======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 12 December 2019 ISSUE #191 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. Once again there've been a lot of announcements, so let's get to it! * * * DISNEY 2020 IS... DRAWN TO LIFE! * * * Cirque du Soleil Entertainment Group and Disney Parks, Experiences and Products are thrilled to announce DRAWN TO LIFE, the highly anticipated, new family friendly show coming to Walt Disney World Resort in Lake Buena Vista, Fla. Written and directed by Michel Laprise, this collaboration between Cirque du Soleil, Walt Disney Animation Studios and Walt Disney Imagineering will open for previews March 20, 2020, and officially premiere April 17, 2020. The show will take residency at Disney Springs. Cirque du Soleil Entertainment Group President and CEO Daniel Lamarre, says, "For Cirque du Soleil, this is a beautiful way of celebrating Disney's legacy in the art of animation. This new and exciting production is most certainly the best way to highlight the privileged relationship we have with our colleagues at Walt Disney World and our joint commitment to continually bring audiences new experiences that surpass their expectations." The show is a result of years of research and extraordinary collaboration that included extensive visits to Disney theme parks, Walt Disney Archives, Walt Disney Imagineering, Walt Disney Animation Studios, Pixar Animation Studios, The Walt Disney Family Museum, as well as hands-on work between Disney animators and Cirque du Soleil. ln fact, the Cirque du Soleil teams collaborated extensively with legacy animators to create the show. Read the full announcement within... * * * KÀ HAS A NEW ACT! * * * Earlier this year, the KÀ creative team set out to shake up the epic production by adding a high-energy acrobatic act to the opening scene of the show. A rare endeavor that kicked off a world-wide search for talent that led all the way to Ethiopia. Check out this insider's look at the integration process for KÀ's newest addition, ICARIAN GAMES! - check out this video: https://www.facebook.com/watch/ ?v=2449197935296016 - it looks fantastic! * * * THE FIRST HOLIDAY ALBUM FROM CIRQUE DU SOLEIL? * * * Discover the soundtrack of "'Twas The Night Before...", the first- ever Cirque du Soleil Christmas show filled with a flurry of love, Christmas cheer and rip-roaring fun. 01: "'Twas the Night Before..."....... (4:26) 02: "God Rest You Merry, Gentlemen"... (5:17) 03: "Jolly"........................... (2:29) 04: "Up on the Rooftop"............... (4:15) 05: "The Spark"....................... (2:03) 06: "O Come, O Come, Emmanuel"........ (5:38) 07: "O Holy Night".................... (4:32) 08: "Angels We Have Heard on High".... (2:36) 09: "O Christmas Tree"................ (3:40) 10: "Shchedryk"....................... (3:55) 11: "Do You Hear What I Hear?"........ (4:25) 12: "Deck the Halls".................. (4:24) 13: "Joy to the World"................ (2:23) Released on December 6, 2019, hear the new soundtrack worldwide on Spotify (http://open.spotify.com/album/5PVVkM9ApJwTUG81CPUfON). Or, you can also purchase the album via Google Play Music and iTunes. * * * HOMMAGE #6 IS A TRIBUTE TO DIVAS QUÉBÉCOISES * * * In 2020, the 6th installment of the Tribute Series exclusively at the Amphithéâtre Cogeco in trois-Rivières will highlight the great female voices of Quebec. Trois-Rivières 2020 is a musical work that goes through the ages to celebrate the vibrant and alive legacy of Quebec icons. Tickets are now on sale! https://www.cirquedusoleil.com/trois- rivieres-2020 * * * R.U.N FOR ONE NIGHT FOR ONE DROP 2020 * * * One Night for One Drop is back: the 8th annual edition will be held on Friday March 27, 2020 at the Luxor Hotel & Casino in Las Vegas featuring a thrilling performance of R.U.N – the first live action thriller by Cirque du Soleil. The evening begins with an intimate, sponsor-only, cocktail reception – the perfect setting to network with our exclusive crowd. Guests will then take their seats in the theater for the live auction where exquisite, once-in-a-lifetime experiences, travel, and luxury goods are presented and available to bid on. This impressive auction will be followed by the thrilling performance of R.U.N. The evening is only just beginning... guests will cap off the night with an epic, immersive party. This unforgettable extravaganza with food, beverages, and surprise guest performances will be held in true Cirque du Soleil style and is guaranteed to leave a lasting impression – expect the unexpected! Get tickets to this event here: https://onenight.onedrop.org/en/tickets/ * * * IS CIRQUE COMING TO CIRCUS CIRCUS? * * * According to the Denton Daily, on Wednesday, December 4th, Treasure Island owner Phil Ruffin told the state Gaming Control Board that "The Illusionists," which he says is playing in New York and is Cirque du Soleil's most successful show, would be housed in a 2,000-seat, $11 million theater to be built on the front side of the Circus Circus property. "We have a long-term relationship with Cirque du Soleil, we have the ‘Mystere' show at Treasure Island, a very successful show," Ruffin told board members. "We have a commitment from the president of Cirque du Soleil to put a show in Circus Circus and so we've had meetings on that. I firmly believe that a Strip property has to have a permanent show and that's the deal struck." But after Ruffin's appearance, a Cirque official wouldn't confirm plans for a show. "We are always discussing opportunities with our partners but have no new projects to confirm at the moment," said Cirque Director of Publications Ann Paladie. So, I guess we'll see! * * * CIRQUE + VIDANTA = NEW SHOW IN NUEVO VALLARTA * * * At the five-year anniversary of Cirque du Soleil JOYÀ in Riviera Maya, and celebrating its unrivaled success, Grupo Vidanta and Cirque du Soleil officially announced the launch of an exciting new show that will include a mesmerizing high-level gastronomic experience. "With the launch of Cirque du Soleil JOYÀ, Grupo Vidanta forever changed the entertainment landscape of Mexico by creating the must-see and world's only Cirque du Soleil show and dinner experience. Now, propelling forward with our multi-year operating experience, we are certain the new theater and culinary experience currently being built in Nuevo Vallarta will be an unforgettable experience for the senses that will once again present to the world a unique and unmatched tourist attraction available only in Mexico," said Iván Chávez, Executive Vice President of Grupo Vidanta. The new theater will be located in an area dedicated to Cirque du Soleil in Vidanta's entertainment parks currently under construction in the Vallarta area. In addition to the theater and show, the area will feature multiple acrobatic and artistic attractions where guests can immerse themselves in the world of Cirque du Soleil, where outdoor animations will come to life. "Throughout our unique collaboration and long-standing partnership, Cirque du Soleil and Grupo Vidanta have always shared the same vision for high-quality entertainment and captivating experiences. We are thrilled to embark on this second venture; it's an opportunity to unleash our creativity within the exquisite surroundings of this new Vidanta resort," said Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment Group. This will be the 53rd creation of Cirque du Soleil and its 16th resident show. * * * "NYSA" IS BERLIN 2020 * * * Long for a world you've never imagined! Cirque du Soleil NYSA is an exhilarating blend of inspired storytelling, spectacular artistry and breakthrough acrobatics; a show to take you beyond what you can imagine. Cirque du Soleil Entertainment Group is thrilled to announce Cirque du Soleil NYSA, its first permanent show in Europe, written and directed by renowned stage directors Lulu Helbæk and Simone Ferrari. Presented and co-produced by Live Nation, the show will premiere in Berlin, Germany, at Theater at Potsdamer Platz starting October 28, 2020. Celebrating 25 years since the first Cirque du Soleil production in Germany, Cirque du Soleil NYSA is the world-renowned organization's first permanent show in Europe, it's 21st permanent show and 52nd original production. The brand new and exclusive production will premiere at Theater am Potsdamer Platz, where it aims to thrill audiences from the German capital and the metropolitan area along with German and international tourists long term. About 400,000 people per year will be able to witness unique performances, specifically conceived for the Theater am Potsdamer Platz. Cirque du Soleil Entertainment Group President and CEO, Daniel Lamarre, says, "For Cirque du Soleil, this is a beautiful way of celebrating a 25-year relationship with the city. This new and exciting production is most certainly the best way to highlight the privileged bond we have with Berlin." Read the full release within... * * * LAST, BUT NOT LEAST... * * * And last, but certainly not least, we have a couple of important milestones to highlight: - LUZIA is this year's special ARTE production. Check out the schedule here: https://www.arte.tv/de/videos/093018-000-A/ cirque-du-soleil-luzia/ (Pssst, "O" will also be broadcast. "O" was 2017's ARTE special) - Corteo Arena celebrated its 500th performance on November 16th - BAZZAR Celebrated its 200th performance on November 18th - Mystere celebrated it's 12,345th performance on December 5th. https://www.facebook.com/Mystere/posts/10157825667849919 More? Keep reading! /----------------------------------------------------\ | | | 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 * "R.U.N. For The Exit?" - A Collection of Articles Reviewing R.U.N at its Gala Premiere * "A Look at Cirque at Sea II: SYMA & VARELIA" By: Ricky Russo - Atlanta, Georgia (USA) * Jean David's Quel Cirque, Part 12 of 12: "The Revelator" A Special Series Celebrating Cirque's 35th Anniversary o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- JOYÀ Celebrates 5th Anniversary with a Re-imagined Menu {Nov.12.2019} ---------------------------------------------------------- Cirque du Soleil JOYÀ – the only Cirque du Soleil show in the world that includes a culinary experience – celebrates its fifth anniversary with the unveiling of a brand new haute-cuisine menu, masterfully- crafted by Grupo Vidanta's Executive Chef Alexis Bostelmann. Since its launch in 2014, Cirque du Soleil JOYÀ has become one of the most critically acclaimed and popular attractions in Mexico. The gastronomic experience is a prelude to the Cirque du Soleil show, which can only be seen at Vidanta's Riviera Maya resort. Chef Bostelmann showcases his creative culinary acumen to the fullest and offers a renewed experience complimented by extraordinary artistic touches that immerse guests in an unforgettable adventure from the moment they taste the first course. "Each element of this magnificent show served as my inspiration, where imaginative curiosity is met with unexpected discovery. My goal was to present a menu rooted in historical meaning that parallels the show's beloved storyline so that once the performance begins, guests will connect all the details for a completely immersive theatrical experience," Bostelmann said. The meticulous reinvention of JOYÀ's gastronomic experience took Chef Bostelmann and his team of approximately 70 people more than six- months to conceive and create. From chocolate imported from the state of Tabasco, to lobster from the Caribbean coast, each course boasts locally-sourced ingredients, inspired by traditional Mexican dishes. The result is an immersive culinary experience like no other. The show's dining experience begins with a playful salad of edible flowers, Iberian ham, optional pre-Hispanic protein, served with a decadent lobster taco, sweet potato and fresh ceviche made from the catch of the day seasoned with coconut, mint and passion fruit; a perfect balance of flavors. The culinary journey continues as a glass chest of jewels is served, featuring a mini shrimp skewer and seaweed salad topped with a delicate pearl made of coconut milk. Then, a choice of salmon with a chili sauce and a beet crust, or a dish inspired by the show's prehistoric tableau: steak presented in a meteor rock with a braised rib – meant to resemble the bone of a dinosaur – served with garden fresh vegetables and a ginger, coconut and sweet potato mash. In order to ensure that every guest can enjoy the full gastronomic experience, chef Bostelmann created a new vegetarian option, an odyssey of flavors: quinoa risotto with pickled cauliflower beet, and an exquisite avocado mash presented in a storied, travel trunk. For young children, a delectable pasta option is served. The majestic ending to this one-of-a kind experience is the illustrative dessert plated within the pages of "Le tableau périodique des pâtisseries" book. This show stopping presentation offers a new decadent flavor profile that juxtaposes bitter and sweet, rich and airy, that enables guests to enjoy and engage with the variety of elements layered throughout the final course. With more than 1,650 shows and 900,000 visitors, Cirque du Soleil JOYÀ is a bona fide success. And the new gastronomic experience promises to surprise and delight all those who have already seen this extraordinary show as well as those who will be visiting it for the first time. Cirque du Soleil JOYÀ is presented at the Cirque du Soleil Theatre at Vidanta Riviera Maya. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- "‘Twas The Night…" Re-imagines Iconic Holiday Poem {Nov.13.2019} ---------------------------------------------------------- Santa and Cirque du Soleil: It's not a terribly obvious association. An AARP-eligible gent with a body like a bowl of jelly is not, after all, what comes to mind when one thinks of the extraordinary acrobats, tumblers and aerialists that define the eye-popping aesthetic of Cirque's many shows. But that's about to change — or so hopes James Hadley, the writer and stage director of Cirque du Soleil's "‘Twas the Night…" When the production premieres in Chicago later this month, it will mark Cirque's first foray into a Christmas-themed spectacle. No need get your stockings in a twist: Santa won't be a contortionist with eight-pack abs, Hadley said. Still, he is intent on putting a new spin (so to speak) on the adventures of St. Nick. For the better part of a year, Hadley has been deconstructing the iconic 19th century poem "‘Twas the Night Before Christmas," searching for acts to bring its beloved stanzas to life. "It's almost 200 years old," Hadley said of the 1823 poem first published in a New York newspaper. "It's had an enormous impact on how we see Christmas. The names of the reindeer, the description of Santa, the visions of sugarplums. The challenge was finding acts that could fit the verses, but in a surprising way," Hadley said. That means walking a fine line between honoring tradition and avoiding cliché. Out: Dancing sugar plums. In: Hula-hooping acrobats. "We wanted to rediscover the poem, not rehash it," Hadley said. "The goal is to discover a new perspective on characters and images we know so well, to see them through Cirque's prism." The discovery starts with a character named Isabella, a young girl Hadley describes as "disconnected" from her family, and from Christmas itself. "She's at that age where it's not cool to hang out with your family," Hadley said. "Young people change, sometimes very suddenly, when they become young adults. Parents usually need to adapt, to find a different way of relating to them." For Isabella and her father, a howling blizzard becomes an entry to a new way of relating. "The storm transports her into the world of the poem, into a different dimension," Hadley said. The poem (which is attributed to Clement Clarke Moore and Henry Livingston Jr., depending on who one asks) provides an abundance of gorgeous imagery for Cirque's artists to bring to life, Hadley said. A Canadian "lamp act" featuring aerialists dancing far above the stage on a flickering chandelier in a manifestation of the "moon on the breast of new fallen snow." A quartet of Taiwanese diablo performers will use the art form's intricate mixture of juggling, gymnastics and dance to personify Santa's key characteristics — twinkling eyes, cherry nose and snow-white beard among them. "One of my main challenges was finding acts that could connect to Christmas and help link the beautiful passages in the poem. For instance, "‘as leaves before the wild hurricane fly.'" That's a perfect phrase to describe an aerial act," Hadley said. Other acts aren't so literally imagined. A flying turkey soars over the audience in one scene. A group of in-line skaters help create the sense of an icy wonderland. "When they come sliding in, it's almost a bunch of people tobogganing down a mountain of snow," Hadley said. Unlike Cirque's previous 49 original shows (which have been centered on topics ranging from sex to the Beatles to synchronized diving), "‘Twas the Night…" is solidly geared toward families, Hadley said. It is also the first Cirque production to launch in Chicago since 2009's critical/commercial trainwreck "Banana Shpeel." Hadley is diplomatic about the last time Chicago hosted a world- premiere Cirque show. "What I love about ‘Twas the Night' is that it's coming back to our roots, Cirque du Soleil's roots. It's acrobatics, front and center. That's the backbone of the show," he said. "And I love the overall message — people change. Relationships change. But traditions can keep people united. Whether it's to families related by blood or that we've created for ourselves." { SOURCE: Catey Sullivan, Chicago Sun-Times } ---------------------------------------------------------- Guy Laliberté Investigated Over Cannabis Claims {Nov.13.2019} ---------------------------------------------------------- Canadian entrepreneur Guy Laliberte, founder of the Cirque du Soleil circus company, appeared before a judge in French Polynesia on Wednesday over claims of cannabis cultivation. Lune Rouge, a Montreal-based entrepreneurial organization headed by Laliberte, said in a statement that he was being investigated for alleged complicity in cultivation, possession and use of cannabis. The organization said that Laliberte has not been charged with drug