======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 22, NUMBER 5 November 2022 ISSUE #215 ======================================================================= Well, hello there! And welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. It's been a while since we've last spoken, sometime back in July I think, but with a few new Cirque du Soleil projects announced, I hope we'll be speaking a bit more often now going forward. To that end I don't have a whole lot to offer, other than to say that after 20-plus years of publication, I needed a bit of a break. With that done hopefully there'll be many more reasons to continue on from here. There's Alegria: INAL headed off to Japan, LOVE's pending closure (or something), ECHO's premiere, more new special event shows around the world, and more. So, without further ado, let's get right into it... and catch up a bit! /----------------------------------------------------\ | | | 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 o) Itinéraire -- Tour/Show Information * BigTop Shows -- Under the Grand Chapiteau * Arena Shows -- In Stadium-like venues * Resident Shows -- Performed en Le Théâtre o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- Meet Cassia Raquel, Alegria's Singer in Black {Jun.23.2022} ---------------------------------------------------------- "Alegría" is a classic that has been reimagined for a new generation of Cirque du Soleil fans. An uplifting immersive experience, "Alegría" whisks audiences away to a mystical world sprinkled with visual poetry and acrobatic extravagance. Among those bringing the show to life is Black Brazilian singer Cassia Raquel. With the production touring, The OBSERVER recently interviewed through a translator the Portuguese- speaking Raquel remotely. Q. How and when did you join Cirque du Soleil? I have joined Cirque du Soleil recently. I started rehearsals in September 2021 for the relaunch of "Alegría" following its pandemic hiatus. After weeks of rehearsals, we premiered in November in Houston, Texas. I was selected through a virtual audition. My first attempt to join "Alegría" was in 2018 when Cirque du Soleil was casting for the remount of the show. At the beginning of 2021, I was called up again for the role of the Singer in Black and got it. I had applied for other Cirque du Soleil shows before, but "Alegría" fit perfectly with my style and identity. I couldn't have started my career with the company in a better way than with this show. Q. What character/role do you play in "Alegría"? I'm the Singer in Black and I share the stage with the Singer in White. They are contrasting characters, but they complement each other in their desire to bring back hope to the kingdom of AlegríThe Singer in Black is the voice of the youth of Alegría, a movement yearning for change as it enters a power struggle with the old order desiring to keep the status quo. The Singer in Black represents strength and emphasis on low notes to give power to the youth and illustrate through vocals the physicality of the acrobatics performed on stage. Q. What do you want audiences to walk away from the show with? I want people to renew hope in life, faith in humanity and joy to enjoy with their family. Q. What was the first Cirque du Soleil show you saw? Did you think at that time that you'd ever be a part of a show? My only opportunity to watch Cirque du Soleil was the big top production "Corteo" in São Paulo in 2013. I was on tour with a show at that time and I glimpsed at the possibility that I could too sing in one of their shows. But I didn't believe it would be possible. Friends encouraged me to sign up and in the end it worked. Q. When did you begin singing? I started singing in the church where my father was pastor, as a child. I developed technique at the age of 16, studying lyrical singing, and graduated from the University of Rio de Janeiro years later. I have been working in professional musical theater in Brazil for over a decade and have had the opportunity to play iconic characters such as Fantine from "Les Misérables" and Antônia from "Man of La Mancha," among other roles in shows honoring Brazilian artists. Q. What is it like trying to "make it" in the entertainment business as a Black Brazilian? Are there a lot of roles open to you? I entered this universe at a time when auditions were live and we were selected for talent. I was lucky to start with the greatest Brazilian directors who taught me a lot and included me in their work. I gained visibility and today I am respected. But I still come across productions that see me only to play the same types of roles, where it needs to be described as a Black woman. I managed to break this barrier in many shows, but producers always highlighted the fact that I was the "first Black woman in that character" or the "only Black woman in the cast." Until recently, many producers were asking me for recommendations of other Black singers or actresses for work that I couldn't do due to schedule conflicts. The Black community in Brazil is huge, but unfortunately our emerging talent is still unknown and not represented enough locally. I think it comes down to who is casting or producing. For example, I was never considered to audition for Christine from "The Phantom of the Opera," but was always approached for roles in "Dreamgirls" or "The Lion King." I love these plays, but I don't think as a Black woman I should be limited to playing these roles. I guess little by little, the industry is changing if performers like myself keep breaking barriers. Q. How long will you be performing with "Alegría"? I wish to remain on the show for as long as it is running. We will be on tour at least for the next two years, but shows at Cirque du Soleil usually have a 10-year lifespan. Let's see where this will take me. Q. What's next for you? Any side projects/albums, etc? "Alegría" demands exclusivity and dedication to keep the voice, mind and body healthy. I want to enjoy the trips and leave space for the opportunities that come along the way, whether it's a new song or a collaboration with other artists. Meanwhile, when I'm off stage, I upload singing classes on my social networks, help other Brazilians with travel itineraries indicating the places I've been and enjoyed, in addition to showing my daily life by commenting on skincare or doing humor sketches. My plan is also to have a family at some point, and to get a master's degree in music therapy or speech therapy that will certainly be useful for when I return to Brazil after my touring career to reopen my music school. { SOURCE: The Sacramento Observer } ---------------------------------------------------------- Want to See THE BEATLES LOVE? Think About Going Now {Jun.23.2022} ---------------------------------------------------------- An empty tricycle trailed by a row of small yellow galoshes sits