alegria Returns in Force" - A Collection of Articles Celebrating Alegria's Premiere o) Jean David's Quel Cirque, Part 5 of 12: "Persuasion" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ "ALEGRIA: The Return of an Icon, in a New Light" Texts from the Press Kit ------------------------------------------------------------ Beloved by fans around the world, Alegría returns to the Big Top to share its timeless story of resilience and hope. As one of Cirque's most iconic productions, Alegría not only helped define the company’s signature style, it also paved the way for its worldwide expansion. Under the Big Top or in its arena configuration, Alegría was presented in 255 cities and seen by more than 14 million spectators worldwide over the course of its 19-year run, until its farewell tour in 2013. The show’s theme song, which was nominated for a Grammy Award in 1995, continues to be a fan favorite. With its signature songs, acrobatics and memorable characters that have helped define the Cirque du Soleil aesthetic, Alegría is the reincarnation of a classic, reinterpreted for the age, and rekindled to inspire fans—old and new alike. THE SCENIC ENVIRONMENT ---------------------- The Alegría set is an evocation of the architecture of power, both past and present. It is inspired by handcrafted artistry and goldsmithing on a grand scale within a contemporary environment. The stage is spread out on three levels. The highest level is a portal between the closed world of the monarchy and the outside world. The middle level symbolizes the royal court, while the lower level represents the street where ordinary folk move about and where encounters between the old aristocracy and the people. Lighting is all about contrast, and this is especially true of Alegría, which is based on the idea of duality and the counterpoint between light and shadow. The lighting goes from more traditional to more contemporary, with the use of mobile mirrors located on the elevated part of the stage. A series of suspended lamps above the stage serve both as chandeliers inside the royal castle and acrobatic apparatus for the artists. Other aspects include... THE CROWN — The first thing one notices upon entering the Big Top is the majestic Crown at the back of the stage with its organic curves, towering spikes (of which there are 120) and lighted branches. Lush vines have sprouted on (totaling 975 meters in length) and invaded the structure, as if nature had reclaimed its rights in this world adrift in time. LED lights placed on the tip of several of the Crown’s 64 branches, combined with other lighting fixtures attached to the structure, give the impression that light emanates from the Crown itself in this dark world where miracles are about to materialize. THE CURTAIN — The giant Crown curtain is the emblem of royal power on which appears an ever-watchful salamander, the symbol of the French Renaissance as well as the inspiration behind the set of the original version of Alegría. Twisted and deformed, the old king’s sinister Throne has lost a lot of its polish — and even some parts — over time. (The Crown curtain was printed in Germany in a single pass on a giant, seamless piece of fabric that is 33.5 meters wide and 6 meters high.) THE SCEPTRE — The royal Sceptre, which Mr. Fleur clutches firmly in his hands as if someone could snatch it away at any moment, represents the handover of power from the old aristocratic order to the people. It is like a “stolen jewel” in this unruly monarchy. Apart from its symbolic significance, the Sceptre has multiple uses including as a lighting fixture, a music box, a clown prop, and Mr. Fleur’s “third leg.” COSTUMES -------- The Alegría costume design evokes a once glorious kingdom now in decay. In this dusty, stuffy kingdom in dire need of hope and renewal, the costumes of the old Aristocrats have progressively become tattered, ragged and frayed. The colors and motifs, once bright and radiant, have faded over time. The fabric of the artists’ clothes and their bodies have cuts and scratches that mark the passage of time. These marks and textures were digitally printed on the fabric, and these features also found their way into the make-up design. For both the costumes and the make-up, the approach was to highlight the human dimension of the characters by showing the artists’ shapes, facial features and hair — in a word, their humanity. The lead character, Mr. Fleur, is inspired by the fool in the royal court. Thus the artist’s body movements are exaggerated, as is his elongated black brimmed hat and overly bushy eyebrows. It took more than 20,000 hours of work to put together the costumes of the show. Artisans spent 300 hours alone making Mr. Fleur’s costume, which contains 5 meters of electrical wire. The lace that covers the crinoline of the White Singer’s skirt is time-worn and threadbare. This character is an artist bursting with talent who comes from the street, like a golden-voiced Edith Piaf emerging from the bowels of the city after overcoming the vicissitudes of a tough life. She continues to sing of hope amidst the darkness and the gloom. The Singer in Black, more tenacious than her counterpart, is clad in a modernistic, angular dress to match her resolve. The Aristocrats symbolize all of those who resist change and cling to their old values. The older members of this decrepit aristocracy sport extravagant hats and hide behind their jumbled, flamboyant costumes that have seen better days. The powder on their faces has caked and flaked over time. In this kingdom caught between reason and unreason, some of the Aristocrat’s faces are ornamented with old jewels, a testament to their status. One of the Aristocrats wears personalized monocles in the form of a silicone-based prosthesis while others have overly long noses and oversized, removable eyes. The Angels are extensions of humans in the afterlife. They are humans with a past, a history, a lifetime worth of experience. They bear the scars of their life on Earth, and their costumes are threadbare, with a patina effect created using textile printing techniques. Their costumes acquire luminous, golden hues as light slowly brightens up their world. More than 1,000 meters of fabric was printed using a technique called sublimation, which fixes the images in the fibers of the material. There are 96 costumes and 533 different costume elements in the show. As an example, the mesh used in the costumes of the Bronx is made of the same material used in making hockey nets. Designers spent