trafficking and he left the courtroom in Tahiti without any conditions. "The disproportionate importance given to this matter, which is generally trivialized for someone in possession of several plants of cannabis for strictly personal use, greatly surprises me," Laliberte said in a statement. "On a different note, however, I would like to highlight that Faa'a's gendarmes were very courteous, and have treated me in a professional and respectful manner, which is a bright spot in this misadventure. "Obviously, I will continue to co-operate with the judicial authorities of French Polynesia." The company said Laliberte was being questioned over cannabis grown for personal use on his private island of Nukutepipi in the French collectivity of islands in the South Pacific. The organization said Laliberte, 60, is a medical cannabis user. The statement also said Lune Rouge was collaborating with local authorities in their investigation. An assistant to lawyer Yves Piriou, an attorney based in the capital Papeete, confirmed he was in court representing Laliberte. Under French law, which applies in French Polynesia, planting cannabis, even for personal consumption, is illegal. Ilana Amouyal, a Montreal-based lawyer who was born in France and practised law there, said even if Laliberte had a Canadian certificate allowing him to access medical marijuana, it wouldn't apply in the French Pacific territory. The French National Assembly last month passed a law to legalize therapeutic cannabis for a two-year trial period beginning in early 2020. But under the law, medicinal marijuana must be prescribed by a specialist at a hospital and purchased from the hospital pharmacy for the initial purchase, Amouyal explained. It is also reserved for people suffering from very specific illnesses or chronic or intense pain, meaning the number of people permitted to use it is very restricted. Under the French penal code, sentences related to cannabis can vary depending on the charge — from a maximum of one year in jail for consumption to a maximum of 20 years for production or fabrication, along with hefty fines. { SOURCE: HuffPo Canada } ---------------------------------------------------------- A Behind-the-Scenes Look at WDW 2020 Show! {Nov.21.2019} ---------------------------------------------------------- Today, Cirque du Soleil met with the media to share a first look inside the new, yet-to-be-named Cirque du Soleil show that is set to debut at Disney Springs at the Walt Disney World Resort on March 20, 2020. "This show is a love letter to the art of animation," said Michel Laprise, writer and show director. "And it's just a pure joy for us to explore the richness and the authenticity and the audacity of Disney animation." "It's a show really based on love," Laprise added. The creative team was reassuring: Mickey Mouse would not juggle and Goofy would not be on the trampoline. In fact, there wouldn't be any of Disney's mascots on the stage. This original creation coming to Disney Springs celebrates the art of Disney animation in Cirque du Soleil's signature way, with a tribute to the craftsmanship that makes Disney so extraordinary. The show will transport the audience into the world of Disney animation with new original acrobatic sequences, dazzling choreography, musical masterpieces and whimsical characters. The main character is Julie. Raised by animators, Julie discovers a love of animation herself, and goes on to follow her dream. "It's a show about love. The love of a father for his daughter, who grew up with all the Disney characters, and the love of a craftsman for his craft. Julie will receive a message from her father who will tell her basically: now it's up to you to take over, to create the illusion of life and find your own signature," said Laprise. Michael Jung, Creative Director at Disney Imagineering, added that Disney expressed two demands: first, that it be a show for the whole family, "with heart and humor", and second, that the characters of Disney brand were well represented – even though they would not be "physically" on stage. "We did not want it to be a musical," he said. According to the Disney Parks Blog, the show's physical feats will "amaze", while performances require "astounding athletic skill". The musical score will "shake the soul", and the story "tugs deeply at the heart". The score will be written by Benoît Jutras, who wrote the scores for La Nouba, "O", and Quidam. Costumes designed by Philippe Guillotel (LOVE, IRIS, Kurios, and Paramour). Sceonography by Stephane Roy (Zumanity, Kooza, Kurios). But acrobatics? Germain Guillemot has Russian Swings, Icarian Games, Korean Plank, Russian Cradle Wheel, Hand-to-Hand, Aerial Straps and Swings on tap for the show. CHECK OUT THE VIDEO HERE: https://youtu.be/DHSQMTBdiZQ { SOURCE: Walt Disney World } ---------------------------------------------------------- Cirque du Soleil NYSA - Berlin October 2020! {Nov.21.2019} ---------------------------------------------------------- Long for a world you've never imagined! Cirque du Soleil NYSA is an exhilarating blend of inspired storytelling, spectacular artistry and breakthrough acrobatics; a show to take you beyond what you can imagine. Cirque du Soleil Entertainment Group is thrilled to announce Cirque du Soleil NYSA, its first permanent show in Europe, written and directed by renowned stage directors Lulu Helbæk and Simone Ferrari. Presented and co-produced by Live Nation, the show will premiere in Berlin, Germany, at Theater at Potsdamer Platz starting October 28, 2020. Celebrating 25 years since the first Cirque du Soleil production in Germany, Cirque du Soleil NYSA is the world-renowned organization's first permanent show in Europe, it's 21st permanent show and 52nd original production. The brand new and exclusive production will premiere at Theater am Potsdamer Platz, where it aims to thrill audiences from the German capital and the metropolitan area along with German and international tourists long term. About 400,000 people per year will be able to witness unique performances, specifically conceived for the Theater am Potsdamer Platz. Cirque du Soleil Entertainment Group President and CEO, Daniel Lamarre, says, "For Cirque du Soleil, this is a beautiful way of celebrating a 25-year relationship with the city. This new and exciting production is most certainly the best way to highlight the privileged bond we have with Berlin." Marek Lieberberg, CEO of Live Nation in Germany, Austria and Switzerland, has been instrumental in bringing this project to life. "We are excited about this world premiere as we all share the same fantastic vision of inspiring audiences with outstanding events. That's exactly what the new original Cirque du Soleil show at Theater am Potsdamer Platz will achieve. My special gratitude to our partners from Cirque du Soleil for the trust they have placed in us." Since Cirque du Soleil's first visit in Germany in 1995 with Saltimbanco, 14 of its productions visited 16 cities in the country. Known for its cosmopolitan values and international appeal, Berlin will be the setting for this first permanent show created for a European city. "We wanted to tell a story which belongs to and is inspired by Berlin, its residents, and its status as a European cultural epicenter, while making it universal so that people from all over the world can relate to the show and its characters", adds Daniel Ross, Creative Director. This modern tale follows the story of Nysa, a fearless young woman who longs for adventure and open skies. Her curiosity and courage will give her the power to step into the unexpected and fly towards new worlds. Inspired by youth and its desire to push the boundaries and aspirations for a better future, the character looks to the outside world for a sense of what life could be if she let her imagination soar and if she allowed herself to take risks. This new Cirque du Soleil production will invite the spectator to long for a world they've never imagined. Signing their first collaboration with Cirque du Soleil, Lulu Helbæk and Simone Ferrari explain that "as Europeans, we are thrilled and honored to create the first resident Cirque du Soleil show in Europe. It's a dream come true. It comes at a time in our lives where we feel the urgency to speak about the exploration of the unexpected, a fundamental process for the evolution of mankind and its societies. As creators, we seek to expose the humanity hidden in every character, to show their contradictions and their quest for a world that has never been imagined before. This show will inspire you and will propel you into a new world. You are invited to abandon yourself to the unknown and discover a new reality, a reality where touching the sky is not only possible but striving for it will change the world." CREATIVE TEAM o) Chief Executive Producer — Yasmine Khalil o) Vice President, Creation — Daniel Fortin o) Line Producer — Nathalie Enault o) Creative Director — Daniel Ross o) Stage Directors and Writers — Lulu Helbæk and Simone Ferrari o) Set and Props Designer — Jean Rabasse o) Costume Designer — Elen Ewing o) Human Performance Designer — Jérôme Le Baut o) Acrobatic Equipment Designer — Ewen Seagel o) Sound Designer — Jean-Michel Caron o) Production Director — Inigo Alonso Ezcurdia { SOURCE: Cirque du Soleil } ---------------------------------------------------------- Welcome to "Avenue du Cirque" in Montreal! {Nov.29.2019} ---------------------------------------------------------- {This article was translated from its original French via Google Translate} The Borough of Villeray-Saint-Michel-Parc-Extension announces that part of 2nd Avenue located between Jarry Street East and Deville Street, in the Saint-Michel, will change its name to Cirque Avenue, a tribute to the artisans of the circus arts sector, including Cirque du Soleil. The announcement of the new place name took place this morning during a ceremony at the international headquarters of Cirque du Soleil in the presence of Mme Giuliana Fumagalli, Borough Mayor, Mme Magda Popeanu, Vice President of the Committee Executive of the City of Montreal, responsible for culture and diversity of Montréal, Mr. Jonathan Tétrault, President and CEO of Cirque du Soleil's business, M me Diane Lemieux , Chair of Directors TOHU, by Sébastien Guénette, President of the Board of Directors of the National Circus School and members of the Circassian community of Montreal. "Naming a place allows us to highlight aspects of our culture, our identity. It allows us to remember who we are and where we come from. This change of name allows us to recognize the immense contribution of the circus arts to the development of our cultural metropolis and the international influence of Montreal," said Ms. Magda Popeanu, Vice- President of the Executive Committee of the City of Montreal, responsible for Montreal's culture and diversity. "By choosing to establish its international headquarters in Saint- Michel in 1997, Cirque du Soleil has become a leading player in the revitalization of the neighborhood. We are happy to take advantage of its 35 th anniversary of foundation to celebrate its contribution to the development of Saint-Michel . Through the new place name, we want to pay tribute in a lasting way to the artisans of the circus that make our district the City of circus arts," said Mme Giuliana Fumagalli, mayor of Villeray-Saint-Michel-Park-Extension. "There are more than 20 years, Cirque du Soleil is rooted on the 2nd Avenue in the district of Saint-Michel with the desire to infuse a creative and inspiring energy in its new environment," says Jonathan Tétrault, president and chief executive officer of Cirque du Soleil. "As we celebrate our 35th anniversary this year, we are honored and grateful for this change of name that recognizes the positive impact created by the circus arts. We are determined to remain a committed and involved neighbor with the large community of the borough of Villeray-Saint-Michel-Parc-Extension and the City of Montreal." "The Avenue du Cirque represents the foundations of what brings Cirque du Soleil, the National Circus School and TOHU together since the creation of the Cité des Arts du Cirque in Saint-Michel . For TOHU, sustainable development through culture, especially the circus, brings people closer to Saint-Michel , who are at the heart of the organization's three core values: the circus, the earth and the human. This gazetteer change confirms that our everyday actions make a real difference, "said M me Diane Lemieux , Chair of Directors of TOHU. "Montréal is proudly positioned on the international scene as a hub of creativity and innovation, and the Cité des arts du cirque is an eloquent symbol. By placing the word Circus in its toponymy, the City of Montreal stresses the importance of the largest circus company in the world, whose quality stimulates a unique artistic ecosystem and reflects on all of us, "added Sébastien Guénette, President Board of Directors of the National Circus School. The toponym "Avenue du Cirque" will come into effect next March. The City of Circus Arts In 1997, Cirque du Soleil decided to set up its international headquarters, a place of creation, training and production, in the Saint-Michel district. This decision was a precursor to the development of the Cité des arts du cirque. At the dawn of the 2000s, Cirque du Soleil, the National Circus School and En Piste, the National Association of Circus Arts, unite around a promising idea: to build adequate and accessible infrastructures to reaffirm their leadership and position Montreal as the international capital of circus arts. They will establish a non-profit organization to accomplish this purpose. In addition to Cirque du Soleil, the Cité des Arts du Cirque is now home to the TOHU, an organization dedicated to the dissemination of circus arts, thanks in particular to its theater and its festival, the École nationale de cirque, which hosts students from around the world to learn from Montreal's know-how, and Julie-Hamelin Park honoring the memory of the co-founder of Cirque Éloize, author, designer and producer of Finzi Pasca. { SOURCE: CISION } ---------------------------------------------------------- R.U.N: Robert Rodriguez's Alita follow-up {Nov.30.2019} ---------------------------------------------------------- RUN, the latest project from Alita director Robert Rodriguez, opens with the main character interrupting a wedding, swiping a heart-shaped necklace with a secret purpose, and igniting a war between the rival gangs Street Kingz and Blackjax. With echoes of Rodriguez's work on Sin City, it's heavily influenced by the style of graphic novels, and the pulpy, sometimes sleazy story includes a car chase through the desert, a near-drowning, a torture scene, and a climactic motorcycle battle. Oh, and it's not a movie: Run is a live stage show performed by Cirque du Soleil, five nights a week at the Luxor hotel-casino in Las Vegas. Rodriguez introduces the main character, known as "Me," crashing through a window from the screen into an impressively staged set piece featuring stunt performers combat fighting amid the audience. But nothing announces RUN's ambitions to be an action movie in a live theater setting like the subsequent transition into giant opening credits. Set to a cover of Twenty One Pilots' "Jumpsuit" by film composer Tyler Bates and Bush's Gavin Rossdale, the credits splash the names of the show's creative team (including Bates, who created the original music, and Rodriguez, who wrote the script) in massive letters. Me paces in contemplation beneath the huge screen in front of the stage. The beats of a propulsive action movie provide RUN with the structure for a series of ambitious stunt performances. It's a new direction for Cirque, which has six other resident shows in Vegas: It's the first of the group's shows to feature a scripted narrative and dialogue, the first to focus on stunts rather than circus arts, and the first to be created in collaboration with a Hollywood filmmaker. "There have been people at Cirque working on the idea of doing a show featuring stunts for about four years now," explains producer Gabriel Pinkstone. "We're always looking for different stuff, and frankly we explore a bunch of stuff that doesn't work out and that you never see. And then we explore things that get us excited, and that's where we ended up with this." As with all Cirque productions, RUN went through a lengthy development process before its premiere, with contributions from numerous creative personnel. "The one thing that is really great about this forum, this environment, is it's truly a team sport," says Bates, who was recruited on the strength of his scores for action movies like 300, Atomic Blonde and the John Wick series. "As we went through the process, we were like, ‘we need to get the real deal in,'" Pinkstone says of reaching out to Rodriguez and Bates. "When you get that flavor in the script and that flavor in the music, it's huge. And then we bring our expertise in human performance and everything that comes with that, and put it all together, and here we are with a live action thriller." The "live" part of that tag line means that RUN's performers are putting on movie-style stunts directly in front of an audience every night. The heart-shaped necklace that Me swipes from characters known only as the Bride and the Groom serves as the MacGuffin for the thinly sketched plot. It's the kind of simple, broad outline that might have formed the plot for a platformer a decade ago. Video games are one of the major influences cited by the show's director Michael Schwandt and creation director Stefan Miljevic. The films of Rodriguez and Bates were even more influential, especially 300 and Sin City, and graphic novels, like the Frank Miller books that inspired those two films. As indicated by the lack of specific character names, the characters in RUN are also meant to be easily identifiable. Me wants the heart necklace and to reunite with the Bride (his ex). The Groom wants to get the necklace back and to kill Me. The Bride is caught in the middle. "They're not going to be able to speak, so you can't get that personal with it, because the audience would just not know what's going on," Rodriguez says. "We had to go with the archetypes, so that even