on the concrete floor. Along the wall, the massive hands of a Blue Meanie hang next to a skirt of mannequin legs. Round a corner and behold a half-pipe fitted with measuring sticks at the top, guides for roller-skating acrobats to practice their airborne maneuvers. They're all part of the glorious mishmash of props stashed backstage at "The Beatles Love by Cirque du Soleil," a valentine to the Fab Four as much as it is a colorful uplift powered by one of the headiest catalogs in music history. The trippy, sound-intensive production – three speakers are embedded in every seat headrest – recently celebrated its 16th anniversary, and is currently the fourth longest-running Cirque among the Las Vegas offerings. The show's cast and production team hope to build on that tenure, despite some anxieties about the future of "Love." The in-the-round show – an anomaly in Cirque staging – opened in its $100 million signature theater at The Mirage in 2006 as the first to feature all pre-recorded music and fixate on a singular music act. ("Viva Elvis" followed in 2010 at Aria Resort & Casino for a disappointing two-year stint, while the well-regarded "Michael Jackson ONE" continues to dazzle at Mandalay Bay after nearly a decade.) "The stage is one of the stars of the show," says Tim Smith, senior artistic director of "Love." A specialized soundtrack of Beatles songs reconstructed by the late George Martin and son Giles remains a primary draw, and the show has been blessed by surviving band members Paul McCartney and Ringo Starr. "Love" has also been endorsed by Yoko Ono and Olivia Harrison as family surrogates for John Lennon and George Harrison. But the recent sale of The Mirage by MGM Resorts International to Hard Rock International, which is expected to acquire operations of the property later this year, shrouds "Love" with uncertainty. "There's an emotional attachment to ‘Love' because it is different than the other Cirque shows. But it still feels like a musical and (those types of productions) haven't done fantastically in Vegas," says Scott Roeben, founder of the Vital Vegas blog and columnist for Casino.org. "It's done fine (financially), but ‘fine' isn't enough for the Hard Rock to say, this has to stay." Since reopening in August after a nearly 17-month pandemic shutdown, "Love" has welcomed about half a million visitors, according to the show. Roeben notes the audience demographic for a Beatles-centric production might not be a priority for the Hard Rock. "The Beatles are kind of beloved, but that audience is getting older, and while they are a ticket-buying audience, that audience is not growing," he says. " ‘Love' is a very specific show. You'd better like The Beatles and if you're 20 years old, you might not know (their music) that well. Hard Rock is looking at two years, five years, 10 years from now. What are they going to build for a foundation? I don't think it's The Beatles." But the Cirque camp remains sanguine. Eric Grilly, president of resident and affiliate shows divisions for Cirque du Soleil, tells USA TODAY in a statement, "We look forward to working with MGM Resorts and Hard Rock International through this transition. We hope to have news to share in the coming months when the sale is finalized." For now, the international cast of nearly 70 artists and 100-plus crew and tech specialists continue to romp through "Love" twice a night, five times a week. The soundtrack – which earned two Grammy Awards in 2008 – is the heartbeat of "Love." But the collective beauty of song stitchings and mashups initially prompted scorn, Giles Martin says. "When I was at Abbey Road doing the project, I was vilified by people there. I was the new guy and they're going, ‘What is George Martin's son doing, chopping up Beatles songs?' The whole idea sounds ridiculous, especially if you're a purist," he says on a video call from the Abbey Road Studios. "I thought I'd get fired and the whole thing wasn't going to work. My dad initially thought I'd gone too far and Paul (McCartney) came in and said, ‘I love this,' so my dad said, ‘If he said it's all right, it's all right.' " "Love" received a refresh in 2016 – more images of The Beatles were inserted into visuals, an "I Am the Walrus" act was axed for "Twist and Shout" – but one of the foundations of the production's endurance, according to Smith, is continual tweaking. The presentation of "Blackbird" has undergone several metamorphoses, shifting from whimsical to thoughtful; the elegant trapeze routine during "Yesterday" is tuned to the strengths of whichever acrobatic duo is performing; trampoline work during a frenetic "Revolution/Back in the U.S.S.R." required a month to perfect. "That's testament to why our shows run so long," says Smith, who joined "Love" six years ago. "Often, producers say if the T-shirt is selling, don't change anything. … Where the show is now, we've hit a great stride with dancing and acrobatics." But even with modifications, the meticulous details that thrill Beatles fans – such as the license plate (LMW 28IF) seen in the background of the "Abbey Road" album cover appearing on a pop-apart Volkswagen in the show – remain hallmarks of a production that requires more than 600 props. Throughout the pandemic closure of "Love," a tech crew regularly checked on the complicated mechanisms of the stage to ensure preservation. Before "reopening night" last summer, the production team had eight weeks to resume operations, during which they hired 15 new artists to replace those who left the cast during the COVID-19-enforced shuttering. It typically takes about six weeks to learn a new act, so the timeline was tight. "That's a lot to learn," Smith says. "But it was great when we were able to get back to rehearsing because we got to look at (the show) like a new creation." Regardless of the future, the "Love" team isn't wavering in its dedication to showmanship, eyebrow-raising acrobatics and lavishly creative presentations of Beatles songs. "It's the only place in the world you can step into The Beatles' universe," Martin says. "I always liked the idea that it was The Beatles' room. I love that about Vegas – you're surrounded by the dinging of slot machines and people wandering around with yards of tequila and then you walk into the hallowed grounds of ‘Love.' I get the same thrill every time I walk in that theater." { SOURCE: USA Today } ---------------------------------------------------------- LOVE Contract Extended at Mirage, Questions Abound {Jul.22.2022} ---------------------------------------------------------- Some of the questions surrounding the fate of "Love" at Mirage have been answered, while others remain a mystery. On July 22, 2022, an internal memo was distributed by Eric Grilly, President of the Resident Shows Division at Cirque du Soleil. Of course, we got our hands on it. Do you know this blog at