nearly 500 hours developing the make-up concepts and more than a thousand hours teaching the artists how to apply it to their own faces. Approximately 1,800 items are used in applying make-up: 1,500 brushes, 2 km of foil paper, 12 gallons of coconut oil and 1.4 kg of glitter. CHARACTERS ---------- Mr. Fleur -- Following the mysterious disappearance of the king, Mr. Fleur pictures himself as the legitimate heir to the throne and clumsily tries to impose his authority. The old king’s fool, Mr. Fleur is a conceited, manipulative and unpredictable character forever caught in a tug-of-war between reason and unreason, between an overpowering urge to charm and a desire to control. The Bronx -- The Bronx spring forth from the street. Fiery and full of energy, they try vigorously to defy the established order. Together, they will shake the pillars of power, lighting the spark that will trigger changes in the very heart of the kingdom. The Bronx offer a glimmer of hope in a world of gloom. The Nymphs -- The Nymphs personify the purity of youth. Graceful and delicate, they navigate the space between heaven and earth. They symbolize the dual forces at play in Mr. Fleur’s mind—reason and unreason, but also empathy and apathy - which fuel his quest for power. The Angels -- With the distinctive golden star their wear on their solar plexus, the Angels embody the intangible wind of change, the inner transformations propelled by the desire for a better world. Imbued with humanity, these beings from the afterlife carry on their bodies the scars of their earthly life. With their mere presence, the Angels generate a celestial energy that lifts the soul. The Aristocrats -- Strange heirs to power in this dusty and timeless world, the Aristocrats seek to retain their privileges by siding with the Fool; they aim to maintain the status quo at all costs and so avoid being swept away by the winds of change. Their once splendid attire has become threadbare. On their faces, strangely distorted by the passage of time, one can see the fear of progress and the selfish desire for power. The Singers -- Opposite yet complementary forces, the Singers in Black and in White are paragons of resilience. The Singer in Black embodies commitment, tenacity and the indomitable power of hope. The Singer in White is naïve, yet wise in the face of adversity. Together, they become an unstoppable, inspirational force in this realm longing for light and hope. The Clowns -- At first Mr. Fleur’s allies, the Clowns also have fun at his expense. Brothers in humor, this pair of zany Aristocrats is at ease in this crazy environment and make light of any situation. Wielding the power of imagination and friendship, they both witness and comment the profound changes at play in their world. MUSIC ----- The musical score of Alegría has been passed through the prism of today’s aesthetic and features totally new arrangements. The score mixes electronic and rock sounds with acoustic and orchestral elements, including brass, strings and accordion sounds, all in sync with the narrative of the show. The sounds associated with the Angels and Nymphs have more poetic undertones while the music connected to the lively Bronx — namely in the Crossed Wheel, Fire Knife Dance, and Powertrack numbers — has a distinct underground feel. The song Alegría — the show’s inspirational anthem — is performed in its entirety in the finale. ACROBATIC PERFORMANCE --------------------- As the king of fools attempts to take the throne, all that glitters is not gold. But when a spark of life shines, shaking the foundations of the old order, a resilient new movement emerges from the heart of the kingdom, carried by an invigorating wind of change, and driven by a hunger for a brighter world. ACRO POLES -- The Aristocrats, eternal masters of the established order, try to stay close to power in order to maintain their status. They flaunt their talent, hoping to convince the new king that change is unwelcome in the Kingdom… at least as far as they’re concerned. Artists deftly manipulate the “pillars of power” — the traditional symbols of their supremacy — in a high-flying act combining Russian bars and banquine. In this innovative act, artists balance and bounce on poles normally used for pole vaulting, which are held horizontally, enabling flyers to execute a stunning aerial ballet above the catchers’ heads. CROSSED WHEEL -- Shaking the foundations of the old order, a Bronx performs a number with a new-fangled apparatus — the first physical manifestation that powerful forces of change are brewing at the very heart of the kingdom. Using his own impetus to roll forward and backward, an artist becomes a human gyroscope as he performs fluid acrobatics inside and around two intersecting wheels. SYNCHRONIZED TRAPEZE DUO -- The Angels arrive like a gust of fresh air in this crazy kingdom. Perched on side-by-side swinging trapezes, two artists perform intricate spins and breathtaking maneuvers in perfect sync. This swinging trapeze duo features new acrobatic ideas, using vertical movements and variations in the swinging axis. FIRE KNIFE DANCE -- An enthralling light surges from the hands of a Bronx and comes alive in an energizing rebirth. An artist demonstrates complete mastery of his craft. He doesn’t juggle with fire; he IS fire. He eats, breathes, and touches the flames, while his sticks become virtual extensions of his body. AERIAL STRAPS -- On a blanket of snow, a Bronx and an Angel—a harbinger of change — intertwine in this troubling world led by the confused Mr. Fleur. Symbolizing the connection between earth and sky, an exceptionally dynamic aerial straps duo flutters in the after-storm as the aerialists separate and reunite in an embrace high above the stage, their bodies forming striking geometric patterns. HULA HOOPS -- Out of this emerging new world appears a Bronx — a paragon of pure beauty — who sets out to mesmerize the kingdom with her talent. Using all her limbs, indeed her entire body, an artist dazzles with her ability to spin and twirl a multitude of hoops. POWERTRACK -- In a burst of energy, the emerging movement takes the kingdom by storm, creating a breaking point, both literal and symbolic: the stage breaks open with a deep rumble that symbolizes the shaking of the foundations of the stuffy aristocratic order. A group of tumblers brimming with talent and torque demonstrate their prowess as they soar into the air while executing dynamic gymnastic and tumbling displays in unison and in counterpoint, reaching astounding