from far away, you know, okay, that's the Groom, that's the Bride, and that's Me. You have to just be able to follow and know instantly who you're looking at." All of the dialogue comes in the form of voiceover narration or is delivered in the extensive video segments that play between set pieces (and sometimes make the show feel like watching an elaborate movie with occasional in-person interludes). Although the show's roots are in action movies, video games, graphic novels, theme-park stunt shows and Cirque's own long history, RUN really is its own unique entity, and if it's still finding its footing soon after premiering, that, too, is part of Cirque's development process. The company never stops tweaking the shows, even its first Vegas production, Mystere, which has been running since December 1993 at the Treasure Island hotel-casino. Every Cirque production is a constant work in progress. RUN was developed as a series of action sequences before the story was even constructed, and the show works best when the narrative and the stunts can work in tandem. "It wasn't as if Robert could just write whatever he wanted to write without regard to what we need to do live on stage, because it just wouldn't work like that," Schwandt says. "We still have to make the story work with the performance that we decided we wanted to include in the show." RUN's biggest flaw is that it hasn't consistently resolved that tension, but sequences including the onstage car chase, a warehouse- set fight with multiple performers set on fire and the final gang battle via motorcycle stunts are so impressive on their own that it doesn't really matter how they relate to a story or characters. It's clear that the creative team was aiming for a smoother integration, though. "You connect the voiceover with the character you saw on the screen, and now you follow him through the show, and you'll always know what's going on," Rodriguez says. "It's great, so the audience is never confused. Because otherwise if you lose track, you might lose interest, and then it's just a bunch of stunts." "I'm very happy with how it turned out, because you never think, ‘Oh, they're stopping the story now to do the stunts,'" Pinkstone adds. "They're just in the story, like they are in Mission: Impossible or John Wick or anything else." Neither Mission: Impossible nor John Wick has yet made it to the Las Vegas stage, but with acclaimed filmmakers like Rodriguez willing to lend their talents to Cirque, it's enticing to think what someone like Christopher McQuarrie or Chad Stahelski could do with the same opportunity. { SOURCE: Polygon } ---------------------------------------------------------- 'Twas the Night Before...' Not as Stirring {Dec.02.2019} ---------------------------------------------------------- Magical and wondrous — two words that invariably come to mind when describing Cirque du Soleil. For some 35 years now, the genius of Montreal-based Cirque has been the ability to take us to places beyond our imaginations, filled with glorious costumes, ethereal music, incomparable circus artistry, mind- boggling sets and, well, a whole lot of razzle-dazzle. Magical and wondrous could also describe the Christmas season, in all its commercialized, tinsel-and-garland, deck-the-halls, haul-out-the- ivy, Sugar Plum Fairies and Ghost of Christmas Future fabulousness. Put 'em all together – and we're talking joy to the world, right? Well, yes and no. " 'Twas the Night Before …," Cirque's first foray into the realm of holiday show, made its world premiere Friday night at the Chicago Theatre. Inspired by the centuries-old poem "A Visit from St. Nicholas" (better known as " ‘Twas the Night Before Christmas," credited to Clement Moore), the show, a co-production with the Madison Square Garden Co., is heavy on fiery acrobatics and surprisingly light on Cirque spectacle. The story begins with a father (Alexis Vigneault) reading the beloved poem to his iPad-toting, Beats-wearing daughter Isabella (Michelle Clark), who shows no interest in the recitation nor its holiday sentiment. Her exasperated father storms off in a huff, and suddenly a storm of another kind appears as Isabella's journey begins (and it is here that the show takes some of its cues from two more seasoned Christmas Eve "travelers": Clara from "The Nutcracker" and Ebenezer Scrooge). Isabella is guided at times by a small ensemble of dancers who are keepers of tiny sparks of light illuminating the way and serving as the transitions between acts. The land of the poem comes to life through a series of acts, beginning with Nicole Faubert and Guillaume Paquin on the aerial duo straps. A powerful pas de deux, indeed, though the confines of the Chicago Theatre's proscenium stage do them few favors. Soon after, a spoiled rich girl (Katharine Arnold), decked out in all things merry and bright, transforms into a high-caliber contortionist who uses a hotel's steel luggage cart as her aerial stage. Eventually the journey takes us to an emotionally charged and beautifully choreographed aerial lamp solo routine by Vigneault, and the evening's most exciting act (and on this night the biggest crowd- pleaser judging by applause) by a quartet of diabolo artists (Ming-En Chen, Tsung-Ying Lin, Ting-Chung Wang and Chia-Hao Yu) who seriously amp up the wow factor. One slight bump in the night — and the story line from stage director/writer James Hadley — is an entr'acte of sorts, set atop a grand bed and featuring funnyman Francis Gadbois. With an expressive face and sinewy mannerisms befitting a long line of Cirque clown artists, Gadbois (along with an audience member plucked into service for the shtick) takes way too long to get to the punchline. The two-level set design by Genevieve Lizotte consists of a lone backdrop, cascades of silver garland and icicle curtains accented by lighting designer Nicolas Brion's colorful homage to minimalism, and a slanted wall/ramp for acts to slide up or down or characters to perch upon. James Lavoie's costumes, while shimmery and festive, are a far cry from the impossibly imaginative togs we've come to expect from Cirque du Soleil. There is music throughout (at times drowning out a narrator's voice) — pre-recorded and reimagined arrangements/vocals of familiar Christmas hymns and secular hits and original compositions by Jean-Phi Goncalves. Isabella ultimately gets her moment in the spotlight in an impressive hula hoop routine, but will it be enough to rekindle the holiday spirit in her? Will she and her father finally reunite? Will St. Nick make an appearance to our wondering eyes? Will giant, inflatable, peppermint-striped candy-inspired balls find their way out into the audience? Only a Grinch would tell. { SOURCE: Chicago Sun-Times } ---------------------------------------------------------- 'Twas The Night Before Has Cirque Dazzle, But Not Heart {Dec.02.2019} ---------------------------------------------------------- Two factors explain the massive crowds this past weekend for "'Twas the Night Before," the new seasonal attraction at the Chicago Theatre. One is the abiding pull of a family visit to the Loop to absorb some holiday atmosphere, a reminder of how, even in this age of Amazon, we're still attracted to historic urban centers as harbingers of meaningful togetherness. The other is the power of the brand known as the Cirque du Soleil. So is the show, a world premiere headed to New York, any good? Santa Cirque's got a mixed bag. And he's not yet fully in control of his, or our, emotions. Some of the issues are a consequence of Cirque not being able to fully control its own environment at the Chicago Theatre, where the watchword is security and crowd control, not adding to the sweetness of your Christmas. You are not, dear reader, to be transported in the lobby to some kind and magical place, especially if you follow through the metal detector a smidgen too close to your loved one. And once you're in the theater, you'll be beset by acoustic problems severe enough to render much of the show's recorded narration unintelligible. Reports of this vexing sound issue filled up my mailbox prior to my own attendance on Sunday afternoon. They'll have fixed that by Sunday, I thought, as I read the missives between bites of turkey. Nope. Still a problem. Tricky joint for speakers, the Chicago. But others have figured it out. Let's move on to the good stuff. Despite the title, "'Twas the Night Before" is not a literal or sentimental show for little kids, but a sophisticated entertainment that should also work well for ‘tweens and even cynical teens, mostly due to a cool design pallet and a very interesting soundtrack mashing up traditional Christmas music in a highly contemporary fashion. If you are a churchgoing person, your eyebrows might rise at a certain disconnect between sacred lyrics ("Oh, night divine!") and, say, a scantily clad aerialist, but for most folk, the accompaniment, when it stays away from the Mannheim Steamroller school of seasonal arrangements, is distinctive enough to work. And everything is ecumenical and family-friendly. In essence, Cirque has taken traditional circus acts and given them a holiday-style presentation, including rollerbladers, aerialists, an aerial-straps duo, a block juggler, tumblers, diabolo wranglers and hoop divers. In most cases, the circus professionals are clad in holiday themes; the hoop divers are Santa's reindeer, for example, and fine prancers they are. As you'd expect from Cirque, these international acts are top drawer — the show has to be heavy on the silks because there is not enough room on the shallow Chicago Theatre stage for a full-blown trapeze, but silks happen to be my favorite and you won't lack for "oohs" or "ahs." If you are a veteran of Cirque attractions, you'll notice more legit choreography in this show; it's very much in the vogue of the network holiday special, but the dancers are among the show's strengths and the movement is fresh and fun. The biggest weakness of the piece, which is written and directed by James Hadley, lies in the main frame, which revolves around a girl, Isabella (played by the adult Michele Clark) who turns on her iPad when her dad (Alexis Vigneault) tries to read her the traditional poem in the title. She then is transported on a journey inside the poem. Or something like that. Any parent will be down with an idea that tells kids to turn off their electronic devices, but the emotional connection between the two leads (and their audience) still needs a lot of work — you don't feel either the problem they are having or its resolution, mostly because the emotional truth of the narrative doesn't get enough attention. It's weird. Many of the circus people in the show (such as the aerialist Tuedon Ariri and the skaters Rosie Axon and Adam Jukes) come with sophisticated emotional presentations, as has often been the case at Cirque, but the leads, whose faces often look blank, don't create the crucial overarching roadmap of vulnerability and mutual need. I think they could fix that before New York. Given the quality of much else of the artistry, I'll wager you and yours will still have a good time. I would not drop $200 bucks a person on this show (which is the price of some of the peak tickets now), but you should be able to find a cheaper entree if you peck around the seating plans. The show is short enough to allow for dinner, shopping and whatever else you traditionally do in our grand old city at this time of year. { SOURCE: Chris Jones, Chicago Tribune } ---------------------------------------------------------- CDS + Deed3D for X: The Land of Fantasy {Dec.03.2019} ---------------------------------------------------------- July 2019, Cirque du Soleil raised the curtain on its most recent permanent show in China: X the Land of Fantasy, which offers an astonishing staging combining heart-pumping acrobatics, state-of-the- art visual and sound effects, and high-tech scenic and theatrical elements. Divided into two sets of intimate revolving bleachers, the theater offers an unprecedented immersive experience to 1,500 spectators who benefit from a unique perspective of 360 degrees on the massive 100-meters wide mainstage and the central structure consisting of nine panels of 121 square-meters each that shape-shift as the story unfolds. The 420 square-meter "forest" is the highlight of the stage, but creating it was quite a challege. Limbs needed to be lightweight to allow easy scene changes but also durability, so as not to crumble after a few days use. Deed3D Technologies partnered with Cirque du Soleil to find the right tensile and flex properties to make the 3D- printed "forest" a reality. The tree limbs (the longest of which are 3.7m) were printed in FDM ABS-M30 plastic – a strong and cost-effective material. Deed3d chose PC-ABS plastic, taking advantage of the strength and durability of both ABS and PC plastics, to produce the middle connector parts. Nylon 12 material was used for those pieces that required maximum flexibility. In order to ensure that the shows can be staged on time, Deed3d mobilized 5 sets of Stratasys Fortus 900mc and more than 20 sets of 450mc and 380mc. The company delivered hundreds of finished tree limbs within 30 days of order. And after six months of rehearsal and performance, the 3d printed parts are still intact! Mr. Hou the CEO of Deed3d Technology emphasizes, "as a leading 3D printing service, we equipped with over 50 sets of Stratasys printers, to realize the small batch production of rapid prototyping. And one of the biggest benefits of Stratasys printer is it can easily switch different materials." CHECK OUT SOME IMAGES HERE: http://www.cirquefascination.com/?p=13383 { SOURCE: 3D Print.com } ---------------------------------------------------------- VITORI Wows Audience at MCC {Dec.04.2019} ---------------------------------------------------------- A show-stopping performance by some of the world's best acrobats is holding the audience at the Mediterranean Conference Centre in Valletta in awe. Cirque du Soleil is presenting an original show, titled Vitori, for the first time in Malta. But the long-awaited spectacle is not only about acrobatics, as there is also live singing and a lot of dancing going on. The plot is inspired by chess, the ultimate game of logic and rational thinking, with the characters being chess pieces or chessmen. Two teams go head to head on a huge chessboard, ready to wage a battle. However, this is not a story about war... When the Golden King falls in love with the Black Rook, he embarks on reckless moves to capture her heart, throwing this orderly world into disarray. As he tries to get closer to his love, he faces a pretentious, narcissistic monarch and his fearsome Queen. All this happens in a poetic, glossy and black and white world represented by a giant chessboard that occupies the MCC stage. The 24 dancers and acrobats use aerial silks, a Russian bar, acrosport and a high line/slackline to perform breathtaking numbers while moving to a rhythmical, modern score with deep electronic undertones. The Golden King leads the charge with his spirited cello playing but the soundtrack is interspersed with soaring melodies, driven by the soulful voice of the Black Rook. The 60-minute show is endowed with extravagant costumes, featuring geometric lines and shapes with an added touch of folly and whimsy. Some of the costumes have sizeable extensions such as the geometrical horse heads worn by the Knights. Other memorable costumes include a stunning black samurai outfit worn by the Black Queen and a black crinoline dress donned by the Black Rook. Behind the show is a creative team comprising writer Geneviève Dorion- Coupal, choreographer Peter Chu, costumer designer Sébastien Dionne and performance designer Benoit Potvin, among others. There is also a nine-strong artistic team that includes acrobatics coach Émilie Therrien and general stage manager Travy Rivard. CHECK OUT SOME IMAGES HERE: http://www.cirquefascination.com/?p=13391 { SOURCE: The Times of Malta } ---------------------------------------------------------- Disney 2020 is... DRAWN TO LIFE! {Dec.10.2020} ---------------------------------------------------------- Cirque du Soleil Entertainment Group and Disney Parks, Experiences and Products are thrilled to announce Drawn to Life, the highly anticipated, new family friendly show coming to Walt Disney World Resort in Lake Buena Vista, Fla. Written and directed by Michel Laprise and with Fabrice Becker as Director of creation, this collaboration between Cirque du Soleil, Walt Disney Animation Studios and Walt Disney Imagineering will open for previews March 20, 2020, and officially premiere April 17, 2020. The show will take residency at Disney Springs. Tickets are on sale now at cirquedusoleil.com. Cirque du Soleil Entertainment Group President and CEO Daniel Lamarre, says, "For Cirque du Soleil, this is a beautiful way of celebrating Disney's legacy in the art of animation. This new and exciting production is most certainly the best way to highlight the privileged relationship we have with our colleagues at Walt Disney World and our joint commitment to continually bring audiences new experiences that surpass their expectations." The show is a result of years of research and extraordinary collaboration that included extensive visits to Disney theme parks, Walt Disney Archives, Walt Disney Imagineering, Walt Disney Animation Studios, Pixar Animation Studios, The Walt Disney Family Museum, as well as hands-on work between Disney animators and Cirque du Soleil. ln fact, the Cirque du Soleil teams collaborated extensively with legacy animators to create the show. "What fascinates us is that moment when life appears in drawings. Just like in an acrobat's body, the visceral physicality of animation. The way they perform, the way they create the illusion of life," says Michel Laprise Writer and Show Director. In creating this show, we've brought to life an extraordinary new entertainment experience for the whole family," said Josh D'Amaro, President Walt Disney World Resort, "It blends all the heart, humor and joy of Disney storytelling with dazzling new acrobatic performances and effects never before seen in a Cirque du Soleil production." This new show follows the story of Julie, a courageous and determined girl who