all? The internal communication from Grilly said, "I am pleased to announce today that we have extended the contract for ‘The Beatles Love' through 2023." It continues, "As we know that the sale of The Mirage to Hard Rock will take some time to be finalized, we wanted to ensure that the show can continue to be performed throughout that process and through the transition of ownership." The memo closes with, "We will have ongoing conversations with the Hard Rock as they develop their plans for the property and will be sure to keep you updated as things progress. For today, we celebrate the good news that ‘Love' will continue to wow audiences for the foreseeable future." While great news for the cast and crew of "Love," it's tempered by the fact Mirage hasn't said whether the hotel will close for its transition to Hard Rock or not. We're told the current plan is for Mirage to stay in operation during the rebrand (and, presumably, while the new guitar tower is being built). Speculation has been "Love" would close when Mirage did, and the show wouldn't be back, at least not at Hard Rock. The only thing we can be fairly sure about is "Love" won't close in 2022, which seems to mean Mirage won't, either. In our humble opinion, "Love" won't survive the transition to Hard Rock Las Vegas. Our sources say the "Love" theater will be gutted during the Hard Rock rebrand, and the space will be used as a theater, but probably not for a resident show. We're happy for the cast and crew of "Love," but this contract extension seems to be a response to chatter the show will close soon. That doesn't mean it won't close, it just means it's unlikely to in 2022. The memo is sort of ambiguous and weird, to be honest. (Sorry about the technical entertainment jargon.) "Through 2023" leaves a lot of wiggle room. Cirque doesn't sound particularly confident the show will stay open as Mirage becomes Hard Rock, but they're putting on a happy face to calm the troops. If Mirage closes for the renovation, as one analyst predicted, this contract extension won't mean a whole lot. Chatter is the rebrand could start as soon as September 2022. A Hard Rock International news release mentioned Hard Rock Las Vegas will open in 2025. Not a lot of help, timelinewise. While the baby contract extension is small consolation for "Love" fans, at least they know they'll have time to see the show during their next visit. More to come. { SOURCE: Vital Vegas } ---------------------------------------------------------- MJ ONE Hosted The Annual Celebration Of The King Of Pop's Birthday {Aug.30.2022} ---------------------------------------------------------- Michael Jackson ONE by Cirque du Soleil, in collaboration with The Estate of Michael Jackson, honored the legendary King of Pop's birthday by delighting guests this past weekend with fun-filled activities inside its world-class theater at Mandalay Bay Resort and Casino. The two-day birthday festivities began Sunday, Aug. 28, with a special screening of the record-setting behind-the-scenes documentary, "Making of Michael Jackson's Thriller," to all in the theater, including Michael's son, Prince, who was in attendance. The 45-minute documentary was followed by an exclusive Q & A session with musical director and keyboardist, Greg Phillinganes. In recognition of the upcoming 40th anniversary of the world's best-selling album, "Thriller," Greg shared personal stories of having worked with Michael. The audience was then dazzled by a specially created, one-time-only performance by the electrifying cast of Michael Jackson ONE. The dance number, performed to Michael's hit "The Girl Is Mine" from the "Thriller" album, was conceived by cast members and Dance Master Tiffany Baker. And, for the first time, in addition to those lucky enough to be in the theater, the Q&A and special performance were live streamed for everyone to enjoy. Later in the day, guests joined a private book signing by Michael Bush, Michael Jackson's longtime costume designer and author of "The King of Style: Dressing Michael Jackson." The evening concluded with complimentary birthday cake and a meet and greet with John Branca, the Co-Executor of The Estate of Michael Jackson, Michael Jackson ONE writer and director Jamie King and show choreographers Rich and Tone Talauega. To wrap up the celebratory weekend, on Monday, Aug. 29, ticket holders attended a private brunch where Sony Music presented new Recording Industry Association of America (RIAA) certification plaques for four singles on the "Thriller" album. Both "Billie Jean" and "Thriller" received diamond certification, signifying the 10X platinum achievement. In addition, "Beat It" achieved 8X platinum certification and "P.Y.T." achieved 4X platinum achievement. In addition to celebrating Michael Jackson's iconic legacy and the upcoming 40th anniversary of the best-selling album worldwide, "Thriller," the production introduced a brand-new premier VIP package for experiences starting Saturday, Sept. 15. Packages are now available for purchase at cirquedusoleil.com/michael-jackson-one. The VIP experience allows fans to explore the world of Michael Jackson ONE like never before with a private entrance and early access to the theater, followed by an intimate pre-show reception inside the VIP room. Guests can take an exclusive guided video tour including a meet and greet with several cast members. Also included is special VIP seating, giving guests the opportunity to enjoy the musical sensation set to Michael Jackson's greatest hits. To mark the unforgettable evening, showgoers will receive a commemorative gift along with photos. The experience is available for both early and late performances and dates are based on availability. { SOURCE: Broadway World } ---------------------------------------------------------- Meet Roger Hewett – Band Leader, CORTEO {Sep.13.2022} ---------------------------------------------------------- The internationally-renowned Cirque du Soleil have productions playing across the globe, including Corteo which is currently making its way across Europe before coming to the UK next month. Jacob Bush at the West End Best End site was recently lucky enough to speak to the show's band leader, Roger Hewett – an accomplished musician who has also worked with Paramount, Warner Bros, Disney, Alliance Atlantis, Lionsgate, CBS and more. Q. How did you first get involved with Cirque du Soleil? As a musician, I had always admired the music of Cirque. I successfully auditioned for the company when I lived in Montreal, but was not available to leave on a long-term contract at that time. Finally, in late 2004, I was approached by the composer who had been hired to write for a new show. He asked if I could assist him with the arranging of the music and the formation of the band. The rest is history! Q. Can you tell us a bit about what your role as band