heights and speeds on two elongated trampolines that criss-cross at the centre of the stage. HAND TO HAND -- The Nymphs evoke the fragile balance between darkness and light. Two female performers demonstrate great strength, balance and flexibility in this yin-and-yang hand-to-hand number in which the smaller of the two is flung into the air and does handstands on top of her partner’s upraised hands. HIGH BARS -- The kingdom is rebuilt on new foundations as the two bearers of change — the Bronx and the Angels — come together as a brighter world emerges at last. Three high bars set close to 10 meters above the stage become the aerial playground for daring flyers (the Angels) who soar to and from the arms of mighty catchers (the Bronx), suspended by their knees on a cradle swing. These complex linkages in the sky require flawless coordination, skill and timing. The breathtaking act culminates in an impressive leap into the net. * * * The classic power struggle of old-meets-new has been reinterpreted through today’s lens — including new costumes and set design, a renewed acrobatic vocabulary, and new musical arrangements — to ensure it is as inspiring now as it was at the time of its creation in 1994. As classics often do, the show explores themes that remain relevant despite the passage of time — the quest for power, the thirst for change, and the triumph of light over darkness. Carried by an intangible wind of change, an emerging movement strives to shake the established order, instilling hope and renewal to bring light and harmony to their world. With its joyful spirit, Alegría is a vital, energizing force driven by a thirst for a brighter world. Alegria performs in Montreal until July 21, 2019, and then moves on to Gatineau, Toronto, Miami, Houston, Austin, Chicago, Washington DC and Vancouver. Check the ITINERAIRE section for the current touring schedule! ------------------------------------------------------------ SPECIAL /// "Alegria Returns in Force" - A Collection of Articles Celebrating Alegria's Premiere ------------------------------------------------------------ CIRQUE SEEKS TO BRIDGE GENERATION GAP WITH ALEGRIA REVIVAL MONTREAL GAZETTE | April 17, 2019 Daniel Ross, Dominique Lemieux, and Émilie Therrien all have a bird’s eye view of the generation gap between the original Cirque du Soleil creation Alegria and the 2019 reboot — because all three have worked on both shows. Ross, the director of creation for the Cirque, was the general stage manager for the touring production of Alegria in 2000, working first with the production in Biloxi, Miss., and then touring with it in Australia. Lemieux did the costumes for the first production of Alegria way back in 1994 and she is back doing costumes for the 25th anniversary rethink that is set to have its world premiere under the Cirque big top at the Old Port on April 18. Lemieux is one of the only people returning from the original production team to do the same job a quarter of a century later. Therrien began her circus artist career as an acrobat on that original creation of Alegria, and she toured the globe with the show for five years. Therrien has segued into working as an acrobatic coach and choreographer in recent years, and she is the acrobatic performance designer and choreographer on the new Alegria. Ross is well aware that audiences have changed in the years since Alegria first wowed folks in 1994 (and helped launch the Cirque internationally). “I have a feeling that if people saw Alegria as it was in ’94, because of the way the circus, theatre and multimedia arts have evolved, I think they would probably be disappointed if they saw exactly what we saw on opening night in Montreal in 1994,” Ross said. “Everything has changed since then. People have been exposed to the circus arts a lot and I think the expectations are different than they were back then. “So for us, the objective isn’t to present exactly the same show but to make them relive that experience again. So they sit there and get the same feeling.” For her part, Therrien says she felt like she was floating on a cloud touring with the show back then. Now, as a coach and choreographer, she looks in admiration at today’s acrobats. “For sure the artists have evolved over 25 years,” Therrien said. “Their level of technique has really improved compared to 25 years ago. What they can do is much stronger than 25 years ago. “The desire to do better, to push ourselves is always there, just like it is in professional sports. “It’s like the duo trapeze number. It’s way stronger than it was in the original show. Also we have better technology for the trapezes. “Today, when the Cirque du Soleil takes on an artist, there is so much support available to help him or her develop to the maximum of their capacity. Twenty-five years ago, we didn’t have that kind of support. And that’s really a kind of beautiful evolution.” As for Lemieux, she feels some things haven’t changed for Alegria over the past quarter-century. “What I keep from the original Alegria is the message of hope,” said Lemieux, who designed the costumes for all of the Cirque du Soleil productions between 1989 and 1998, including Saltimbanco, Mystère, Alegria, Quidam, O, and La Nouba. (She also did the costumes for Céline Dion’s first Las Vegas production, A New Day.) “Recreating Alegria with new characters for a new generation, it allows us to relive what it was like the first time,” added Lemieux. “It’s about updating those characters and to reflect on where we’ve come to and to look at our own lives today. “When you do a revamp of an older work, you really have to read deep into the work and you have to adapt to the way people look at the world today, which is obviously different than it was 25 years ago. And the priorities have changed too in the hearts of people. I think we’ve made it more human.” At the April 10 news event to launch the show, director Jean-Guy Legault said Alegria is “a cry from the heart from people in moments of great distress.” Without mentioning names, he talked of a crazy person trying to impose himself on a kingdom — and it didn’t take much of a stretch to think he might be referring to U.S. President Donald Trump. “First of all, there’s no political message,” Ross insisted. “One of the things we noticed from reading all of the notes from the creation of the original one is that the creators were often referring to things happening in the world that touched them. Things that made them sad, that made them feel that maybe the world was a bit of a