discovers an unexpected gift left by her late father: an unfinished animation piece. Guided by a surprising pencil, she embarks on an inspiring quest sprinkled with her Disney childhood memories. Through this journey, she learns to imagine new possibilities and animate the story of her future. Drawn to Life will transport guests of all ages into the world of Disney animation in Cirque du Soleil's signature style. This entirely new experience will wow Walt Disney World guests and Cirque du Soleil fans, while bringing timeless Disney stories to life in an unforgettable new way. "It has been a fantastic collaboration between Cirque du Soleil, Walt Disney Animation Studios and Walt Disney Imagineering. We had the chance to work with some of the animators that have worked on iconic Disney movies. You'll get to meet some of your favourite characters, but maybe in a very different way," says Fabrice Becker, Creation Director. With an international cast of more than 65 artists, the Cirque du Soleil theater located in Disney Springs at Walt Disney World Resort, will welcome up to 1,580 spectators for each show, five days a week. CREATIVE TEAM ------------- o) Chief Executive Producer -- Yasmine Khalil o) Vice President of Creation -- Daniel Fortin o) Chief Creative Officer -- Diane Quinn o) Executive Producer -- Charles Joron o) Creative Director -- Fabrice Becker o) Writer and Show Director -- Michel Laprise o) Set Designer -- Stephane Roy o) Costume Designer -- Philippe Guillotel o) Make-up Designer -- Eleni Uranis o) Acrobatic Designer -- Germain Guillemot o) Acrobatic Equipment Designer -- Danny Zen o) Music Composer -- Benoit Jutras o) Projection Designer -- Mathieu St-Arnaud o) Projection Designer -- Félix Fradet-Faguy o) Projections Producer -- 4U2C o) Production Director -- Matthew Whelan o) Magie Nouvelle -- Raphaël Navarro o) Puppets Designer -- Johanna Elhert o) Sound Designer -- Jonathan Deans o) Light Designer -- Martin Labrecque o) Comic act Designer -- Joe de Paul o) Choreographer -- Kostiantyn Tomilchenko o) Chroeographer -- Andrew Skeels For Walt Disney Animation Studios o) Custom Animation -- Eric Goldberg For Walt Disney Imagineering: o) Executive, Theatrical Development -- Michael Jung o) Executive, Music Studio -- Matt Walker o) Vice President, Production -- Natalie Woodward o) Producer -- Omar Kamal o) Principal Technical Director -- Larry Sonn DRAWN TO LIFE is the 50th original production of Cirque du Soleil. Tickets are on sale now: www.cirquedusoleil.com/drawn-to-life { SOURCE: Cirque du Soleil } *************************************************************** Q&A -- Quick Chats & Press Interviews *************************************************************** ---------------------------------------------------------- How to Whistle Like a Pro and Blow Away Your Friends {Nov.26.2019} ---------------------------------------------------------- Winner of numerous international championships, Lomax has mastered his craft in ways we mere mortals can't. Unlike those who can barely hold a tune while whistling, Lomax hits every note precisely, even going so far as to practice with a frequency tuner to ensure accurate pitch. His range spans three octaves. ("On a good day, maybe four," he says.) He can break notes fast enough to whistle acrobatic songs like Rimsky- Korsakov's "Flight of the Bumblebee." He whistles while inhaling and exhaling to extend notes to impressive lengths. And he incorporates flourishes—like tremolo, humming, vibrato—to take his pitch-perfect pucker style to the next level. One of those flourishes, his signature sound, emulates an instrument he remembers hearing as a kid in church: the Hammond B3 Organ. The trick is to hum while whistling, he says, using the cavity between his nose and his upper palate to resonate the noise. "It just gives it a different, unique sound." His passion for whistling has taken him around the world. He's visited stadiums to whistle the national anthem for crowds of thousands. He's toured with Cirque Du Soleil's Corteo show as Mr. Loyal, The Whistler. He's appeared on the small screen as a guest on The Tonight Show and Hannah Montana. He's even released an album of whistled Christmas songs. Though few whistle at his level, Lomax remains insistent that anyone can improve their whistling. "It just takes practice, practice, practice," he says. Check out the video below to learn more about Lomax and the keys to professional whistling. Sean Lomax likes to tell people he came out of the womb whistling. "I've been whistling ever since I can remember," he says. "That's what I do. I love it." SEE A VIDEO HERE: http://www.cirquefascination.com/?p=13365 { SOURCE: Wired } ---------------------------------------------------------- LV Weekly: What Inspires RJ Owens? {Dec.05.2019} ---------------------------------------------------------- If you've seen Cirque du Soliel's classic Mystère, you've seen RJ Owens as Bebe François, the bonneted clown whose innocent, toddler- like antics provide many of the show's biggest laughs. But like everyone else involved with Cirque, Owens has talents and passions that exist far outside his nightly role, from sleight-of-hand (he's a magician by trade) to curing his own meats (he's a committed foodie). Owens recently shared a few of the things that inspire his ever- searching mind. Q. Let's talk Bebe François. How did you find your way into that character? Well, luckily, when I was asked to audition for Mystère, I was on tour with Saltimbanco, which was one of the original shows Cirque put out. And we had a stage manager on the show who was traveling with her 2- year-old son. For about two weeks before I came to Las Vegas to audition live, I babysat Benicio every single day. Just to watch how he acted, what he did, how he walked, how he processed things. When I was given the role and came to Las Vegas, I was given carte blanche to create, and so I took insight from having babysat Benicio. They kept asking me if I wanted to watch François DuPuis, who created the role, and I said no. I didn't want to copy anybody, I didn't want to imitate anyone. I wanted to be me and real. And to this day, I still have not seen François do the role. Q. Did any of Benicio's mannerisms make it directly into the character? Subconsciously, yes, all of them did. Watching him and seeing how a child throws himself forward when they walk, as opposed to an adult who leads with something, gets a stride. A child doesn't comprehend a process; they see something, they throw their body in that direction, momentum takes over and they're walking. And the constant waving. I don't wave like a princess; my waves are a little subtle. I see you, how you doing? Trying to get your attention. Oh, and also his curiosity; he was just such a curious toddler, and that's what my baby is. Bebe François is just this curious creature who wants to see what's going to happen next, no matter what the outcome. Mystère is the only show that opens with a clown act. It's a daunting task to engage 1,600 people, and get them on your side when you don't speak their language and you're a 400-pound baby. Q. Cirque has completely changed my perception of clowning. What they allow you to do in Mystère is just so different from the clowning I knew growing up. Absolutely. I mean, I was a white-faced friendly clown. I did birthday parties and all that stuff. And Cirque really changed my perception of clowning as well. There was a certain stigmata attached to Cirque du Soleil clowns when I was growing up: "Oh, those weird French people." And then you meet them and they're still weird, and they're still French, but boy, are they talented. They really take the risks and think outside of whatever box they're put into. And they realize that anything can be funny, but the real magic comes when they can turn sadness into funny. Q. You run with a crowd of extraordinary talents, both on- and offstage. Who are some other local performers whose work grabs you? I'm a huge adoring fan of Amy Saunders of The Miss Behave Gameshow. [And] I have to say my boys, man. They're all Cirque, of course. My two costars in Mystère, Jimmy Slonina and Johnny Miles. It's an honor to share a dressing room with them. We have some of the strangest, most beautiful conversations. Unfortunately, none of us share any time together on stage, but we create in the dressing room. And my other boy is Brett Alters, from Opium; he also works with Piff the Magic Dragon. The four of us are a really big force of nature to be reckoned with. And then, of course, Penn and Teller inspire me because of their "I don't care anymore" attitude. They care so much about the art they put onstage. Don't get me wrong, they love their audiences. But they're not catering to anybody; they're doing it for themselves. They've been putting so much new magic in their act the last year and a half, almost a trick every month. And being a former magician, that is just unfathomable to me. Q. A former magician? Well, actually, right now I'm working with a local performer named Matt Donnelly, an improv artist who was tasked by Penn Jillette to become a magician. [Donnelly is also a writer for Penn & Teller: Fool Us and cohost of the Penn's Sunday School podcast.] They were talking at a Fool Us rehearsal, and Matt said, "I bet you anybody with good improv skills would make a great magician." And Penn says, "You know what, you're right. And it's going to be you." So, he tasked him with learning a magic trick. And Matt, being gung-ho, said, "Well, to hell with that. I'm going to do a whole show." Matt hired me as his director and magic consultant. … Now he's Matt Donnelly, Mind Noodler. It's beautiful to see a magician onstage who's unflappable. If anything goes wrong, Matt can cover with his improv skills. Matt is another one of the guys I love to watch; he can do anything. Q. How often do you get to practice magic these days? Oh, I practice every day, but perform hardly ever. I actually kind of succumbed to Matt the other day: We host a podcast called Abra Kadabra, where we talk about magic, but also about life and what have you. Every middle-aged man in America has a podcast now, it seems. And I realized that I'm living vicariously through Matt, because I'm designing all of his magic effects and directing his show and helping him light. I desperately want to keep performing [magic]. As a matter of fact, I have a meeting coming up about hosting a burlesque show in Las Vegas. A true burlesque show, not the pseudo-nouveau burlesque that's out there now, but an actual 1920s Odeum Theater burlesque show. Three acts, interstitials, variety, political acts, what have you. And that'll give me a chance to actually ply my trade again and do magic. Q. Maybe this is something you can answer for me: Do the magicians in this town ever get together and talk shop? Actually, there are several meetings of magicians. I don't attend any of them, because they're usually during times that I'm working, with the exception of one. There's a show [on the third Thursday of every month] called Vegas Wonderground. It's hosted by Jeff McBride, who is an incredible performer. And he brings him magicians from all over the world. They do three separate shows, they do two stage shows and a closeup show. It's about five-and-a-half hours of magic a night. A lot of magicians go there, and we go out to a local restaurant afterwards. Magicians will hang out with each other and discuss things if they're confident enough in their own performance skills. Q. Speaking of local joints, where do you go to relax? I have become a huge fan of PublicUs, because it's close to my house, and it's got decent coffee. I mean, I roast my own coffee at home, so normally I will have had my coffee before I go there, but I'll always get a coffee just because it's what you do when you go to PublicUs. I really enjoy the kids that are working there. I mean, you go there twice and they know your name and what you're drinking. It's so unlike the corporate coffee shops, where you feel like you're putting upon the people who are taking your order. And I love meeting people there, because I love to turn them onto the food. I'm a fan of their waffle with lemon curd, ricotta cheese and candy pecans. If it's nighttime recharging I need, there's a plethora of places I'll go. I love Frankie's Tiki Room quite a bit because of the alcohol content. I love Dino's because of the denizens. For me, Dino's on a Sunday night, after shows, is just fantastic. I sat there one night with a coworker, and this kid and three of his friends came in. It was his brother-in- law, his sister and one of their friends on his 21st birthday. And I proceeded to sit there and teach him how to be a man on his 21st birthday, because he came in a bro. I was, like, "Oh, no, no, no. We're going to nip this in the bud right now." I taught him how to order whiskey. I talked to him about life. He was 21, still living with his parents, and I said, "You need to move out. You're 21 years old, you've got a fantastic job. Get out." Changed this man's life; I know I did. Q. What are you reading right now? I've actually delved into several books. One is Handsome Jack by John Lovick, whose persona onstage is "Handsome Jack." He did a brilliant thing: He wrote this book as his character, which is nothing like him as a human being. His character is very smarmy, snarky and better- than-thou. I'm also reading a really sick mentalism book by [Theodore] Annemann, which is just wonderful. I do a lot of artisanal stuff at my house. I cure my own meat, I roast my own coffee, I make ice cream. I have a still; I make my own whiskey, I've just gotten into cheese making, so I'm making cheese at my house. And so, I've been collecting books on charcuterie. Just looking at different cultures' ways of making charcuterie, or making salted, cured meats, ranging from Italian to Middle Eastern to Indian to Korean to Thai. I've been reading a bunch of books on that. I can't give you any names, because I don't want people to buy them. I want them to be my special secret. Q. I'll only ask you for one last secret: What does Vegas' creative culture need that it doesn't currently have? What Vegas needs is less people saying no and more people saying yes. We've got people like Troy Heard running Majestic Repertory, and Kate St-Pierre doing shows with the Lab LV. And the artists that are showing up to First Friday, being vulnerable and putting their work out there, and saying, "This is me. This is my art. I don't care if you buy it. I would love you to buy something from me, but this is my art." … We need people who are just not afraid to say yes, not afraid to be vulnerable. And who just aren't afraid to put themselves out there and say, "Look, world. Here I am. Love me or leave me. Let's just make art." { SOURCE: Las Vegas Weekly } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria, Amaluna, Bazzar, Koozå, Kurios, Luzia, Totem, Volta, and Cirque 2020} o) ARENA - In Stadium-like venues {OVO, Crystal, Corteo, AXEL, Messi10, 'Twas The Night Before} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA, Paramour, X: The Land of Fantasy, and R.U.N} 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-In a New Light: Miami, FL -- Dec 13, 2020 to Feb 17 2020 Houston, TX -- Feb 29, 2020 to Apr 12, 2020 Austin, TX -- Apr 22, 2020 to May 25, 2020 Chicago, IL -- Jun 5, 2020 to Jun 28, 2020 Washington, DC -- Jul 23, 2020 to Sep 27, 2020 Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021 Amaluna: San Francisco, CA -- Nov 3, 2019 to Jan 12, 2020 Sacramento, CA -- Jan 22, 2020 to Feb 23, 2020 Hong Kong, CN -- Apr 2, 2020 to Apr 26, 2020 Bazzar: Punta Cana, DO -- Jan 29, 2020 to Feb 23, 2020 Cirque 2020: Montreal, QC -- Apr 23, 2020 to Jun 21, 2020 Koozå: Madrid, ES -- Oct 24, 2019 to Jan 5, 2020 Seville, ES -- Jan 15, 2020 to Mar 8, 2020 Lyon, FR — Mar 20, 2020 to Apr 13, 2020 Tel Aviv, IL -- Jun 4, 2020 to Jun 30, 2020 Zurich, CH -- Sep 4, 2020 to Sep 27, 2020 Kurios: Sydney, AU -- Oct 2, 2019 to Dec 29, 2019 Brisbane, AU -- Jan 10, 2020 to Feb 23, 2020 Melbourne, AU -- Mar 12, 2020 to Apr 26, 2020 Adelaide, AU -- May 29, 2020 to Jun 7, 2020 Perth, AU -- Jul 15, 2020 to Aug 2, 2020 Luzia: Vancouver, BC -- Oct 3, 2019 to Dec 29, 2019 London, UK -- Jan 12, 2020 to Mar 1, 2020 Moscow, RU -- Mar 19, 2020 to Apr 12, 2020 Gran Canaria, ES -- Jul 7, 2020 to Aug 23, 2020 Valencia, ES -- Sep 11, 2020 to Sep 27, 2020 Totem: Düsseldorf, DE -- Dec 18, 2019 to Feb 2, 2020 Munich, DE -- Feb 13, 2020 to Mar 22, 2020 Rome, IT -- Apr 1, 2020 to Apr 19, 2020 Milan, IT -- May 21, 2020 to Jun 21, 2020 Prague, CZ -- Jul 17, 2020 to Aug 2, 2020 VOLTA: Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020 Los Angeles, CA -- Jan 18, 2020 to Mar 8, 2020 Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020 Denver, CO -- Apr 30, 2020 to Jun 7, 2020 Portland, OR -- Jun 18, 2020 to Aug 2, 2020 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ OVO: Norfolk, VA -- Dec 27, 2019 to Dec 29, 2019 Augusta, GA -- Jan 2, 2020 to Jan 5, 2020 Charlotte, NC -- Jan 8, 2020 to Jan 12, 2020 Tallahassee, FL -- Jan 17, 2020 to Jan 19, 2020 Pittsburgh, PA -- Jan 23, 2020 to Jan 26, 2020 Albany, NY -- Jan 29, 2020 to Feb 2, 2020 Phoenix, AZ -- Feb 20, 2020 to Feb 23, 2020 Boise, ID -- Feb 27, 2020 to Mar 1, 2020 San Diego, CA -- Mar 5, 2020 to Mar 8, 2020 El Paso, TX -- Mar 12, 2020 to Mar 15, 2020 Edinburg, TX -- Mar 19, 2020 to Mar 22, 2020 Lafayette, LA -- Mar 25, 2020 to Mar 29, 2020 Greensboro, NC -- Apr 2, 2020 to Apr 5, 2020 Savannah, GA -- Apr 8, 2020 to Apr 12, 2020 Knoxville, TN -- Apr 15, 2020 to Apr 19, 2020 Frisco, TX -- Apr 23, 2020 to Apr 26, 2020 Fort Worth, TX -- Apr 30, 2020 to May 3, 2020 Bloomington, IL -- May 7, 2020 to May 10, 2020 Louisville, KY -- May 13, 2020 to May 17, 2020 CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019 Kazan, RU -- Dec 19, 2019 to Dec 22, 2019 Ufa, RU -- Dec 25, 2019 to Dec 29, 2019 Ekaterinburg, RU -- Jan 1, 2020 to Jan 5, 2020 Riga, LV -- Jan 15, 2020 to Jan 19, 2020 Krakow, PL -- Jan 23, 2020 to Jan 26, 2020 Gdansk, PL -- Jan 30, 2020 to Feb 2, 2020 Minsk, BY -- Feb 6, 2020 to Feb 9, 2020 Kiev, UA -- Feb 13, 2020 to Feb 16, 2020 Sheffield, UK -- Mar 6, 2020 to Mar 8, 2020 Glasgow, UK -- Mar 11, 2020 to Mar 15, 2020 Aberdeen, UK -- Mar 19, 2020 to Mar 22, 2020 