leader entails? Being a live show, anything can, and does, happen. It's largely a collaborative effort between the musicians. The music is structured in such a way that it is flexible. It's my job to keep a close eye on the onstage action and to shape the music to fit. I do this by communicating with the musicians throughout the performance, in order to hold things together. Q. You've worked with such a wide variety of companies, from Disney to CBS to Lionsgate and Paramount. What has been the highlight of your career so far? Probably handling the orchestrations for some major features, including Double Jeopardy (Tommy Lee Jones, Ashley Judd). Though having been involved with Corteo since 2005, it all seems so long ago now! Q. Is there anything that you would still like to do in your career in the future that you haven't had the chance to do yet? I would dearly love to conduct a musical. I enjoy being in the theatre, and especially adore orchestral direction. Q. What is the idea behind Corteo and how have audiences been receiving it so far? Corteo is about a clown dreaming of his passing, and funeral parade. As dark as that may sound, it is about a celebration of life. His friends and family coming together to recall moments of his past. I used to joke we "put the fun in funeral!" This particular show touches so many emotions on a deeply human level, which I believe we can all use these days. Q. Cirque du Soleil is hugely popular across the globe. What do you think gives these shows such an international appeal? The colours, the high-level artistry and incredible acrobatics. And great music! Each Cirque show tells a different story. It's an interesting experience traveling across many countries, as we do, but the ability to appeal to the human side of our lives is the thread that holds us all together. Q. What can people expect when they come to see Corteo? There is a dramatic opening that switches very quickly to some beautiful artistry, into some lighthearted humour…all within the first 15 minutes. And it continues from there. You'll laugh, you'll cry. Children also love it! I once heard somebody say "it's a show that makes you want to go out and hug your neighbour." I think if the audience allows themselves to be immersed, to let go of their daily lives for a couple of hours, they will have a great experience. Q. You can also see Roger discussing the show's score in the video below… https://youtu.be/kWlJTCPGM3o ---------------------------------------------------------- KURIOS set to make its European Debut at the Historic Royal Albert Hall in 2023 {Sep.22.2022} ---------------------------------------------------------- Cirque du Soleil is proud to announce the London run for one of its most critically acclaimed touring show KURIOS — Cabinet of Curiosities. Opening on 13 January, audiences are invited to escape reality and step into a world of extraordinary imagination at the iconic Royal Albert Hall for a limited series of performances. Pre- sale tickets are available via Cirque Club now, with tickets going on sale to the general public on Friday 16 September via the Cirque du Soleil website. Taking aesthetic inspiration from the Victorian era and 19th century industrial revolution, KURIOS fittingly arrives in 2023 at the prestigious Royal Albert Hall in London, the venue where the show truly belongs, with the residency coming to the hall during the venues 150th anniversary celebrations. The run of KURIOS marks the 26th year that Cirque du Soleil have performed at the renowned venue, having graced the stage over 1,200 times and having sold almost 3.8 million tickets since 1996. The only historic venue worldwide to have installed permanent technology to accommodate Cirque du Soleil's wonderous performances, this year the Royal Albert Hall in collaboration with Cirque du Soleil have installed additional steelwork beneath the stalls to strengthen the venue in specific locations allowing this and all future Cirque du Soleil shows to be bigger and better than ever before. Work began on the steel installation in January 2022 and the nine month long project is is expected to be completed this week. In addition, for the first time the production of KURIOS at the hall will require the floor to be elevated to accommodate the unusual set design, transforming the ground level of the venue to the eyes of the regular visitor. KURIOS at the Royal Albert Hall promises to be a circus event like no other. "KURIOS was an absolute joy to create. Inspired by one of the most creative and forward-thinking periods in time, the second half of the 19th Century, we created it with inventiveness in mind as a way to celebrate life and bring people together more, with the intention that the audience would reconnect with the optimism and the feeling that everything IS possible. During the creation period, we were already dreaming of the day when KURIOS would arrive in the iconic setting of the Royal Albert Hall as they are meant for each other. We're so excited to perform the show's European Premiere in London! The Royal Albert Hall has always been an incredibly special home for Cirque du Soleil in the UK and we're proud to be celebrating its 150th anniversary with KURIOS, our Cabinet of Curiosities!" Michel Laprise, Writer and Director of KURIOS "We are delighted to be welcoming Cirque du Soleil back to its London home, the Royal Albert Hall. This long-running partnership has consistently captivated audiences over the last 26 years and we cannot wait to see the steam-punk themed production they have in store for us with KURIOS. Cirque du Soleil are renowned for creating immersive experiences with their performances, and it is an honour to have them here, marking their European debut of KURIOS in this historic venue." Craig Hassall, CEO Royal Albert Hall A "KURIOS" EXPERIENCE LIKE NO OTHER Critically acclaimed the world over, KURIOS—Cabinet of curiosities astonishingly revisits the signature Cirque du Soleil style of performance by weaving jaw-dropping acrobatics with a refreshing touch of poetry, artistry and humour. Featuring never seen before acts, KURIOS is a mind-boggling escape from reality, unveiling a festive, steampunk-inspired universe where the unexpected lies at every corner. In an alternate yet familiar past, KURIOS steps inside the mechanical lab of an inventor convinced that there exists a hidden, invisible world—a place where the craziest ideas and the grandest dreams await. Once the inventor succeeds to unlock the door to this world of wonders, time comes to a complete stop and an uplifted cast of otherworldly characters invades his curio cabinet, bringing his makeshift creations to life one by one. As the visible becomes invisible and perspectives transform, KURIOS bursts into a celebration of the power of the imagination. Written and directed by Michel Laprise, he joined Cirque du Soleil in 2000, having previously worked in theatre for nine years as an actor, director and artistic director. Since then, he has co-wrote and directed the Virtual Reality movie ‘Kurios: Inside The Box' which won three awards, including the Emmy Daytime award in the Outstanding Interactive Media category, and also wrote and directed Cirque du Soleil's 40th production, ‘SEP7IMO DIA – No Descansaré'. Additionally, he has collaborated with pop star Madonna, directing her 2012 MDNA tour and providing artistic direction to her Super Bowl XLVI halftime show, as well as directing the opening show at the Eurovision Song Contest held in Russia. Premiered in Montreal in 2014, KURIOS has mesmerized over 4.5 million spectators in 30 cities worldwide with over 2,000 performances brought to life by its cast of 49 world-class artists. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- The Kolev Sisters Explain How to Train Like CDS Acrobats {Sep.22.2022} ---------------------------------------------------------- It's easy to see why the Kolev sisters have an intense passion for performing for Cirque du Soleil. Born in Italy, Michelle (24) and Nicole (22) are fourth-generation circus performers on their mothers side while their dad was a competitive gymnast who later joined the family business. It's now wonder their strength and flexibility are something to be marveled. Undoubtedly, the Kolev's have physical expression in their DNA, but staying flexible and strong in order to wow audiences night after night takes more than great genes. So, as they prepared to take to the stage at the Treasure Island Hotel and Casino in Las Vegas for another epic outing with Mystère, we wondered how the girls make those lifts and stretches look so easy. During the course of our chat, the sisters provided some advice for us mere mortals as regards improving our own strength and flexibility. The eldest of the Kolev sisters, Michelle made her debut in front of an audience when she was 12 years old. "My parents, at the time, were performing in the biggest touring show in Italy," she says. "That year's show was based on a fairy tale and all the performers were taking part in the grand opening. They gave me a ballerina costume and taught me some choreography based on simple splits, jumps, and rhythmic movements. It was very simple, but I remember how happy it made me feel to be part of that magical world; to wear a shiny costume and to be able to smile at the audience." Nicole was younger still, just 8 years old when she caught the magic. "I remember that every day, I couldn't wait to enter the stage. I really liked the emotion I felt," she recalls. THE KOLEV SISTERS HAVE STRONG ACROBATIC ROOTS Learning from their parents, the Kolev sisters practiced their handstands so that they could slowly build knowledge of their bodies and how they balanced. By the time Michelle was 17 and Nicole was 14, they were able to work on their "hand to hand" movements. This is a type of acrobatics where one person acts as a base and they lift the "flyer," hand to hand. The moves are often strung together in sequences that use dynamic catches and throws, creating a spectacular show of strength and balance. In 2021, the sisters had their dreams turn to reality when they were booked by Cirque du Soleil. "We didn't have to audition," says Michelle. "The casting director had seen us perform in the past, at two different circus festival competitions, and they were looking for a hand-to hand-act to integrate into Cirque du Soleil's "Mystère." He contacted us to see if we were interested in the position. And obviously we were!" Cirque du Soleil's "Mystère," is a mesmerizing show based around themes such as the origins of life and the beauty of the Universe. The Kolev sisters make it all look so easy on stage, but then those that have mastered their craft always do. "Among the most exciting things we do on the show is to perform our hand-to-hand exercise on a stage in the shape of a planet that spins counter clock wise, with spectacular costumes," beams Nicole. ACHIEVE GREATER STRENGTH AND FLEXIBILITY While it's unlikely that most of us will ever reach the levels of strength and flexibility that the Kolev sisters have acquired, just how could we go about making our own improvements? "The first step to achieving greater flexibility is to do a lot of stretching and to increase the intensity of stretching every day, because it is important to soften every part and muscle of the body," says Nicole. Consistency is key: "I am certainly not the most flexible person, unlike my sister," admits Michelle. "But despite this, I have always performed flexibility exercises suited to the level that my body allowed me to reach. Try step-by-step splits stretching, back and shoulder extension exercises, taking baby steps. The only way to improve your flexibility would be to engage with daily practice." STRENGTH AND FLEXIBILITY RELY ON EACH OTHER FOR BALANCE During each performance, the girls must support each other's bodyweight without letting the strain show on their faces. "Strength is a key element in our discipline, and like flexibility, strength doesn't take you far by itself," says Michelle. "Strength and flexibility both need each other. Being strong is the best basis to be able to reach the goals we set ourselves every day and helps us to have confidence in our body and its infinite capabilities. To improve and maintain a certain level of strength we train 4-5 times each week with exercises that include weights, resistance bands, and abdominal exercises. As for balance, I do the best training with my sister, repeating the basic hand to hand exercises several times to improve our balance skills combined with our strength and endurance." Nicole explains that they undertake many traditional strength exercises as part of their everyday training. "We really like pushups, pullups, planks, and various cardio exercises," she says. "I especially like to train with various handstand exercises such as handstand pushups, to increase my resistance and balance in this position." The girls have devoted most of their lives to perfecting their art. "I do classic shoulder strengthening exercises with weights, push-ups, pull-ups, farmers carry, and overhead carrying dumbbells," adds Michelle. "Then I also train the lower body using kettlebells to strengthen the back. I do dumbbell lunges and squats with weights to strengthen my leg muscles. I also like running and doing yoga. And, when I get the chance, I like to go out in the open air to do some physical exercise because this helps me to connect the mental sphere with the physical." KEEP YOUR DIET LIGHT AND HEALTHY Of course, it would not be possible for the girls to continue to lift each other, if their bodyweights increased too much. While they do not count calories, they do make sure to eat