dark place, and I think the need to make a show about hope and about the spirit of humankind came from that. “So, yes, we’re anchoring ourselves in the world we live in today and we realize we’re dealing with the same kinds of things in the world that make us feel at times a bit hopeless and sad. So the need for that light is there. But I’d call it more of a social message than a political message.” It was put to him that most of us would argue that in fact the world is a darker place now than it was 25 years ago when Alegria first premiered. “It’s possible,” Ross said. “I hadn’t thought of it that way. But, yes, I guess it’s possible and maybe that makes (Alegria) more needed.” { SOURCE: Montreal Gazette } * * * * * * ALEGRIA RETURNS IN FORCE La Presse | April 26, 2019 (Translated to English via Google Translate) There was of course an air of déjà vu (and already heard) last night in the Old Port of Montreal, with this programmed return of Alegría, emblematic piece of Cirque du Soleil, created here even 25 years ago and removed from the circus fleet just five years ago. It should not be forgotten that Franco Dragone's show, created in 1994, propelled Cirque on the international stage. To quote Gilles Ste-Croix, "it was a good vintage". No wonder he's been shooting for two decades. There is also the music composed by René Dupéré (and his words in invented language) - Vai Vedrai , Kalandéro and the theme song Alegría -, put together in an album that is, to this day, the best-selling circus. All that to say that the decision to resurrect Alegría, already seen by 14 million spectators, probably had little risk, the Circus relying on the huge capital of sympathy enjoyed by this production. The creative team led by director Jean-Guy Legault - who staged Cirque's tribute series in Trois-Rivières - still did his homework. Although the acrobatic skeleton of the original show has been preserved, the whole has been reviewed, updated, new numbers have been added, in short, despite the familiarity of the object, there is still an impression of novelty. Acrobatically, the Cirque does what it does best: it gives us plenty of sight. From the opening number of banquine and acro poles (captivating) to the duet of aerial straps (exhilarating), passing by the cross wheel number of its creator and performer Jonathan Morin (original) and that of the famous power track , these trampolines cross, where we attend a fabulous acrobatic ballet, the Circus hits hard. The first part of the show concludes with an incredible fire dance number, led by a dazzling artist (Lisiate Tovo), who takes an obvious (and contagious) pleasure in juggling his inflamed batons. Trained by an all girls band . For the scenario, it's less conclusive. It was originally about a fight between the Bronx - this vigorous young generation - and the Old Nostalgic Birds - an old guard clinging. Excellent starting point, by the way. But this rivalry seems to us little exploited in the new version. We find the costumes of the two camps and the setting of the Gothic palace with its golden throne, but for the concept of the "new order", one must be imaginative ... There are the two singers (one in white, the other in black), who embody the shadow and the light, but it's as if we wisely wanted to focus on the circus, which does not may not be a bad thing, you say. Moreover, the second part - where we find several of the original numbers, including the learned contours of hula-hoop Elena Lev (who was 12 in 1994!) - ends with a grandiose aerial number. Originally created by Andrei Lev (Elena's father), the number of bars is executed by means of an aerial device which recalls the parallel bars of gymnastics, except that the acrobats start at 10 meters above sea level. above the ground and are caught flying by carriers hanging from the legs to a swinging frame. A tour de force, performed by artists in a state of grace, which made a real impact in closing the show. A word about the clowns, these unloved circus, who always manage (despite us) to tear us off smiles. They are led here by two charismatic Spaniards (named Pablo) who tell their friendship sawtooth with a lot of humor. On the other hand, the presence of Mr. Fleur, this madman of the king who is a little guide of Alegría , is cumbersome and his intentions, not very clear. Even he seems to wonder what he's doing here. There are certainly some small adjustments to make to connect all the points, but one is still in front of one of the best and most acrobatic productions of the Circus. Under the Grand Chapiteau of the Old Port of Montreal, until July 21 * * * * * * ALEGRIA: A SUCCESS! Journal de Montreal | April 25, 2019 (Translated to English via Google Translate) Cirque du Soleil is celebrating the 25th anniversary of one of its most outstanding shows, "Alegria", by giving it life under a tent, in a revamped and up-to-date version. Sometimes powerful, sometimes light, the replay is quite successful. It is more the song emblematic of the production than its various paintings which marked the memories during the birth of "Alegria", in 1994, and crossed the time. The air was selected for a Grammy Award in 1995 and pioneered the commercial radio repertoire as well as any popular star tube. However, the fresco is sufficiently majestic to justify its revival and modernization. The story of "Alegria" - a class struggle and power after the death of a king who has left his people in uncertainty - hardly takes on relief and can not be easily deduced in the sequence. It also includes several large comic clowning interludes (as in other creations of Cirque du Soleil), which hatch the fluidity of the story and cause a frequent break of tone, even if they are adorable and friendly. However, we will not need to know the frame in depth to delight in the ambitious visual deployment of "Alegria". Assembled, costumes - evocative of dust and misery as finesse and lace - Dominique Lemieux, makeup Nathalie Gagné, the scenography of Anne-Séguin Poirier and, of course, the music of René Dupéré, arranged by Jean- Phi Goncalves, offer a charming experience from many points of view. Fire and snow The portions of the "fire dance" (remarkable, which "ignited" the bleachers of joy, no pun intended, Thursday, the smell of the flame adding to the scenic experience), and that of the false storm Snow (confetti!), which has nothing to envy to the "Slava's Snowshow", just before intermission, are real jewels to watch, which move in addition to entertaining. Several other acrobatics