Belfast, UK -- Mar 25, 2020 to Mar 29, 2020 Manchester, UK -- Apr 1, 2020 to Apr 5, 2020 Birmingham, UK -- Apr 8, 2020 to Apr 12, 2020 Nottingham, UK -- Apr 15, 2020 to Apr 19, 2020 Amhurst, MA -- May 15, 2020 to May 17, 2020 Trenton, NJ -- May 20, 2020 to May 23, 2020 St. Catharines, ON -- May 27, 2020 to May 31, 2020 Providence, RI -- Jun 3 to Jun 7, 2020 Hartford, CT -- Jun 10 to Jun 14, 2020 Bridgeport, CT -- Jun 17 to Jun 21, 2020 Cleveland, OH -- Jun 24 to Jun 28, 2020 Ottawa, ON -- Jul 2 to Jul 5, 2020 North Charleston, SC -- Jul 22 to Jul 26, 2020 Lausanne, CH -- Sep 9, 2020 to Sep 13, 2020 Hanover, DE -- Sep 16, 2020 to Sep 20, 2020 Leipzig, DE -- Sep 23, 2020 to Sep 27, 2020 Stuttgart, DE -- Oct 7, 2020 to Oct 11, 2020 Nuremberg, DE -- Oct 14, 2020 to Oct 18, 2020 Frankfurt, DE -- Nov 13, 2020 to Nov 21, 2020 Cologne, DE -- Nov 25, 2020 to Nov 29, 2020 CORTEO: 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 Lisbon, PT -- Jan 3, 2020 to Jan 12, 2020 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 Santander, ES -- Feb 12, 2020 to Feb 16, 2020 Bordeaux, FR -- Feb 21, 2020 to Feb 23, 2020 Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020 Vienna, AT -- Mar 25, 2020 to Mar 29, 2020 Montpellier, FR -- Apr 2, 2020 to Apr 5, 2020 Aix-en-Provence, FR -- Apr 8, 2020 to Apr 12, 2020 Lille, FR -- Apr 16, 2020 to Apr 19, 2020 Copenhagen, DE -- Apr 23, 2020 to Apr 26, 2020 Herning, DE -- Apr 29, 2020 to May 3, 2020 Stockholm, SE -- May 7, 2020 to May 10, 2020 Gothenburg, SE -- May 13, 2020 to May 17, 2020 Leeds, UK -- Jun 18, 2020 to Jun 21, 2020 London, UK -- Jun 24, 2020 to Jul 5, 2020 Dublin, IR -- Jul 8, 2020 to Jul 12, 2020 Palma de Mallorca, ES -- Aug 7, 2020 to Aug 16, 2020 Nice, FR -- Aug 20, 2020 to Aug 22, 2020 Helsinki, FI -- Oct 1, 2020 to Oct 4, 2020 Turku, FI -- Nov 18, 2020 to Nov 22, 2020 Vilnius, LT -- Nov 26, 2020 to Nov 29, 2020 Toulouse, FR -- Dec 17, 2020 to Dec 20, 2020 Pamplona, ES -- Dec 25, 2020 to Jan 3, 2021 AXEL: Worcester, MA -- Dec 5, 2019 to Dec 8, 2019 Quebec City, QC -- Dec 12, 2019 to Dec 15, 2019 Montreal, QC -- Dec 19, 2019 to Dec 29, 2019 Detroit, MI -- Jan 2, 2020 to Jan 5, 2020 Milwaukee, WI -- Jan 9, 2020 to Jan 12, 2020 Tulsa, OK -- Jan 16, 2020 to Jan 19, 2020 Cincinnati, OH -- Jan 23, 2020 to Jan 26, 2020 Kansas City, MO -- Jan 30, 2020 to Feb 2, 2020 Nashville, TN -- Feb 6, 2020 to Feb 9, 2020 Greeneville, SC -- Feb 13, 2020 to Feb 16, 2020 Bakersfield, CA -- Mar 12, 2020 to Mar 15, 2020 Prescott Valley, AZ -- Mar 19, 2020 to Mar 21, 2020 San Jose, CA -- Mar 24, 2020 to Mar 28, 2020 Las Vegas, NV -- Apr 3, 2020 to Apr 5, 2020 Everett, WA -- Apr 9, 2020 to Apr 12, 2020 Tucson, AZ -- Apr 17, 2020 to Apr 19, 2020 Rio Rancho, NM -- Apr 23, 2020 to Apr 26, 2020 Eugene, OR -- May 14, 2020 to May 17, 2020 Spokane, WA -- May 21, 2020 to May 24, 2020 Victoria, BC -- May 28, 2020 to May 31, 2020 Abbotsford, BC -- Jun 4, 2020 to Jun 7, 2020 Kelowna, BC -- Jun 11, 2020 to Jun 14, 2020 Kamloops, BC -- Jun 18, 2020 to Jun 21, 2020 Prince George, BC -- Jun 25, 2020 to Jun 28, 2020 Edmonton, AB -- Jul 2, 2020 to Jul 5, 2020 Saskatoon, SK -- Jul 9, 2020 to Jul 12, 2020 Lethbridge, AB -- Jul 16, 2020 to Jul 19, 2020 Regina, SK -- Jul 23, 2020 to Jul 26, 2020 Medicine Hat, AB -- Jul 30, 2020 to Aug 2, 2020 Messi10: Barcelona, ES -- Oct 10, 2019 to Jan 4, 2020 Buenos Aires, AR -- Jun 11, 2020 to Jul 5, 2020 'Twas The Night Before: New York, NY -- Dec 11, 2019 - Dec 29, 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 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Sunday, Dark: Monday/Tuesday NOTE: Starting January 2020, "O" performs 7 Days a Week Two shows Nightly - 7:30pm and 9:30pm 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... X: THE LAND OF FANTASY Location: Hangzhou, China R.U.N: Location: Luxor Las Vegas (USA) Performs: Wednesday through Sunday - Dark: Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm DRAWN TO LIFE (Disney 2020): Location: Walt Disney World Resort (USA) Performs: Tuesday through Saturday - Dark: Sunday/Monday Two Shows Nightly - 5:30pm and 8:30pm NOTE: Preview Shows from March 20th through April 16th perform only 1 day a week, at 5:30pm. ======================================================================= OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= - The Making of MESSI10 https://www.youtube.com/watch?v=SZlHRUOlI9k - The Life of a Freestyle Skater from AXEL https://www.youtube.com/watch?v=nI-MtMM3M1A - Twas The Night Before Official Music Video https://www.youtube.com/watch?v=uAxOYsnDH6I - A Day in the Life of a Cirque Musician https://www.youtube.com/watch?v=-aQcISvn19E - Behind the Scenes with Video and Stage Designers https://www.youtube.com/watch?v=1IyHgDq-Eiw - A Day in the Life with Cirque Ice Skaters https://www.youtube.com/watch?v=3tpIbia4Jb8 - AXEL: Hero of the Day Music Video https://www.youtube.com/watch?v=agF6NJKBFdw - A Day in the Life of a Cirque Power Couple https://www.youtube.com/watch?v=LBBnP5uYBs8 - JOYA: The Dive Music Video https://www.youtube.com/watch?v=NY6xYrTfljM - A Day in the Life of a Cirque Painter https://www.youtube.com/watch?v=mcKu5VSgx00 - A Day in the Life of a Cirque Aerialist https://www.youtube.com/watch?v=eYOD90tpGKs - VOLTA: Inside Me Music Video https://www.youtube.com/watch?v=oCv0HIis_tQ - MJ ONE Artists Bring to The Community In This Way https://www.youtube.com/watch?v=406J2trqRNM - OVO: Secret Samba Luv Music Video https://www.youtube.com/watch?v=7fGnIVabfC4 - Never Before Seen Footage of CRYSTAL https://www.youtube.com/watch?v=4wrdkso1k_g - MAC Cosmetics Recreates ANGER https://www.youtube.com/watch?v=DHF41X5s6Jc - MAC Cosmetics Recreates SADNESS https://www.youtube.com/watch?v=Ah4gJJMEvE8 - MAC Cosmetics Recreates HAPPINESS https://www.youtube.com/watch?v=YEbs49yEh0o - The Life of Artists from R.U.N https://www.youtube.com/watch?v=18g2CIDXstw - Meet AXEL's Compser, Philippe Brault https://www.facebook.com/CirqueduSoleilAXEL/videos/805575766545938/ - All About AXEL's Set Design https://www.facebook.com/CirqueduSoleilAXEL/videos/532263434019250/ - Get to know CORTEO's Eve Willems https://www.facebook.com/cirquejobs/videos/2364178477175693/ - Discover CORTEO's Band Leader, Roger Hewett https://www.facebook.com/cirquejobs/videos/596282827807836/ - Meet CRYSTAL's Acrobatic Porter, Leon Fagbemi https://www.facebook.com/CrystalbyCirqueduSoleil/videos/580357556069981/ - Meet CRYSTAL's Kiryl Shatau https://www.facebook.com/CrystalbyCirqueduSoleil/videos/2444035509142960/ - A Sneak Peek of "Boom Brawl" from the opening of R.U.N https://www.facebook.com/runtheshow/videos/666317923894799/ - Meet MESSI10's Stage Manager, Serge Côté https://www.facebook.com/MessiCirque/videos/600408190699675/ - Meet MESSI10's Makeup Designer, Véronique St-Germain https://www.facebook.com/MessiCirque/videos/746336439220410/ - The Inspiration Behind 'Twas The Night Before https://www.facebook.com/CirqueduSoleil/videos/1013993795601515/ - Meet Some of the Behind-the-Scenes Team of Twas The Night Before https://www.facebook.com/CirqueduSoleil/videos/583649519111678/ - Take a Peek at Show Costumes for Twas The Night Before https://www.facebook.com/CirqueduSoleil/videos/2730109180368326/ ======================================================================= FASCINATION! FEATURES ======================================================================= o) "R.U.N. For The Exit?" - A Collection of Articles Reviewing R.U.N at its Gala Premiere o) "A Look at Cirque at SEA II: SYMA & VARELIA" By: Ricky Russo - Atlanta, Georgia (USA) o) Jean David's Quel Cirque, Part 12 of 12: "The Revelator" A Special Series Celebrating Cirque's 35th Anniversary ------------------------------------------------------------ "R.U.N. For The Exit?" - A Collection of Articles Reviewing R.U.N at its Gala Premiere ------------------------------------------------------------ ‘R.U.N' BALANCES ITS MESSAGE John Katsilometes, Las Vegas Review-Journal "R.U.N" is a lesson in balance, on and off the stage. The creators of the new Cirque du Soleil show have made a concerted effort to distance the production from previous Cirque projects, while still capitalizing on the company's familiar artistic brand. The name of the company so dominant on the Strip was almost edited out of the show's formal marketing efforts. In the end, Cirque survived, and is reinforced as the producer of the new action thriller at Luxor. "There was a lot of conversation early on about how to do that, and it went back and forth and came to a company decision," "R.U.N" director Michael Schwandt said Thursday morning, hours before the show's premiere in the former Criss Angel Mindfreak Live Theater. "There are two sides to that coin. The show would have been judged differently if we had not used Cirque, because there would have no attachment or affiliation to the name but the name carries a lot of clout, especially here. "It's really great for the company to say and show what it has created in Las Vegas and how different it is." "R.U.N" is set apart from, say, Cirque's original Strip resident show, "Mystere," in that it tells a linear story — devised by Hollywood director and writer Robert Rodriguez — with an English-language narrative and even onstage dialogue. The story centers on the aftermath of a a wedding gone violently awry in a hardened, fictional version of Las Vegas. The company has stressed from the beginning of development that "R.U.N" is not an acrobatic show, instead incorporating film-styled stunts. Consequently, "R.U.N" performers have been reconditioned to perform stunts that look sloppy and graceless. "A traditional acrobat always sticks the landing, they want to be clean and perfect, because that is the safest way to do something," Schwandt said. "But most of the times in this show, they look messy and grimy, to give the perception of danger. You land on your chest, your back, you neck. We are redefining what is perfection." One constant in any Cirque show is risk. An artist navigating an electric bike fractured his clavicle in a spill on the opening night of previews. Audience feedback has been mixed. Traditional Cirque fans have not warmed to the show as readily as those who have no preconceived connection to the company. "People either love or hate the differences," Schwandt said. "A lot of people maybe bought a tickets when they went on sale thinking they were going to see the new Cirque du Soleil show, and had an expectation of what that was. But conversely, there have been a lot of people who have come into this and absolutely been blown away and are happy with the differences and the newness we have created. "You definitely can't please everyone, so we are not trying to do that." * * * ‘R.U.N' NEEDS TO EXPAND ITS APPEAL John Katsilometes, Las Vegas Review-Journal Cirque du Soleil has gone off the rails, on purpose. "R.U.N" has opened at Luxor. The show opened Thursday night at a breakneck pace, all up in your face, all over the place. If these performers were not onstage, you'd call the cops. All of this is by design. "R.U.N" is a dramatic departure from Cirque du Soleil's proven approach in Las Vegas. Give the company credit for staying on message in this one. From the very start, Cirque execs and members of the creative team have emphasized — and even warned — that this show would never be a sequel to the whimsical "Mystere." It's a graphic novel come to life. To justify its reported reported $62 million price tag and fill a 1,500-seat theater, Cirque needs "R.U.N" to be a blockbuster. Maybe it will get there. But right now it's a cult film, targeted at a new Cirque audience. These are characteristically younger tourists who are not likely to be drawn to the venerable Cirque productions on the Strip. That is not a massively populated demographic. Sometimes, in talking to members of the creative team, I'm left feeling the shorthand message is, "If you hate ‘O,' you'll love ‘R.U.N.' " In this new endeavor, acrobatics have been tossed in favor of such cinema-fashioned stunts as fistfights and martial-arts maneuvers. The characters are dark, brooding, layered in leather and ink. There is no interest in making us laugh. But wince? Yes. We knew going in that "R.U.N" would simulate violence, but this is the first Cirque production to incorporate a lengthy torture scene. We have a contortionist whose limbs are broken in one segment (finally we have found an apt use of contortionists' skills on a Vegas stage) and a sideshow artist hoisted over the stage with what is best described as an apparatus attached to his eye sockets. There are no Spermato, no oversized babies, no clowns cavorting on a watercraft. The tight, linear story, written by screenwriting craftsman and director Robert Rodriguez ("Sin City" among his triumphs), follows a bride and groom at the center of a gangland conflict after their wedding is busted up. Two rival factions — the Blakjax and Street Kingz — are fighting over the bride's studded, heart-shaped necklace. The story unfurls only after a wondrous opening segment in which the two sides fight it out in the middle of the theater — those seated in the row on the middle aisle are told to keep their feet behind the safety tape on the floor or risk being stomped. The performers shout, curse, flip around and eventually scramble to the stage. These segments under the capable direction of Michael Schwandt, who worked with Donny Osmond on his Peacock numbers in "The Masked Singer." The production credits are projected on the big screen, as if you are inside a grand movie theater. This is also a novel approach for Cirque, which has not specifically named or credited its artists onstage before "R.U.N." In fact, much of the experience does have a cinematic, rather than a live performance, atmosphere. Cirque officials have occasionally, and accidentally, referred to the show as "the movie." At the back of the stage and off to the sides, the production makes ample use of projections, with live artists bursting through small openings. The video scenes are familiar to Las Vegans and anyone who has frequented the city — Dodge Chargers zoom through the desert with Red Rock Canyon in the background; a turn into downtown shows the famous El Cortez marquee; we visit the Neon Boneyard; a "Casino" sign has been placed atop the Ogden high-rise; the Strip landscape is routinely displayed, with The Linq's High Roller next to The Strat in a nifty use of creative license. As with any Cirque show, the effects and — especially — the human artistry are breathtaking. Producers have added a high measure of fire, both real and digitized, to make the performers look like human torches. The use of electric bikes, vaulting high across the scenes from ramps on both sides of the stage, is a dazzling use of the theater's aerial space. The robust soundtrack from Tyler Bates (former guitarist for Marilyn Manson who has scored "Hobbs & Shaw" and "300," among other action films) designed to keep adrenaline high. The idea in "R.U.N" is for the audience to build through word of mouth and online accounts, which have been mixed. Repeat business will need to make the show a hit, even though you know the whole story, and its carefully orchestrated climax, after a single viewing. That, too, is a Cirque first. "We are trying to bring a very different type of show on the Strip, so this is exciting," Cirque President and CEO Daniel Lamarre said before Thursday's show. "If I had to make any comparison, I feel the same way I felt when we opened ‘Zumanity' in 2003. People are going to have to understand, from the get-go, that they are not here to see ‘Mystere.'" The production needs to evolve and catch on, but is there enough time? To borrow from the title of Cirque's ambitious production, the clock is now running. * * * AGGRESSIVE INNOVATION MARKS ACTION-PACKED 'R.U.N' Brock Radke, Las Vegas Sun There are only two questions that really matter when it comes to Cirque du Soleil's new resident show "R.U.N" at Luxor, hyped as a first-of-its-kind live-action thriller. Does it deliver on the heavily promoted promise to bring something new and cool to the Las Vegas Strip? More importantly, is it entertaining? Thursday night's grand opening performance easily answered yes to both questions. From the moment of the protagonist's first appearance — not at center stage but busting through a window along one of the theater's sidewalls behind half the audience — it's clear that "R.U.N" will be unlike any other show experience in Vegas and perhaps anywhere else. It's a fast-paced 75 minutes stocked with stunts, combat, motorcycles and all-around-you action, but well-defined characters, a pronounced plot, extensive live and pre-produced video footage and a hard-boiled soundtrack are equal contributors to a truly innovative presentation. "R.U.N" opened for preview shows at Luxor on October 24 after Cirque du Soleil announced the production in April, noting it would move away from the company's signature acrobatics and avant-garde artistic vision. Acclaimed action and horror filmmaker Robert Rodriguez wrote the script, and there are obvious stylistic similarities between "R.U.N" and his 2005 graphic novel-inspired flick "Sin City." Versatile stage director and producer Michael Schwandt is the director, and music producer and film score composer Tyler Bates created the show's soundtrack, a rock-electronic hybrid that also incorporates a remixed version of New Order's "Blue Monday," among other songs. The show begins as a film. The story starts on the stage's huge video screen as the main character, identified only as "Me," trudges into a desert chapel somewhere beyond the boundaries of a fictionalized Las Vegas, a man on a mission to break up a wedding and retrieve … something. He gets what he needs and flees the church with a horde of slickly dressed goons in hot pursuit. The chase moves through the Neon Museum Boneyard and some familiar Fremont East-area downtown streets before the movie comes to life throughout the theater and the audience learns this conflict is part of an ongoing gang war between the bad- guy Blakjax and the sorta-good-guy Street Kingz. A big battle ensues in an abandoned fireworks factory that catches fire, of course, as "Me" slugs it out with arch nemesis "The Groom" and motorcycles whiz by. All of this is just the opening scene, made apparent