healthily. Breakfast generally consists of oats with fruit. "It helps me start the day with the right energy," says Michelle. Lunch will consist of pasta or rice. Michelle also likes to top up her protein intake with shakes and almond milk. Nicole has a similar attitude towards food although she is a vegetarian. Their Italian heritage demands that they enjoy their food, but they tend to eat their biggest meal of the day at lunch time, in order to give them the fuel to perform each night. After each show, evening meals are a much lighter affair. The sisters recently celebrated Mystère's 13,000th performance. It's a show that boasts more than 1,000 costume pieces. Then there's a giant snail called "Alice," that weighs 2,000 pounds and is pushed around by four carpenters. Michelle and Nicole couldn't be more excited about how they are continuing the family legacy. "What I like most about the Mystère show is sharing the stage and taking inspiration from our cast members, who are among the best performers I have ever met," says Michelle. It's a sentiment that Nicole shares: "Mystère has always been one of my all-time favorite shows and being a part of it is a dream come true." { SOURCE: Muscle and Fitness } ---------------------------------------------------------- CDS Welcomes Nickole Tara to the Newly Created Position of Chief Growth Officer {Sep.27.2022} ---------------------------------------------------------- Global business development veteran joins Cirque du Soleil to help drive business growth and new opportunities Nickole brings more than 20 years of extensive experience leading both business development, as well as business and operating units. A seasoned sports and entertainment industry executive with the heart and passion of a thoughtful entrepreneur, she has led multimillion global partnerships with several key Fortune 500 companies throughout her career and built a vast and strong network of connections with the entertainment industry. Prior to joining Cirque, she worked for AEG Worldwide where she headed the Global Portfolio division and oversaw the business development for AEG's collection of global properties. As such, she engineered first-in-class partnerships for AEG's top music festivals (namely Coachella and Stagecoach), naming rights of world class facilities (such as Crypto.com Arena and LA Live), and for storied sports franchises (with LA Kings and LA Galaxy). Previously, she held various roles at Topgolf where she built the national partnerships team and at IMG where she oversaw all business development for IMG Golf. "I'm thrilled to be joining the dynamic and talented team at Cirque du Soleil during such an exciting time of growth and transformation," said Nickole Tara. "Working closely with the leadership team, I look forward to strengthening our go-to-market strategy and bringing value creation opportunities to ensure consistent growth across the company." This is the first executive appointment for CGO at Cirque du Soleil, illustrating the company's commitment to, and investment in, business development and partnership strategy to propel the long-term growth of the organization. "I am very happy to count on Nickole's solid experience in the sports and entertainment industry and extensive network as we look to create unique and meaningful brand engagement opportunities to achieve our growth ambitions," added Stéphane Lefebvre, President and Chief Executive Office of Cirque du Soleil Entertainment Group. "Nickole's significant business development expertise and transformational leadership skills are a wonderful addition to our leadership team and will be key to help execute our business strategy and enhance our position as a leader and partner of choice in the industry." { SOURCE: Cirque du Soleil } ---------------------------------------------------------- In conversation with Roger Hewett {Sep.30.2022} ---------------------------------------------------------- Jessica Hamilton interviews band leader Roger Hewett ahead of Cirque du Soleil: Corteo's residency at Manchester's AO Arena. The circus has always fascinated me. If I had the chance (or athletic ability), I'd join in an instant. The visual art forms and acrobatics are spectacular to watch. It's a fantastic and impressive form of entertainment. Succeeding its long and controversial history, the most famous modern- day circus is Cirque du Soleil. The Canadian company is currently touring with the show Corteo. Ahead of its UK journey, I lived my circus dreams vicariously through Roger Hewett. The band leader and arranger shared all about his involvement in the show. Hewett joined Corteo in 2005, he said: "I was one of the original members; I've pretty much been there since the beginning." Whilst many would automatically think of acrobats, animals or clowns in the circus, the band is also a necessary component. Hewett explains: "It involves putting the band together and arranging the music, and a lot of it has been the same since, which is great." Not many can say they've run away with the circus, and Hewett explained the fatigue the comes with working in such a fast-paced environment: "It's quite a tiring experience, and this is phase two; it was in the big-top originally which is kind of a different experience because you get to live places a bit longer." He continued, "Now it's a bit more fast moving, travelling around in arenas; we change cities, sometimes even countries, weekly." But despite the quick nature of the show, Hewett is passionate about what he does. "It's very dizzying, but at the same time, it's still a fascinating experience." Hewett elaborates, "It's great to be able to leave your mark on something like that" – which, he explains, is why he has stayed in the show for so long: "This is the longest contract I've ever done; I believe it's been over 4000 shows I've done, but it's always different." He said, "It's never been the same show twice, which certainly keeps it interesting." Corteo has an excellent score behind it, which was created by a variety of composers: "We actually have five different composers." Whilst Hewett had some involvement in composing, he explains, "I've left my mark arrangement wise, where the music has been adapted or extended […] It's nice for me to get my stamp on that as an orchestrator; I love orchestrating." A live band adds atmosphere to any show, but Corteo goes the extra mile. Hewett explained the set up of the show: "We are divided into four different pits and communicate through headsets." He elaborates: "Many times there's a certain pit I don't get to see at all; we come up on stage for a bow at the end, and it's like, ‘Oh… nice seeing you all!'" Corteo is an impressive show, but it's just one production in Hewett's long list of work. He described his love for music and how he ended up pursuing it as a career: "I started playing piano when I was