of "Alegria" also strike the imagination: in the first issue, which suggests a gathering of the population, the acropolis jumps impress. Ditto for the airstraps in the second part, which make us hear the "blessed song" for the first time of the performance. The prowess of a solo wheel is enough to make even the most hooked hearts dizzy. Always captivating, the flights of trapezes generated an enthusiastic response to the floor Thursday. The final, against the background of hand-to-hand and air bars, causes several exclamations. Some scenes of "Alegria" are long. Some will see a lack of rhythm; others, an assumed languor. "Alegria" takes its time and claims to fully implement its contexts. A possibly conscious and decided choice of the director Jean-Guy Legault, who reworked the skeleton that had conceived Franco Dragone 25 years ago. Less playful than "Luzia" or "Corteo", for example, and less boosted than "Volta", the work is perhaps not the most accessible of Cirque du Soleil's repertoire, but impresses by its grandiloquent character and poetic. Since he always does a good job of humming the "Alegria" of the chorus, "Alegria" certainly deserved his resurrection. "Alegria" is presented in Montreal until July 21st, and will move to Gatineau from August 1st. * * * * * * CIRQUE DU SOLEIL PRESENTS THE WORLD PREMIERE OF THE REVIAL OF ALEGRIA Montreal Theater Hub | April 26, 2019 (Originally written in English) Cirque du Soleil presented last night in Montreal the World Premiere of the revival of its signature production Alegría. In celebration of the show’s 25th anniversary, Cirque du Soleil reinterprets Alegría through today’s creative lens, including an enchanting visual universe, percussive acrobatic acts, as well as renewed musical arrangements. Several political, cultural and sports celebrities and influencers walked on the Alegría red carpet, among them: Sarah-Jeanne Labrosse, Pierre Lapointe, Céline Bonnier, Robert Charlebois, Mikaël Kingsbury, Milk & Bone, Sophie Nélisse, Katherine Levac, Noemie Lacerte, Michel Côté, Alicia Moffet, Half Moon Run, Mike Ward, some players of Impact de Montréal and Alouettes de Montréal. Montreal reviewers reserved a warm welcome to the revival of Alegría. The return of Alegría One of Cirque du Soleil’s most iconic productions, Alegría not only helped define the company’s signature style, it also paved the way for its worldwide expansion. Under the Big Top or in its arena configuration, Alegría was presented in 255 cities and seen by more than 14 million spectators worldwide over the course of its 19-year run, until its farewell tour in 2013. Beloved by fans around the world, Alegría is returning to the Big Top to share its timeless story of resilience and hope. The classic power struggle of old-meets-new has been reinterpreted through today’s lens. Carried by an intangible wind of change, an emerging movement strives to shake the established order, instilling hope and renewal to bring light and harmony to their world. With its joyful spirit, Alegría is a vital, energizing force driven by a thirst for a brighter world. With its signature songs, acrobatics and memorable characters that have helped define the Cirque du Soleil aesthetic, Alegría is the reincarnation of a classic, reinterpreted for the age, and rekindled to inspire fans—old and new alike. * * * * * * ALEGRIA FROM CIRQUE DU SOLEIL: A DAZZLING COMEBACK! Montreal Nightlife | April 26, 2019 (Translated to English via Google Translate) Thursday evening was the great media premiere of Alegria , the remake of Cirque du Soleil, under the marquee of the Old Port of Montreal. The show is presented from April 18 to July 21 and will then move to Gatineau in August. First of all, it is not a question of the original show of Alegria, but of an adaptation. It is in a sober decor dominated by an enormous crown of thorns adorned with lights that the colored characters wander and arrive on stage. Monsieur Fleur, former madman of the king, seizes the staff of power and becomes, by the very fact, the king. Follows the appearance of aristocrats quite zany by their theatricality and their costume, the two singers, one white and the other black, clowns, nymphs and so on. History wants to illustrate the passage from darkness to light and the duality between these two powers. First of all, be aware that all numbers are simply breathtaking. We find classic numbers of trapezes or aerial straps. The show begins in force with an aerial ballet on Russian bars placed horizontally. Where the show ignites is during the issue with a Samoa warrior who masters fire sticks with his whole body. The fire becomes an integral part of him and one even felt his heat under the big top. At that moment, the whole room was gasping. Although the numbers are beautiful, it is difficult to understand the narrative. The character of Mr. Fleur is not very charismatic in his role of villain. The duality between good and evil was little felt. And, although it is an adaptation of the original Alegria show, the musical score is only an echo of the old show. We found partially the same sonority and musicality. At the moment the song Alegria start, we are disappointed. If there is a song we want to hear, that's it. Now, in the show, she is very sweet, almost like a music box. All in all, I had a good time and some were just magical. Cirque du Soleil brilliantly handles the art of looking for emotion in the viewer. All the public had stars in their eyes when a huge blizzard invaded the room. Simply wonderful. I also want to highlight the beautiful voices of the two singers. The costumes are always thoughtful. The presence of musicians on stage who interact with the acrobats added a playful aspect. Hat to the battery player. It makes all the difference to have real musicians on stage. In short, thank you for the beautiful evening. ------------------------------------------------------------ Jean David's Quel Cirque, Part 5 of 12: "Persuasion" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ Today a consultant in creativity and event marketing, Jean David was one of the pioneers of Cirque du Soleil, where he led the marketing department for 15 years (from 1984-1999), introducing the magic of the Grand Chapiteau to the whole world. During his tenure, David distinguished himself through innovative methods by commercializing the Big Top and introducing its magic to other cultures on four continents. A man of vision but also a determined entrepreneur, Jean David acted as Vice President of Entertainment, Sales & Marketing at the WYNN Hotel in Las Vegas before moving to India for 18 months, where he led a pre-feasibility study for the creation of an innovative project: the Mumbai International Creative Center, an international resort centered around the theme of creativity. In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered his views on leadership and revealed the innovative qualities that contributed to Cirque du Soleil's enormous success in marketing, management, creation and exploration. There was only one problem... it was written in his native French. Thankfully, David himself translated and web-published an English-language version of his book and we've collected the relevant Cirque-related chapters for this 12-part series. Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil celebrates its 35th anniversary this year, we thought this would be the perfect year to share these texts with you. # # # Cirque du Soleil mastered the art of information control or, if you like, public communications. Media relations played a pivotal role in our company’s success. Above all, much like publicity it helped boost ticket sales. Media relations directly affected everything written or said about our shows and organization. For over 50% of the clientele, the rumor mill and word of mouth were the most important factors in drawing their attention to our product. Media relations fed the rumor mill. It was people’s perceptions of the company that mattered. I was so conscious of this that in the souvenir program for the 1985 tour, I included a quotation by Laurence J. Peter: “Competence, like truth, beauty, and contact lenses, are in the eye of the beholder.” In 1984, on its first Quebec tour, Cirque du Soleil was just a small- scale operation, but it was already earning full-page reports in the major dailies. Already, it was as if we were giants. The whole series of reports in the media was meticulously planned to support the sales effort. And this applied to every other marketing operation. Before a tour got underway, we mapped out our media relations activities. We determined the content of our press kit containing all the information we wanted to give the media as we traveled from town to town. The kit was completely adapted for every show and updated for every town on the tour. From the start of our second year, we established relations with journalists and the media. Journalists were always hungry for content. More specifically they’d ask us what subjects to cover. So we crafted a series of press releases indicating newsworthy coverage angles. It was astonishing to see newspapers gobbling up our press releases and reproducing them word for word. Sometimes the papers copied our spelling mistakes! It’s still like that now. That’s the media for you! But over the years, we met outstanding journalists who went way beyond our humble press kit. In 1985, we launched our Quebec-Ontario tour. The new show debuted in Montreal. But a week went by, and the Montreal daily La Presse still hadn’t deigned to publish a review. When I queried our press attaché, Lise Huneault, and our local media relations agent, Danielle Papineau- Couture, they confirmed that not a single journalist from the paper had attended one of the performances. We needed the article; press coverage was essential to the success of our operations. Friends informed me that La Presse’s Arts and Entertainment editor refused to cover the event, claiming that Cirque du Soleil wasn’t really a circus. What an insult! I was doing a slow boil. My friends tried to calm me down. But I wasn’t having it. I called him up and told him I’d be dropping by in an hour and that it would only take a few minutes of his time. He was courteous enough, but he reiterated that the paper had no intention of covering the event. I calmly pointed out that we were a young cultural organization in Quebec. I added that the average age of the employees was about 20 to 21, that we were taking enormous risks launching the enterprise, that we were doing our utmost to succeed and that the artists were giving their all on stage to please the audience. “Can your newspaper, the biggest French-language daily in North America, just out of respect for them, give them a review?” I asked. “Write what you like, but at least, write something; they deserve some feed-back!” To sweeten the pill, I reminded him of the wonderful two- page article on Michael Jackson that his team had published in the Arts and Entertainment section on the previous weekend edition. We finally got a review the next week. It wasn’t exactly glowing, but we got it. It was the last time I had this kind of trouble with the paper. In every city on the tour, we hired a local media relations agency, ideally, a small firm specializing in theatre. It’s better to be a big client with a small agency than a small client with a big agency. We liked to work with enthusiastic people who had direct control over their activities. A number of these agencies had a contract with Cirque du Soleil for many years; some still have. The agencies were a key component in our operations. They helped us figure out the “who’s who” in a town. We needed the information for our premiere invitations. The first performance was a turning point in our whole marketing operation. In a way, that’s when our artistic and marketing teams came together on the ground. On the night of a premiere, I used to tell my colleagues in the creative end of things: “The ball’s in your hands now!” In the months and weeks before we arrived in a town, we wove a vast web of advertising and media relations. On premiere night, the web was deployed. The premiere was the spark that gave our whole undertaking meaning. It crystallized our marketing activities. Our best sales argument by far was the show itself. The show triggered an informal but extremely powerful communications process: the rumor mill, word of mouth. To enhance the force and quality of the rumor, we carefully selected our guests working closely with our media relations agency. Invitations were sent out to partners and sponsors and to people in the media. Then I made sure to invite everybody who’s anybody in the arts and culture milieu. My reasoning was quite simple: our show was a cultural product that redefined the standards. So what’s more natural than to be judged by your peers! They had earned credibility in their community. So systematically, our guest list included poets, sculptors, writers, singers, dancers, actors, theater directors, painters and