by an incredible introductory credits sequence that makes the beginnings of James Bond movies seem boring. Such a direct approach to storytelling is something new for Cirque, best known for creating hazy dream worlds in its other Vegas shows. It's the defining innovation of "R.U.N," stronger even than the adult-oriented tone, the cinematic violence and the stunt-centered core of the performance. The narrative is built around predetermined action set pieces, but the story is everything and Cirque has never created a show this way before. If you're a fan of the other Cirque shows on the Strip, "R.U.N" will be a fascinating watch on several different levels. The action continues at a seedy Vegas motel; in a flashback sequence that explains the Romeo and Juliet-style love triangle between "Me," "The Groom" and "The Bride"; in a twisted doctor's torture chamber that will really make you wonder if you're still watching a Cirque show; and during a creative car chase offering total sensory overload. There are plenty of plot twists and surprises along the way, and the final battle offers impressive motorcycle stunts that feel too big for the stage (in a good way). The story ends where it began with a satisfying conclusion that ties up loose ends and leaves you catching your breath. The best way to judge an action movie is to ask yourself if you'd want to watch it again. Since this show essentially puts you inside such a movie, you're definitely going to need to see it again, if only to catch all the action you missed. "R.U.N" carves a new path for Vegas shows and live entertainment in general, and that makes it a must-see, even if this genre or category isn't your cup of tea. It's simply too different and inventive to ignore. "R.U.N" is performed at 7 and 9:30 p.m. Wednesday through Sunday at the R.U.N Theater at Luxor (3900 Las Vegas Blvd. South, 855-706-5433). * * * R.U.N FOR THE EXIT - CIRQUE'S LATEST IS AN EPIC DISASTER Sam Novak, Unfiltered Vegas Blog If we can applaud entertainment companies for expanding outside of their comfort zone, then we're surely entitled to speak up when they cross the line. That's what's been happening since Cirque du Soleil premiered R.U.N: The First Live Action Thriller at Luxor a few weeks ago. The public reaction has been overwhelmingly negative. The outcry towards R.U.N has gotten so strong that I was bashed on Twitter for penning an opinion-free article describing the structure and content of the show for a freelance gig. Just how bad is it when readers DEMAND a negative review? Well…pretty darn bad indeed. R.U.N could have easily fallen into the category of "So awful that you have to see it". Which is amusing when you consider that those very words described the previous occupant of Luxor's theater – Criss Angel BeLIEve. That smelly heap of garbage somehow made it through ten long and miserable years (and several major overhauls) before Cirque could bleach away the stench and move forward with their next offering. But this is what they came up with for their newest show? I couldn't for the life of me recommend R.U.N to anyone in good conscience…not even an enemy. It's an ugly, inconsistent, poorly-planned and sloppily-executed mess that lies there like a dead body in a ditch. That is, except when characters are shouting F-bombs, being wheeled through the audience strapped to a torture device, having a syringe of drugs pumped into their arm or suspended over the audience by a metal claw driven into the face. Yes, those things really happen in a Cirque du Soleil show….and people get up and walk out during these revolting sequences night after night (or so I've been told). It certainly happened during a Saturday 7pm timeslot that I attended. It's also worth noting that despite plenty of nationwide advertisements and billboards all over the city, the auditorium was shockingly empty…..perhaps 25 percent of the seats were taken, and that's not counting the two upper sections that are blocked off and covered with canvas. Ouch. So how could something so awful make it past a brainstorming session, let alone twice-a-night performances on the Vegas Strip? Your guess is as good as mine. But let's be real here….Cirque‘s reputation as a top provider of entertainment isn't what it used to be. Viva Elvis did so poorly for ARIA that they ripped out their gorgeous theater when replacement production ZARKANA tanked there, too. There have been numerous other missteps in the past few years that have allowed Spiegelworld (Absinthe, Opium and Atomic Saloon Show) to take away and put a new shine on Cirque's tarnished crown. And the failing attendance of Cirque's six other resident productions has led to rumors of them pulling out of Vegas altogether in the next few years. That's what happens when you glut the market on a worldwide scale. You're forced to eat your own tail just to survive. Does anyone remember IRIS, the $100 million Cirque du Soleil resident show in Hollywood that closed after only 16 months? How about Paramour, the New York-based musical which did so poorly that Broadway's LYRIC Theater paid Cirque $23 million just to close up and leave? There were other high-profile flops like Zaia in Macau, Zed in Tokyo, Banana Schpeel (New York/Chicago) and the first attempt to launch BAZ in Las Vegas (yes, it was Cirque that brought BAZ to Mandalay Bay before pulling out mere weeks into the run). For some reason, Cirque du Soleil has been obsessed with Hollywood as of late. They seem to think that people want to pay over $100 to see a movie salute…at a time when people are skipping the cinemas and doing Netflix-and-chill at home. Besides film-centric IRIS and Paramour, they collaborated with director James Cameron on Worlds Away, a fantasy film that barely made a blip at the 2012 box office. Then Cirque produced TORUK – The First Flight, a poorly-reviewed touring show (based on Cameron's AVATAR) that one magazine called "A troubling, redface spectacle". Cirque even considered doing a Quentin Tarantino musical, but chose BAZ instead…because Tarantino films are so dark and violent! In an interview for Los Angeles Magazine in 2015, Cirque Theatrical‘s Scott Zeiger had this to say: For the Record: Tarantino was going to be playing in Montreal. I went and loved it. I brought all of the top dogs from Cirque parent to see it. While all of them liked it, they were afraid for Cirque to get involved with this brand because the content of [Tarantino's] films is pretty violent and deals with subject matter that might not be on the same wavelength with Cirque du Soleil's more spiritual, love-oriented, happier themes." Yet here we are with a brand new $63 million production written by film director Robert Rodriguez, the man behind super-violent films like Planet Terror, Machete, Machete Kills and From Dusk Til Dawn. Somehow the company that once brought you glorious productions like Mystere and The Beatles LOVE thinks you want to spend an evening…and your hard-earned cash…watching the kind of show you'd slip into at Universal Studios for free to get out of the heat. People just didn't care about the characters or what was going on all around them in the theater. That in itself shows just how tone-deaf Cirque has become to our current culture. And R.U.N lacks any kind of wink-wink fun that audiences might expect from the show's advertisements. People are depicted as being tortured, killed and burned alive. One character has his arms and legs pulled out of joint and broken (with the sound of bone cracks amplified by Luxor's megawatt sound system). Speaking of the sound system, this show is absolutely deafening. About five minutes in, my ears were literally hurting and my head began to throb. Fortunately, I'd read some online reviews warning about the extreme decibel level and brought along a pair of earplugs that stayed in place until the lights came up. So can this show be saved? Yes, it can. When Le Reve premiered at WYNN back in 2006, it was received so poorly that performances were cut and the production received a major retooling. Now it's considered one of the best shows on the Strip…because audience reaction was analyzed and changes were made. And that HAS to happen with R.U.N, too. I predict a full closure for this show and a massive gutting. Costumes and sequences will be tossed out and the torture depictions have to go. Right now. There is no charismatic leading man to cheer for, no emotional investment in the fates of the characters, and even the plot ("retrieve a necklace to win" belongs in a video game, not a stage) will need to be refashioned into something people care about. A kidnapped child, perhaps? A damsel in distress? Anything but a pendant holding some secret data. The opening sequence, which is an actual film, goes on for far too long. From the get-go, people will be wondering "Did I just pay $300 to take my date to a movie?". When flesh-and-blood characters actually appear, their performances and stunts will have you shrugging. Gang fights are so choreographed and punches so fake that you'll think you've wandered into a high school production of "West Side Story", despite silvery mylar costumes and moon boots that belong in a 90's boyband video. Imagine if this show was built around an actual, heroic movie star! How cool would it be to watch the likes of Van Damme, Stallone, Chris Pratt or Dwayne Johnson doing their best stunt work before your eyes? Even a life-action version of a familiar movie would be a cool idea…perhaps Rodriguez's own SIN CITY, a hit film based on the works of Frank Miller. Now THAT is something I could recommend, not this violent, rambling and ugly excuse for a show. And yes, there were children in attendance despite a disclaimer stating that the material is intended for mature audiences 13 and up. I questioned a box office attendant as to whether they enforce this policy and she told me that they do not…it is a recommendation, not a restriction. R.U.N is not a show for kids. Or teens. Or adults…or anyone, for that matter. Run as far away from R.U.N as you can…and don't look back. Sorry, Cirque, but you've lost it…and heads are certainly going to roll. ------------------------------------------------------------ "A Look at Cirque at SEA II: SYMA & VARELIA" By: Ricky Russo - Atlanta, Georgia (USA) ------------------------------------------------------------ In 2017, MSC Cruises partnered with Cirque du Soleil, the world-leader in live entertainment, to offer a unique onboard experience: Cirque du Soleil at Sea. With this unique long-term partnership, MSC Cruises has set new standards in live entertainment at sea, with 8 original and breathtaking shows not available anywhere else in the world, launching exclusively across MSC Cruises' Meraviglia generation ships. 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 with COSMOS and EXCENTRICKS recently announced for MSC Grandiosa (that launched in November 2019), we thought now was a good time to take a dive into SYMA and VARELIA, the two shows that launched with MSC Bellissima back in March 2019. THE ONBOARD EXPERIENCE ---------------------- The entertainment experience takes place six nights a week, in a multi-million-Euro, custom-made entertainment and dining venue, the Carousel Lounge, where guests can enjoy dinner or cocktails and then watch the Cirque du Soleil at Sea performances. The Carousel Lounge was designed to meet the unique needs of Cirque du Soleil. The state-of-the-art live entertainment venue is equipped with the latest cutting-edge technology, complex rigging systems, a 360- degree rotating stage and high-pecification audio & lighting equipment to elevate the performance to the next level. Designed as an intimate performance space, The Carousel Lounge holds 413 guests for each show, making the interaction between the guests and performers even more special. The name "Carousel" was chosen to convey the combined spirit of MSC Cruises, offering unforgettable experiences, and of Cirque du Soleil's unique performances, evokes festive and magical emotions. There is something inherently captivating about a carousel. Associated with childhood memories of festive outdoor fairs, it conjures up visions of music, colours, lights, movement all combined in a unique, breathtaking experience. SYMA: SAIL BEYOND IMAGINATION ----------------------------- A fantastical odyssey into the heart of an imaginary world, and the search for a mysterious island inhabited by phantasmagorical creatures. Aboard her boat, a young sailor with a prolific imagination dreams of fabled lands. While navigating a violent storm, she capsizes, sinks into the depths of the sea, and finds herself in the enchanted kingdom of mermaids. Returning to the surface, the sailor is lost and disoriented. A giant sea creature, emerging from the waters, comes to her aid and guides her to a mysterious island. There, she meets a strange being defying the laws of gravity. The sailor descends with him into the heart of the island where she ventures into a surreal jungle. While in the jungle, the sailor meets the chief of the tribe, a character who is all at once intimidating and benevolent, who recognizes the sailor as one of his own. Before leaving this enchanted island, the entire tribe gathers for a ritual and festive celebration. The sailor returns to reality, her heart rich with the experiences from the edge of imagination. Immersive video images, an original set design, bioluminescent lighting and acrobatic feats make SYMA an unforgettable show. * ACTS The Storm - Aerial Pole Underwater - Bungee Dance The Strange One - Leviwand / Manipulation Magical Jungle - Antipodism The Bounce - Skipping * SHOW INSPIRATION - An Island in the Middle of the Ocean: The original idea was that an MSC Cruises' ship is like an island in the middle of the ocean. The guests on board MSC Bellissima are embarking on a journey of discovery, just like the main character of the show. - Journey of Initiation: The show title could have been ‘some place' as it is all about exploring the world, travelling from different places and meeting with extravagant creatures. The journey matters more than the destination. SYMA is the story of a journey of initiation: a rite of passage for the young sailor. Drawing strength from Mother Nature, the character will experience the torments of danger, fear, solitude but also the wonders of discovery, friendship, hope and beauty. - Physical & Organic Materials: During creation, mood boards were a mix of vivid colours and natural textures. All the scenographic elements are tangible, physical and organic. The key stage device is a threefaced pyramid which will serve different purposes: acrobatics, scenography, props and will also be used as a canvas for video mapping. * SHOW CHARACTERS - The Sailor: Syma, a young sailor, has a prolific imagination. She still has her child-like mind and she uses origami to channel her imagination. She is adventurous and, after many days of mental preparation, she sails away from her coastal village to reach a legendary island. Throughout her exploratory journey, she will encounter fear, hope, beauty and friendship. Syma is a sailor and a brave adventurer. She is known for her affinity for lollipops, which give her lips a gradient color. She also has prominent freckles, a result of her prolonged escapades in the sun. - The Underwater Creatures: They embody the legendary mermaids of the ocean. Living in a parallel underwater universe, these fascinating deep-sea creatures dance a hypnotic and weightless ballet. They will save the sailor and bring him back to surface. These enchanting aquatic creatures can charm and hypnotize. Their makeup will transform depending on the time in the story and stage lights thanks to the use of UV makeup. - The Giant Jellyfishes: These two giant translucent characters will help Syma to cross the ocean to get to his mysterious destination: the legendary island. - The Strange One: He is an eccentric outcast, living alone near the beach. He defies the laws of gravity and mesmerises whoever he encounters. He will guide Syma to further explore the depths of the island jungle. - The Nymph: These vivid bushes are no ordinary plants. From this surreal jungle, a nymph emerges and plays with spherical fruits. - The Chief: The Chief is the leader of the island tribe. At first intimidating behind his big mask, he turns out to be benevolent and will recognise Syma as one of his own. He will give her a very special present: a magical origami that can help her travel to this fantasy island whenever she wants and protect her from future dangers. - The Islanders: They love to party and gather for festive celebration! With them, Syma will participate in a joyful rite of passage. After the festivity, Syma will return home riding a giant origami bird; she will return to reality. * SHOW MUSIC SYMA's score is epic and cinematic, lyrical and adventurous. The performance is a saga of many twists and turns and a formidable inner journey. The music conveys the emotions the characters and the audience can all experience when embarking on a wild and unknown adventure: fear, hope, danger along with the wonder and beauty of an imaginary world. * SHOW COSTUMES The creatures we meet along our Sailor's journey are inspired by nature, sporting an organic aesthetic. Each character has a unique textile pattern. Bones, fossils, X-rays of marine fauna and fish scales have all been infused into the design of costumes. The knots, braiding, straws and raffia were used to convey the more primitive spirit of the show authentically, rather than have them feel as though they were created with modern methods of fabrication. * SPECIAL EFFECTS Video Projection Mapping: Video projection mapping is used during the show to project visual content on tangible set elements and props, such as the 3-faced pyramid and the mask of the Chief. This technology enhances the guest experience by animating static objects and surfaces. The feeling of watching objects becoming alive is very exciting. We want guests to ask themselves, "How did they do that?" This visual effect also helps the narration of the show, bringing life to the story on stage. It creates an immersive experience in the intimacy of the Carousel Lounge. VARELIA: LOVE IN FULL COLOR --------------------------- Discover VARÉLIA, a tale of modern chivalry, where