six but I wasn't really planning on doing anything with it. My sisters used to dance in Norwich, and my first job was accompanying dance classes." He further explained how it was more of an accidental opportunity: "It came out of laziness. The dance teacher gave me a stack of books to read from, and I instead went off the steps of the music and just made my way by improvising." Hewett explained the movements of Corteo made it easier for the music to flow. He struggled to choose his favourite piece to play but said, "Right towards the end, you've got this beautiful duo straps act which I just love; the music is gorgeous to play and it always gives me a lump in my throat." Though Hewett is strictly on the musical side of this show, when asked if he would like to play a part in Corteo, he said: "It would probably be less of the acrobatic stuff and would be more of a character where I can express a bit more comedy in myself." After speaking to Hewett, I envy anyone who is able to see this fantastic show and am gutted I moved to London before the show comes to Manchester! Be prepared for an elaborate night filled with pure wonder. Hewett's advice for anyone watching is to "come with an open mind, it's a journey through the emotions." { SOURCE: The Mancunion } ---------------------------------------------------------- Franco Dragone, 1952-2022 {Sep.30.2022} ---------------------------------------------------------- Franco Dragone created the first Cirque du Soleil shows to play Las Vegas. He was the architect of Celine Dion's ground-breaking production show, which would set the stage for superstar resident headliners on the Strip. And he wasn't finished. "We always have several projects on the go," Dragone CEO Francois Girard said. "This was a devastating surprise to all of us We will look to the future with the strength of the past, on the path paved by an extraordinary man, the legend we have lost." Dragone died of a heart attack while conducting business in Cairo, Egypt, on Friday. He was 69. His trip was also a for some needed vacation time. Dragone was a heavy smoker, but was known to be in relatively good health after recovering from leukemia last year. News of Dragone's death was posted on his official social media pages at about 11:45 a.m. Friday. The message was simply: "Franco Dragone, 1952-2022." "A New Day …" at the Colosseum at Caesars Palace, in which Dragone worked with Dion and the late Rene Angelil, remains the top-grossing residency production ever in Las Vegas. The show ran from 2003-2007, earning $385.1 million. The show created the template for similarly scaled, superstar productions in Las Vegas. "It is with great sadness that we learned of the passing of my dear friend and collaborator Franco Dragone," Dion posted on social media Saturday morning, conveying her feelings in English and French. "My most sincere condolences to his family, his loved ones and to all those who had the privilege to cross his path." Over the past couple of years, Dragone had returned to work in Las Vegas to collaborate with Criss Angel in "Amystika" at Planet Hollywood Resort. The production was paired with Angel's own "Criss Angel Mindfreak" performed earlier in the evening. This year, Dragone's company opened an office in the Arts District, where his creative team have been developing multiple projects, for Las Vegas and internationally. Dragone brought "Mystère" to Treasure Island in 1993, followed by "O" at Bellagio five years later. Dragone worked alongside Cirque co- founders Guy Laliberte and Gilles Ste. Croix to create the city's predominant production company. Cirque become the first company to present, over multiple shows, a blend of dance, circus acrobatics and clown-delivered comedy in a theater setting. Dragone had originally met the Cirque team in the mid-'80s in Montreal, where he said he was chasing "a beautiful girl." He had gained theater education and training from Belgium, where his family moved from Italy when he was a child. He directed workshops for teachers and students at The National Circus School. Laliberte saw a show, and invited Dragone to join his burgeoning performance troupe as a creator. The partnership continues to pay off. "Mystere" and "O" remain two of Cirque's best-selling productions. Dragone saw "O" upon its return from the pandemic shutdown. More than 20 years after bringing the show to fruition, the creator remained excited. "What I will tell you is banal and all cliches, but what they do is so, so, so, impressive," Dragone said during a walk from the O Theatre seating area to the lobby. "They respect every little detail. What they do is so very difficult, and maybe when people are watching, they don't realize this. But here, we see the precision, every movement, every position of the body can send a different message." Cirque du Soleil said in a statement: "We are deeply saddened to learn of the passing of Franco Dragone. Our hearts go out to his friends, family, and the entire Dragone organization. Franco was an industry icon. Responsible for some of our most successful productions, including Nouvelle Expérience, Alegría, Mystère, ‘O,' and ‘La Nouba,' he has contributed invaluably to the success of Cirque du Soleil. "His passing is a loss not only for his family, but for the entire industry. Out of respect, tonight's performances of ‘Mystère' and "O" in Las Vegas will be dedicated to his life's work." MGM Resorts International was in partnership with Cirque in "Mystere" for several years, when it owned T.I. (as MGM Mirage) prior to Phil Ruffin's purchase of the property. MGM Resorts is still host to "O" at Bellagio. The company's statement: "Franco Dragone's legacy in the world of entertainment in Las Vegas and around the world is unparalleled. While we are deeply saddened to hear of his passing, we are honored to be home to one of his most enduring shows – ‘O' by Cirque du Soleil at Bellagio. His mark on the Las Vegas entertainment scene will live on and we are grateful for the opportunity to have worked with such a creative genius. Our thoughts are with Franco's friends, family and fans around the globe." 