art critics. They enjoyed expressing their opinion in public; we simply gave them the chance to do it. From town to town, from tour to tour, we executed the same marketing plan. Important aspects of the message we conveyed went unchanged. For every show, we grouped all the press relations parameters and activities in one document: the media relations guide. Basic but extraordinary tool, it contained all the distinctive elements of the show: the story angles to cover, the sequence of press relations activities for each city as well as the ways and means. Everything was there. The guide was an ideal tool for the agencies and for us as well. It enabled us to exert greater control over media activities and content. In choosing reporting angles for journalists, I targeted every section in a major daily. The aim was to place an article or a photo in each section of the key dailies in every tour city. My approach was clear: “We have news for you!” We would target the main News section with the arrival of the convoy; the Around Town section with the assembling of the big top; that of Arts and Entertainment through in-depth interviews with the director and the artists as well as the review of the show; the Style section with anecdotes of life on the tour; Fashion with the show’s costumes; the Food/Cooking section with our restaurant, the kitchen team and our menus; Business with our sponsors and the growth of our company; and the Sports section with the Olympic-class caliber of our athletes… At the very least, we were determined; not aggressive, simply determined. We were candy for the media: we offered them youth, fashion, performance, logistics, business, creativity, a touch of the avant-garde, and exoticism. In 1992, when Saltimbanco was created in Montreal, I organized an event that would become a fixture in the organization, an annual meeting with all the press relations agencies and our principal associates to present our new show, inform them of the latest developments and let them know about projects in preparation. We discussed every aspect of our activities. It gave everyone a chance to benefit from other people’s experience. A genuine happening! The meetings soon became highly popular not only because they were extremely useful and effective, but also because the participants got to meet collaborators from all over the world. Thus, we were able to harmonize our communications activities worldwide. Globalization imposes a certain rigor. When we have a message to deliver in one town we must disseminate the same messages all over the planet. An interview with a journalist in London may appear almost simultaneously in newspapers in Los Angeles, Toronto, and Sydney, Australia. Are you true to yourself and your principles? Choosing Your Partner --------------------- Right from the beginning, our sponsors were also our suppliers and creditors. We negotiated with them as best we could in the early years. During that period, Cirque du Soleil’s attitude towards sponsorship evolved. We had little money and means at our disposal; so we were open to any interesting proposal from sponsors. But the proposals didn’t come when we needed them. As a result, our position hardened somewhat about sponsorship, and we came to appreciate the notion of artistic integrity. As time went by, we became increasingly protective of our product. We found it difficult to accept proposals that might detract from the show. The artistic dimension predominated; we got used to functioning that way. Lacking sponsorship, we were forced to rely on ticket sales and merchandise to maximize revenues. Better to offer a superior artistic product of integrity than a mediocre heavily sponsored work. We received some curious requests made in all seriousness: to paint in giant format a sponsor’s logo on the outer canvas of the big top, to place a car in the ring when the public arrived, and to make a sponsor’s product part of one of the acts. We used to say, “Look, we’re not a shopping mall!” Certainly, the distinction between the world of entertainment and that of consumption has been blurred. Shopping malls entice their customers with extraordinary cultural experiences, offering exotic environments that put them in the right frame of mind for shopping. We made every effort to point out to potential sponsors the obvious differences between a music festival and our product. For example, a business that had a stage bearing its name in an open-door festival would also benefit from the exposure generated by televised reports. With Cirque du Soleil on the other hand, the sponsor’s banner inside the big top would disappear from view the moment the show began. In the late 1980s, I met a director of a big Canadian oil company who said that our trademark enjoyed greater notoriety than his firm. He feared Cirque would eclipse his firm… Nevertheless, we were well aware of the value of sponsorship and partnering with companies. The partnerships developed an extremely stimulating business dynamic. I found those relationships enormously enriching. They presented new challenges and forced us to be more rigorous and more professional. We also had to be creative in reaping the benefits of sponsorship. During negotiations, we endeavored to make sure that sponsors fully grasped the meaning and extent of their investment. We asked a simple question: How can we help you meet your marketing objectives? This may seem strange, but we sometimes met business executives eager to sponsor us without really knowing how to integrate us into their marketing activities. They just wanted to be associated with Cirque du Soleil. In assessing the performance of a partnership, it is a good idea to recall the objectives and determine whether they have been met. Before we became truly successful, we formulated a sponsorship policy that excluded certain companies from any future partnership: arms dealers, fast-food chains and, obviously, cigarette manufacturers. There were many reasons why a sponsor might want to be associated with Cirque du Soleil: quality, originality, creativity, authenticity, and a sense of the avant-garde. But the one element that sponsors find most appealing is our extraordinary clientele. The majority of our clients are women, 60% of them aged 24 to 45. They had a higher level of education and family income than average. Children constituted only a very small part of our client base. To obtain this kind of information, right from the start, I set up a survey mechanism for our patrons. In each city, year