love and courage triumph over the greatest divides. Varélia is a princess whose rare violet skin has isolated her from the rest of the world. She dreams of finding acceptance and of her prince charming to save her from her sorrow. Nearby, a young blind man is also lonesome. One moment changes his destiny: meeting Varélia. It's love at first sight. The maleficent Mr. Pourprier, obsessed by the color violet, thwarts their budding romance and kidnaps Valéria. Distraught by the disappearance of the princess, the young hero formulates a plan and assembles a crew of friends to rescue his beloved. At the end of the epic battle, the villain is defeated. True love conquers all. Delight in the acrobatic feats, the laser show and the unique set design of this futuristic medieval tale. * ACTS The Princess - Dance Trapeze The Hero - Slack Wire The Villain - Cube Manipulation & Contortion The Rescue Plan - Diabolo Happily Ever After - Roller Skating & Duo Cerceau * SHOW INSPIRATION - Hybrid Fairy Tale: The show title could have been ‘some time' as it mixes eras using chivalry novel codes with modern and contemporary elements. A medieval tale with a futuristic twist. The inspirations lie in the cartoon world using a simple story arc but offering a multi-layered interpretation with a humoristic touch. In VARÉLIA, like in comic books, the physical differences become strengths. Loneliness is a common emotional state, shared by the Princess and the Hero. They recognise themselves as the same, yet different. This is a story of love, a love that is threatened when a Villain kidnaps the Princess. The Hero and his friends manage to deliver her while defeating the evil one. A happy ending then seals this classic yet modern storyline. - Graphic Lines, Lights and Illusions: The scenography is based on an intangible and virtual universe. From the very beginning, the idea was to play with laser lights to create a changing and futuristic-like set design. The lasers are used to create geometric-shaped architecture and set elements, as well as a storytelling device; helping the story progress (the Hero's teepee, the Villain's cage). * CHARACTERS - The Princess: Valéria is rejected because of her rare purple skin colour. This difference has shaped her strong personality. She has felt sad, isolated and bored for her whole life but an unexpected encounter will change the course of her lonely life. Varélia is the heroine of the story and her most striking feature is that her skin is purple. In order to achieve a realistic composition, the purple was highlighted with a light pink. It took three makeup trials to get the right shade of purple. - The Hero: The young Hero is blind and has been struggling to find his place in the world. He's caught in his own inner imagination. But his love for Varélia will reveal him to the world and change his destiny. - The Villain: The maleficent Mr Pourprier is an eccentric character who is obsessed by the colour violet and dreams of having a purple wife. Soon, he encounters the Princess and in a fit of madness, kidnaps her. But she soon will be rescued. The villain is a comedic antagonist. Despite the chaos he causes, his antics make him an audience favorite. So, we purposely exaggerated his eyebrows and used some pink around his eyes to emphasize the madness of the character. - The Racoon: He's the Princess' best friend, he is very friendly and protective. - The Joggers: They come in the morning to do their jogging in the park, as usual. They are the amusing crowd, the archetype of the hip city dwellers with funny caps and reading glasses. They will help the story move forward. - The Warrior Friend: With his agility and skills, the warrior friend will help the Hero come up with a rescue plan to deliver his beloved Princess. His act is the rehearsal of the rescue plan. It is a blend of martial arts and weaponry. - The Angels: They're the inhabitants of Cloud 9, the cherubim of Heaven. They are the representation of romanticism and celebrate Love. They perform for the new couple and everyone bathes in joyfulness. * SHOW MUSIC The original music concept for VARÉLIA relies on two artistic statements: first, use classical music in conjunction with electronic beats to counteract the cold aspect of the lasers and second, personify the main characters with specific instruments (the piano for the Princess, strings for the Hero, brass for the Villain, etc). The show experience is very well-balanced with the techno-like visual effects and the timeless classical music. * COSTUMES The colors in VARÉLIA are more saturated, with higher contrasts, for a cartoonesque look. The white and purple hair, animals in Tartan clothes…we are in an altered reality! Urban looks, inspired by current fashion, are made with more technical materials and processes: double mesh, tissue spacer, molded silicone, 3D patterns and laser cutting to name just a few. * SPECIAL EFFECTS Lasers: Laser lights create an intangible, futuristic and changing set design. They convey the theme and atmosphere of the show. With a strong focus on aesthetic principles and the safety of both the artists and the audience, the set of lasers create graphic figures and illusions where Cirque du Soleil at Sea artists can thrive. The creative team worked hand-in-hand with the technical team to make this possible, as it is quite a technical challenge, and ensured a rigorous testing process. CREATIVE TEAM ------------- NATHALIE ENAULT – Line Producer With a bachelor's degree in History of Arts, Nathalie started her career in TV production in 1991, transitioning quickly to live show production, where she occupied various roles such as Props Project Manager, Production Stage Manager and Production Manager. Mainly working for Cirque du Soleil for the past 21 years, Nathalie has collaborated on more than ten new show creations and even more events and special projects. She has also worked on projects with Just for Laughs Festival, Cirque Éloize and the United Nations, to name a few. Nathalie currently acts as a Line Producer for different projects in development as well as managing the partnership with MSC Cruises and the creation of the new Cirque du Soleil at Sea shows. ANH-DAO BUI – Production Director Anh-Dao joined Cirque du Soleil in 2002 as an assistant director for the production "KÀ" followed by "ZAÏA", "TOTEM" and "MICHAEL JACKSON: The Immortal World Tour". In 2013, she had lived in China for over a year while collaborating on the "Han Show". Upon her return to Montreal, Anh-Dao held the positions of project manager for C:LAB, assistant production director on "VOLTA", project administrator at Vigie Creative and was responsible for the production of special events. DAVID POULIN – Creative Director David has been involved in the entertainment industry for more than 20 years, in theatre, music, film and circus arts. He started at Cirque du Soleil in 1998 as a stage manager and later as a stage coordinator on "Saltimbanco", "Varekai", and "Corteo". Since then, he has participated in numerous productions as an assistant director: "Quebec 400th", "Kinect Launch", "Kurios", "Sep7imo Dia", "Chemins Invisibles – Chapitre V", "JOYÀ" and "Iris". BENJAMIN DUPONT – Stage Director A graduate of Industrial Design, Benjamin joined Cirque du Soleil in 2008 in the Research and Development department. In 2013, he joined the Creative Guide's Office where he worked on events and show concepts including an immersive experience with Walt Disney Imagineering and the short film "Sparked - A Live Interaction with Drones". As a Creative Lead at 45 DEGREES, he applied his unique conceptual approach to the staging of several creations including "Scalada: STELAR" in Andorra and the 2018 Dubai World Cup. EDESIA MORENO BARATA – Acrobatic Performance Designer and Assistant Director Edesia, once an elite athlete, was recruited by Cirque du Soleil in 1998 as an artist. For over 10 years, she travelled the world with the shows "Saltimbanco" and "Corteo". Passionate and creative, she transitioned into creative roles such as performance designer, art coach, acrobatic choreographer, director and event designer. Since she joined Cirque du Soleil, she has collaborated on no less than 35 productions. NICOLAS VAUDELET – Costume Designer Nicolas was trained by the giants of the fashion world: Christian Lacroix, Christian Dior, Louis Vuitton, Givenchy, Sonia Rykiel and Jean-Paul Gaultier. With the latter, he participated in designing the costumes for Madonna's Confession Tour. A frequent traveler, he also worked with Franco Dragone (Le Lido – France) and MGM (Macao). Based in Montreal since 2017, he regularly collaborates with 45 DEGREES: "Helene Fisher Tour 2017-2018", "Dubai World Cup 2018", "Diva" in Andorra. MARYSE GOSSELIN – Makeup Designer Maryse has worked in the field of performing arts for fifteen years through rich collaborations in the theater and circus universe. At Cirque du Soleil, she has participated in dozens of shows since 2013 such as "LUZIA", her first as the makeup designer. SONOR and VIAGGIO, the Cirque du Soleil at Sea shows aboard MSC Meraviglia followed. Most recently, Maryse created the makeup design for "BAZZAR". FÉLIX-ANTOINE COUTURIER – Music Composer Upon completing his studies in classical guitar, Félix began his musical career as a member of two bands. As either a solo artist or in a group, he went on tour, created albums and contributed in writing and recording more than 100 songs. Now a multi-instrumentalist, a director and an arranger, in 2014 he released his debut album "Comme un seul homme" as a singer-songwriter. In 2017, he composed the music for "Scalada STELAR" by Cirque du Soleil. MATHIEU POIRIER – Lighting Designer Mathieu has been a lighting designer and photographer for fifteen years. He first studied flute at the Conservatoire de musique de Montréal and before branching out to photography while studying at Dawson College. Self-taught, he transferred his passion for photography to the performing arts while completing his first lighting designs. For him, scenic lighting creates a photographic ensemble always in motion. JEAN-SÉBASTIEN BAILLAT – Video Content Designer Jean-Sébastien Baillat has been active in the world of design and digital arts for the past 15 years and remains one of the most influential designers in Quebec, with clients like Moment Factory, 4U2C, Silent Partners Studios, Cirques du Soleil, Red Bull Music and the Montreal Museum of Fine Arts. Amongst other things, he has signed the video direction 2017-2018 of Helene Fischer, a German popstar who gained numerous awards and prizes. Throughout his career, Jean- Sébastien Baillat has won more than 200 national and international awards in design, including a Lion (Cannes). PIERRE-LUC BRUNET – Sound Designer Pierre-Luc is passionate about performing arts and the unique human aspects that excite different societies around the world. A true globetrotter, he travelled the world and collaborated with Moment Factory, Cavalia, Just for Laughs ("Grease" and "Fame"), XYZ ("City Walk") in Dubai, Phare the Cambodian Circus, "Darwin Festival" and "Adelaide Fringe" in Australia and finally with LSS Productions ("The Producers"). EDGAR ZENDEJAS – Choreographer Edgar spent 18 years as a dancer in Les Ballets Jazz de Montreal, where he evolved as a choreographer. Internationally recognised for his expertise and his eye for innovation, he has collaborated with Starlight, Franco Dragone and the National Circus School. For Cirque du Soleil, Edgar was an artistic consultant on "TOTEM" and worked with the C: LAB. Furthermore, he's actively working on Project Lorca, a hybrid dance company that combines contemporary dance and circus arts. ERIC BOUCHARD – Technical Director – Theatre Eric made his debut at Cirque du Soleil in 2001 with the production of "Varekai." Then, for nearly 10 years, he occupied the role of senior lighting consultant to support various shows. In 2010, ready to take on new challenges, he turned to the role of automation project manager on "Amaluna" and "Kurios." In 2014, he rejoined Cirque du Soleil at Sea as the technical director responsible for supervising the creation of the Carousel Lounge and the overall production of the show. RICHARD PIQUET – Technical Director – Production Richard is an experienced technical director. He began his career in the world of motion theatre as a technical and touring director with DynamO theater. He continued his career with the touring show "Rain" (Cirque Éloize). Technical director of La Tohu for 12 years, he's worked with multiple circus companies across various events. Within this realm, he collaborated on several occasions with Cirque du Soleil. ------------------------------------------------------------ Jean David's Quel Cirque, Part 12 of 12: "The Revelator" 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. So, without further ado, Quel Cirque! # # # From the time Cirque du Soleil began performing in 1984, something fascinating occurred. Many people were moved to tears by the end of every performance. The comments we gathered from spectators were heartfelt and sincere. It was beautiful to see. People were touched by the originality and the simplicity of the spectacle. We were offering an entirely new and original type of show. In addition, the artists were street entertainers who found themselves on stage before a captive audience. They had mastered the art of interacting with the public. This intimate relationship between artists and public became a defining characteristic of Cirque du Soleil. Its creations left audience enthralled. Everywhere we went, we encountered the same reaction, enthusiasm, and appreciation. It was a marketing manager's dream. It was really extraordinary to be able to count on such a fantastic product. In the early years, I spent a good deal of time at the big top. I made it a point to be there when the public arrived and when they left. I wanted to see the people — to meet our spectators, our customers. Time after time we got the same reaction. Who we were and what we were offering the public gradually became clearer in my mind, but I still lacked the words to describe what I saw and felt. One day, in 1986, I was attending a show in Toronto. Sitting in the last row, my friend and I were observing the performance and the audience reaction. My friend asked me why people everywhere loved our shows. I pointed out that the success was largely due to the artists whose industry and skill had previously gone unrecognized. There is something noble about public entertainers. They possess energy, spontaneity, freshness and desire. It was as if the troupe was riding a incredibly powerful wave. Our task was to stay on top of the situation and to make sure that everything ran smoothly. It was a little like surfing: when there's a huge wave and you have to keep from falling off. Franco Dragone's arrival as artistic director marked a new era at Cirque du Soleil and gave a new dimension to the shows. Dragone was inspired by the commedia dell'arte — "a form of popular comedy dating back to the Middle Ages, at the time when farces were performed in various regional Italian dialects; professional troupes, composed of minstrels and wandering acrobats, perfected a form of entertainment adapted to the general public." Working closely with set designer Michel Crête, costume designer Dominique Lemieux, lighting designer Luc Lafortune, choreographer Debra Brown, along with composers Réné Dupéré and later Benoît Jutras, Franco Dragone instituted a more coherent creative approach. His intent was to give meaning to the artistic experience. Together, the team went on an extraordinary journey, an unparalleled exploration of the human spirit in which each show pushed the limits. In this creative process, certain characteristics emerged. Language, as such, played no part in the works: no words were spoken, just sounds or phonemes intended to express feelings, emotions, and situations. It was almost like an invented language. The advantage of using sounds was their universality; they were not culture specific; they were universal: audiences everywhere understood them. This approach did much to establish the universality of our product. The same show was performed unchanged in New York, Vienna, Madrid, and Hong Kong. The artistic team's commitment to communicate with spectators through emotion soon became a hallmark of Cirque du Soleil. The set design, costumes, lighting, choreography, music, and artistic performance combined to create an atmosphere that gave spectators a heightened sense of participation and conveyed the intent of the artists on stage and every acrobatic stunt in a surreal environment. During my years at Cirque du Soleil, there was an ongoing discussion between Marketing and the artistic team about the story a show was attempting to depict. Was there a narrative thread? And if so, what was it? Since each new production was an original creation, Marketing never knew in advance what message or story the show intended to convey. Often, we had to wait for the performance in front of the public and media before we could formulate a description. In marketing, our work included introducing new shows to the press and public. It was a challenge to explain what the work was about. The decor conjured up this, the costumes evoked that, the music transported us to another universe, the acts were breathtaking, and the clowns weren't always intended to be funny… In my department, the staff grumbled a bit because they wanted something concrete, something they could get their teeth into, but my confidence in the artistic team was unshakable. Leaving the shows, the spectators often had the same comments: it's the most wonderful thing we've ever seen. The story was extraordinary, incredibly beautiful. I realized that spectators were making up their own story. They invested the spectacle they witnessed with meaning. And that meaning was extremely personal. Spectators all over the globe left the big top with the feeling that they had taken part in an adventure. Gilles Ste-Croix and my other colleagues on the creative side, never failed to tease me about that! "You see, Jean, the spectators don't need us to tell them a story; they see and they understand." To work for Cirque du Soleil, you needed a sense of humor. I carried out