after year, we confirmed our client profile, assessed the performance of our communications activities and determined the public’s degree of satisfaction with our product and services (ticketing, reception, merchandise, etc.). It was a valuable investment. Our findings were the same all over the planet. Analyzing the results enabled us to fine-tune our advertising campaigns and to determine the essential elements of our marketing operations. Compiling the data gave us feedback about the quality of our services. We forwarded the results of these surveys to the departments concerned. So, in each town, we could offer a product that met our customers’ expectations. The members of the artistic team were the only ones who didn’t want to let the results influence their work. Yet, they insisted on knowing them, though they denied using them. People cautioned us against making shows based on surveys. I shared their opinion, and I didn’t wish to influence decisions affecting the productions, but I thought it was vital that the public had the opportunity to give their opinion about the artistic side of our activities. Sponsors were eager to see these reports, and the characteristics of our clientele never ceased to be the envy of their marketing specialists. Over the years, we had the opportunity to work with very big companies and smaller ones, too. In some cases, the presence of sponsors was essential in launching a tour: Kirin Lager and Nissan in Japan or Schöller AG in Europe. In other cases, the quality and originality of the partnership set a new standard: AT&T in the United States, Oetztal Arena in Europe, Acura in the United States, Canadian Airlines International Ltd. in North America, Ultramar in Quebec, etc. In every case, at the heart of these agreements, were people who shared our passion and who were committed to the success of our business relationship. With them, we built precious friendships. Internationalizing Cirque’s activities created a fair number of sponsorship challenges. Finding firms ready to work across boundaries in this domain was amazingly difficult. Most sponsorship decisions involving activities in foreign countries were taken in the capitals concerned in a context of decentralization. Though globalization is a fact it is yet to take effect in cultural event sponsorship. It has wider acceptance in sports, particularly in the Olympic Games because they have become highly televised and commercialized. Do you have another way of looking at things? Packaging --------- Based on my experience in advertising, I decided that from the start we needed to control our communications and “do it ourselves.” I didn’t want to work with an advertising agency where the atmosphere is fiercely competitive. Besides, we couldn’t afford to pay for one! So, early in 1985, we decided to set up a graphics section. I remember calling Thérèse Mondor, my girlfriend at the time: we got married since then… Thérèse was a gifted, young graphic designer working in a small but excellent graphic design agency run by a friend of mine. I said to Thérèse, “I need someone in graphics and I thought of you. I’m offering you $50 a week more than you make now. But there’s one condition: you have to bring your drawing table and chair.” In graphics, people weren’t using computers at the time, at least not in Quebec. The company had hardly gotten started and already we had to think about cost cutting. Thérèse accepted the offer; it was the beginning of a long and remarkable work relationship. That’s how we developed over the years, with the help of freelance collaborators, our advertising imagery, and line of merchandise. For every show, we created an original visual directly inspired by comments from the team of designers. Like the shows, our visuals and base lines were universal. Very rarely (in Paris and Japan) did we have to modify a visual. Michel-Thomas Poulin was one of the freelance artists who did the most to shape the Cirque du Soleil style. Michel- Thomas designed all the images and illustrations for the shows from 1985 to 1994. Some like Saltimbanco, Alegria, and Mystère visuals are still being used. Ideally, the marketing and artistic teams agreed on the choice of a show’s base line and visual. We held lengthy discussions, trying to identify the aim and intent of every show. These discussions would end just in time for us to launch the advertising campaign… Each group had its legitimate needs, and when the discussions came to an impasse, we let Guy Laliberté decide. Every year, the Cirque du Soleil poured millions of dollars into advertising. The quality and extent of these investments directly affected our results; so it was hardly surprising that we were loath to leave as strategic an operation as an advertising campaign in the hands of strangers. In North America and in Europe, we conducted over 85% of the negotiations and media placement; this was a major marketing operation. And many people around the world made a valuable contribution. Selling tickets is a retail activity. So as in any business, we could measure the impact of advertising on sales. As the years went by, one thing became crystal clear: our product was unique; it deserved exceptional marketing. We developed and experimented with a marketing practice that we adapted to places and circumstances. The ads in major newspapers and specialized weekly publications could represent up to 50% of our investments; outdoor signs, billboards and advertisement on buses, up to 20%; television, radio, and eventually the Internet accounted for the rest. We spared no effort in creating a veritable media event. Cirque du Soleil established media partnerships in every town. By involving our partners in the presentation of the show, we were able to increase the value of our advertising campaigns two-, three-, even four-fold. We created our own ads and we produced our own radio and television commercials. It was important for me to feel that our show, advertising art and campaign deployment were intimately related. When every aspect of the process meshed, I felt like a violinmaker who has controlled every phase in the building of a magnificent instrument. To Be Continued... ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 5 (Issue #184) - May 2019 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2019 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., All Rights Reserved. No copyright infringement intended. { May.09.2019 } =======================================================================