an analysis of audience participation independently of the artistic team. I took the time to analyze the impact of the work on the public from the spectator's perspective and not as a theater critic trying to explain the work. Understandably, we were inundated with that sort of review. My fascination with the issue of audience participation was very personal, a reflection of my curiosity about the relationship between communications and society. As the years went by, my desire to understand what was really happening grew and I intensified my research and analysis. I thought that the spectator viewing our show was analogous to a visitor at a museum observing of a painting. Standing before a painting in a museum, we tend to search within us for internal cultural and personal frames of reference. It is a normal response that allows us to assess, appreciate, and appropriate the work. We do it automatically. The need to understand obliges us to identify an occurrence, a situation, a feeling, or an idea in our memory to situate the work. The more abstract, diffuse or vague the object of our attention, the deeper, more arduous the search for a frame of reference. We categorize the object, and invest it with meaning, intimately relating it to our own life story. In doing so, we revisit and, to a certain extent, validate our identity. Of course, this process is short-lived: only a matter of seconds. We engage in it "unconsciously" every day and in many circumstances. For example, you go to the store and admire a stunning new dress collection. Or you contemplate buying a new car and visit showrooms feasting your eyes on the latest models. It is exactly the same process as when you're looking at a magnificent painting. You look inside yourself to see what you relate to, to see the object you can really identify with. The example of the museum visit enables us to see this phenomenon more clearly. We can replay the process in our head and analyze the various stages involved. For Cirque du Soleil spectators, the same phenomenon occurs but it is far more intense. As observers, they are invited to delve inside themselves to give meaning to the spectacle on stage. They are inhabiting an extraordinary game, literally a mind game! The elements and stimuli presented by the artistic team are very broad, quite vague, indefinite enough that they give spectators the chance to imagine for themselves the true meaning of what they're observing. They are explicitly invited to complete what they're seeing. The overall artistic effect is a unique, highly intense experience. Every show directed by Franco Dragone incorporated the notion of a living work of art, in which the spectator's mind was flooded with a set of highly original stimuli. A plethora of colors in movement, omnipresent music in many tones that shaped the whole experience, a magnificent décor open to interpretation. Characterizing his art were the absence of stars, cultural barriers and competition. Complementing these qualities were the universality of language pushed to the extreme, the keen sense of risk juxtaposed with fear, joy, hope, happiness, anger, melancholy, and the absurd. Dragone's work appealed to a whole range of emotions in a single instant. Dragone's work pushed the boundaries, aiming to stimulate the brain and engage the mind. Thus, the spectators were invited to complete the work; their minds were so stimulated that they had no other choice but to make instant associations between the elements of the show. Thrust into a totally unaccustomed situation, spectators underwent a unique sensory experience. They were projected into a process in which they had to explore their own feelings and emotions. They played every role, performed every acrobatic feat; they were both the music and the light. In reality, what the spectators saw was a part of themselves that they'd never seen before. No wonder most spectators left the show beaming broadly. That's why customer satisfaction levels exceeded 90%. The spectator's experience takes place at the border between the conscious and the unconscious. Have you ever wondered what you can do in a billionth of a billionth of a second? Well, that's all it takes to form an idea. Our spectators were captive actors, rather than a captive audience; they had no alternative but to get involved. Cirque du Soleil made spectators see themselves in an entirely new way, with unprecedented intensity. The word that best encapsulated the Cirque du Soleil experience was "authenticity." This, I believe, accounted for the enormous popularity of our productions. People were coming to see themselves, to discover themselves. Of all Cirque du Soleil's shows, the best, the most complete, the most innovative, and the most captivating was O, performed at Hotel Bellagio in Las Vegas. The show was the last product at the end of the creative process implemented by Franco Dragone and Cirque du Soleil's artistic team. In fact, the team exploded within months of O's delivery. According to the official version, the time had come for them to move on to something new, but in reality, they had attained their ultimate goal. Show after show, the team had gone on a quest in the world of the imaginary, exploring the vast human landscape. In their decade-long quest, they inventoried nearly the entire range of human emotions. This magnificent journey into the universe of our souls, this investigation of human nature ended abruptly with the creation of O. The work was a celebration of "life, love, and death," as the official Cirque du Soleil media kit put it. Like the artistic team, senior management also blew apart, swept away by the impact of O, the Revelator, as I like to call it. I think the word Revelator best describes the show's effect on the audience. It opens you up, tears away your mask, and invites you to reveal yourself to others. It is a fascinating phenomenon of spectator participation, unique to the Cirque du Soleil experience. O's impact explains the power of the company's previous productions. That's why I'd like to take the time to examine the various aspects of the work. The interface between spectator and show reaches maximum proportions and the intensity between the two is incredible. For the audience, the overall experience reaches new heights thanks to the nature and force of the elements involved. Like previous Cirque du Soleil shows, O propels spectators on a roller coaster ride of thoughts, feelings and sensations. But what quickens the senses even more is the presence of water: 1.5 million gallons of it to be exact. In psychology, water symbolizes the unconscious. And in this case, the symbolism takes real and dramatic form. Water consecrates the depth and fluidity of the spectator's experience. To fully absorb the experience, spectators delve within themselves for references that will give meaning to their participation; they have no choice; their mind has embarked on an ultimate odyssey. It is astonishing to see spectators' reactions and body language right from the opening minutes of the show. They are riveted to their seats, awestruck, unsettled by the presentation. There is no returning, they are completely enthralled. That's when the Revelator effect begins. Spectators reflexively dig deep inside their resources; but the force of the interface and the fluidity of the elements create a vortex setting off a process of integration and auto-transcription across the spinal column, the nervous system and the unconscious. Spectators grasping for some frame of reference, suddenly plunge into the deepest part of themselves. Amazingly, they become both the lead actor and the only witness of the phenomenon. It's as if they have been ensnared by their own curiosity and propelled into the heart of an undreamed of event, for which they are absolutely unprepared. In a way, each spectator is a microcosm of the global village. Integration and auto-transcription combine to provoke what I call "a flooding of the global village." A deluge of the self. In the process, spectators acknowledge and experience every part of their being. They truly get in touch with themselves and they are obliged to take possession of themselves. They have been literally "possessed" by a completely unexpected form of intelligent life — possessed by themselves. For some people, it comes as quite a surprise. The thought process of the spectators is deployed throughout their organism and acquires a kind of measurable energy mass. The phenomenon can be expressed by the equation: E = GC2. Energy (thought) is equal to gravity projected at the square of the speed of light. I believe it is a unique phenomenon in the world, which merits our attention, because the consequences for the individual and society are, to say the least, unparalleled. There's an interesting analogy that helps us understand and assess the impact of the phenomenon. It's as if the entire universe suddenly acquired a center so it could situate itself, define itself, and find a reference point. Considering the entropic nature of the environment in which we live, I would describe the Revelator effect as a "staggering reversal." Each spectator embodies this center, this frame of reference, and must therefore decide whether or not to assume the "responsibility." In the days, months and years that follow, individuals are impelled to discover and reveal their true identity. So they are driven to take stock because for the first time in their lives they feel empowered. It's as if spectators enter an immense mansion full of riches, treasures and ideas. In passing, they discover the owner's manual containing details about the residence. They're encouraged to see the many possibilities and advantages available, and they are urged to note the obligations that accrue to their situation. Their impulse is, of course, to do a little internal housecleaning. Then, comes the most difficult part: they decide what they're going to do with the information they've just received. They're confronted with more and more events that permit less and less latitude. Despite themselves, spectators in turn become revelators of identity, setting off a remarkable chain of events in their environment. To date, nearly ten million people have seen O and have been exposed to the Revelator. I have always thought that Cirque du Soleil shows had a positive effect on the public, but I must admit that this show goes much further. To a certain extent, it "situates" individuals in their true context and restitutes them to themselves for one brief but intense moment. WOW! Spectators are agape; they leave the theater awestruck. They know something extraordinary and transcendent has occurred, but they're incapable of describing it since nothing in their cultural and educational background has prepared them for it. I don't think the casino owners could ever have imagined they would offer their distinguished clientele entertainment like this; it isn't really described in the program. The creative process launched and developed by Franco Dragone and the Cirque du Soleil artistic team ended up devising a formidable feedback machine for people in search of authenticity. It's like the ultimate happening, a mutant factory, a fantastic braingate technology with, in particular, undreamed of effects on our environment. The Finish Line --------------- In 1987, we signed an agreement-in-principle with Australia's Sydney Festival, an important cultural event held in January, the middle of the summer down under. Cirque du Soleil was slated to play there in January 1988. In the previous months, we had been involved in the planning and preparation for our arrival in the Los Angeles market. Meanwhile, at the other end of the globe, the announcement of our participation in the Sydney Festival raised the hackles of Australian trade unions, who saw us as a threat to local jobs. The Australian press reflected the unions' fears, giving us even greater cause for concern! Cirque had never performed in Australia before. Furthermore, there was a strong resurgence of protectionism in the country. How could we seriously consider undertaking an operation of such scope in such circumstances? In mid-September, a few days after our triumphant debut in Los Angeles, I went to Melbourne and Sydney to assess the situation, rate the chances of success and try to forge strategic alliances. Given our success in Los Angeles, why should we risk going to Australia? And the union controversy was an excellent pretext for not going. Let's shelve the project. Game postponed for eleven years! We returned to Australia as we were setting up the Asian division. Directed by my friend, Hélène Larivée, the division was headquartered in Singapore. Australia was part of a tour plan that initially included Japan, Hong Kong, and Singapore. We used Saltimbanco to penetrate the market. I dubbed Saltimbanco Cirque du Soleil's flagship because it opened doors for us in many countries. The Australian project was ambitious. It was carried out amidst the country's feverish preparations for the Summer Olympics. We counted on highly qualified and efficient local human resources; they were an extraordinary team. We worked with Michael Edgley and Andrew Guild, the best producers in Australia. The whole operation was a smoothly running model of precision and rigor. We benefited from the vast experience of our local collaborators and our business partners. The tour was a huge success; the audiences were remarkably generous and spontaneous. It was a real pleasure. The Australian tour was my last professional activity with Cirque du Soleil. Power doesn't interest me. I'm for individual expression and a free exchange of ideas. After 15 years with the organization, I had to admit that though I had helped build the enterprise it did not belong to me. In fact, it had never belonged to me. As far as the owners were concerned, the values and principles that had guided me along the journey were no longer priorities. On the day before the Australian tour premiered in January 1999, I met with Daniel Gauthier and Guy Laliberté in Sydney. We reached an agreement about the terms of my departure, which I set for June 16, 1999, the date of Cirque du Soleil's fifteenth anniversary. The end of the journey. Key to the Future ----------------- I don't have a crystal ball; I can't predict Cirque du Soleil's future. I do believe that the company has fulfilled its mission. The company's most significant undertaking and its greatest contribution was the development of the creative process and the work of the artistic group that led to the production of O. The show was Cirque du Soleil's crowning achievement. Since then, it has been repeating the formula, trying to use it for all sorts of applications. There's nothing wrong with this; on the contrary. That's the way our consumer society operates in the economy of redundancy. The organization set the bar so high that it will take time to come down; unless… When I left, I suggested that my bosses set up a creativity training and promotion program in the organization. My reasoning was as follows: Cirque du Soleil was considered an innovative enterprise by industry and the public. And what was innovative about Cirque du Soleil? The shows! They didn't follow up on the idea. What role does creativity play in the company? Well creativity is central to the daily activities of a core group of individuals: designers and their assistants, a few artisans and that's about all. The other 2500 employees are involved in drudgery much like the workers in any factory or assembly line in Detroit, Bordeaux, Amman, Manchester, Mexico, Taipei, Melbourne, Calcutta, Tel-Aviv, Kiev, Düsseldorf, Teheran, or Osaka. Unfortunately, Cirque does little to encourage employee creativity. People are asked to show up, do their job, follow the rules, and that's enough. Perish the thought that they should exhibit one iota of creativity. And if they did, management wouldn't know what to do. Sure, the employees take pride in their work and they're "well- treated." there are many statistics to prove it. On the other hand, the organization underestimates the individual employee's potential for creativity and imagination even though consultants, human resource people, and specialized journals are always talking about Cirque du Soleil's creativity. It seems to be the hot topic, but no one in senior management is really interested. Certainly, no one dares to take concrete action. The few attempts to improve the situation have been short-lived. The challenge for every organization is to insure that creativity is at the heart of every activity. Creativity should not be the sole property of a small group of individuals. The following are guidelines for fostering creativity in the work place: establish a climate and design concrete projects that encourage the creative contribution of every employee; support these initiatives with training in creative problem-solving; give employees the tools and the encouragement they need to be creative; stop making pious promises; walk the talk; setup an employee appreciation program; institute not only a new management model, but a genuine communication model; revamp the hierarchical structure and the bonus system to reflect the creative contribution of the employees; dare to provide innovative management by putting the company at the service of every employee. Try this approach and you'll get results. Employees are a company's greatest asset. For an organization to take this into account in its daily life, it takes courage, determination, and leadership. Maybe this is too much to expect of the heads of our modern enterprises. Business leaders certainly haven't received the training they would need. Companies, including Cirque du Soleil, will find that their biggest challenges lie within their organizations. I'm convinced that companies have a responsibility toward their employees to constantly strive to help them realize their potential. For companies ready to take up this challenge, the future is bright. There can be no better business plan! The End ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 19, Number 12 (Issue #191) - December 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. { Dec.10.2019 } =======================================================================