'LE REVE' AND BEYOND Following his time with Cirque, Dragone partnered with Dion in "A New Day …" He then created the long-running and critically acclaimed "Le Reve" at Wynn Las Vegas, which opened with the hotel in 2005. Dragone continued to work on the production after early audiences complained it was too dark. Similar to "O" for its lavish aquatic elements, "Le Reve" would run 15 years and log more than 6,000 performances before being cut down by COVID (a new show in its place, "Awakening," is targeting an October opening). Elaine Wynn, who saw both "Le Reve" and "O" multiple times, said in text Saturday, "My heart is broken. Franco was the real Le Reve in all that he did. He was full of optimism about his many projects. A gentle man and an artistic genius." Wynn also said "O' was her favorite show she has seen, including superstar headliners and Broadway productions. Known for his fanciful aquatic designs, Dragone went on to create "The House of Dancing Water" at Macao's City of Dreams resort in 2010. The production was the largest water show in the world in its 2,000- capacity theater. A Dragone companion show, the adult-burlesque production, "Taboo," opened in 2012. He created "Story of a Fort, Legacy of a Nation," which ran for a year in Abu Dhabi. His "Han Show" opened in Wuhan, China i 2014. A year later h brought "Paris Merveilles" to Paris's Le Lido cabaret theater. His "Me," a partnership with Russian singer Philipp Kirkorov, premiered at the Kremlin Palace in March 2016. In 2017, just prior to his return to Las Vegas, Dragone opened "La Perle" in Al Habtoor City, Dubai, in a theater standing 10 stories high. It was another show incorporating water and acrobatics, along with fire and motorcyclists spinning in a metal sphere. The show took him five years to finish. Dragone's finances had been a source of controversy over the years. He had been under investigation for international tax fraud and money laundering charges for a period covering 2005-2012. In June 2020, the Belgian business publication Le Viv L'Express reported the country's prosecutor's office had brought charges against six people, including Dragone, in a case of tax fraud and money laundering. Dragone aggressively rebutted the reports, saying, "I deny in all respects the tax facts alleged against me by the prosecution. It is important to emphasize that the indictment is directed against me and a heritage company, to the exclusion of all the other companies of the Dragone group." He consistently and firmly denied any wrongdoing in the case. HIS FINAL ACT At the time of Dragone's passing, more than 100 million people had seen his creations around the world. He was eager to return to prominence in Las Vegas, where his concepts of dancing water and precision acrobatics continue to thrill audiences and drive business. Angel would be his final star collaborator. The magician headliner posted Friday, "Today I lost my friend, brother, and partner Franco Dragone. He is and always will be a huge inspiration to me since I first saw his work in the 80's. Hands down he was and always will be the most prolific director who changed the face of entertainment as we know it. "I'm so grateful I had the opportunity to spend so much time working on what would be his last creation – ‘Amystika' – which ironically celebrates its 100th show tonight. I'll never forget the long days and nights together and the amazing friendship and how much love and respect we had for each other." Asked before the opening of "Amystika" if Cirque were a friend or a competitor, Dragone smiled and said, "Of course, the competition is there, but this is not my motivation. Cirque du Soleil? I love them. We both started from scratch together." { SOURCE: The Las Vegas Review-Journal } ---------------------------------------------------------- Cirque Tour 2023 is "ECHO" {Oct.11.2022} ---------------------------------------------------------- Cirque du Soleil is proud to announce its new Big Top show: Cirque du Soleil ECHO, directed by Mukhtar Omar Sharif Mukhtar, based on the original concept of Es Devlin. Presented by Sun Life Global Investments, the show will premiere under the Big Top in the Old Port of Montreal starting April 20th, 2023. Tickets are now on sale exclusively to Cirque Club members and to the public on October 17, 2022. Cirque du Soleil's 20th Big Top show will bring bold new visuals and a different aesthetic approach. High-level acrobatics will be woven within a striking and disruptive visual universe. "We are thrilled to announce Cirque du Soleil ECHO, a new Big Top show that will premiere in the Old Port of Montreal in April 2023. After this summer's amazing success with KOOZA and now seeing our fans' anticipation for Corteo at the Bell Center during the Holidays, we are looking forward to launching this new creation and premiering it in our hometown as per our long-time tradition.", commented Stéphane Lefebvre, President and CEO of Cirque du Soleil Group. "Cirque du Soleil ECHO is a show whose production had started before the pandemic. Three years have passed, and we are in a different world now than the one we were in 2020. This brought us to rethink the intention of the show, to bring innovation to it and to even revert to Es Devlin's original proposed title ECHO because it was fitting better with the new story line. We also invited new people to join the show creation team, including the director Mukhtar Omar Sharif Mukhtar.", says Chantal Tremblay, creation director. Director, Mukhtar Omar Sharif Mukhtar adds: "Creation should always be at the heart of Cirque du Soleil, and one of our biggest excitement anchors itself in our ability to deliver a new show to our audience. Cirque du Soleil ECHO will push the values of connection, inspiration and the power of intention. We have the ability to create and manifest the world we want to live in, if we all put our collective minds together and encourage a movement that is pushed by the youth of today. What really excites me most about this beautiful project is the ability to push the boundaries of what can be achieved in a Big Top setting and deliver a joyful experience, full of surprises, to millions of people around the world." ABOUT ECHO The World is Yours to Create! Cirque du Soleil brings new and surprising twists to its big top magic with a story about evolution and the symbiotic unions that our future depends on. Poetry, stagecraft, daring acrobatics and technologies come together in a spectacle exploring the precious balance between humans, animals and the world we share. As they navigate the phases of evolution, our main female protagonist Future and our characters learn that their actions have the power to shape the world. Inspired to collaborate, they come together to rebuild our planet piece by piece, creating the world we all want to live in. Fueled by the power of invention, the hope of the youth and the importance of empathy, Cirque du Soleil ECHO invites the audience to participate in a universe of color, wonder and infinite possibilities. CREATION TEAM Director -- Mukhtar Omar Sharif Mukhtar Original Concept -- Es Devlin Creation Director -- Chantal Tremblay Production Director -- Serge Côté Set and Props Designer -- Es Devlin Costume Designer -- Nicolas Vaudelet Composers -- Jade Pybus and Andy Theakstone Music Consultant and Music Arrangements -- Thierry Angers Concepteur des éclairages -- Martin Labrecque Concepteur des projections -- Jérôme Delapierre Concepteur des performances acrobatiques -- Daniel Cola Concepteur des appareils acrobatiques -- Jaque Paquin Chorégraphe acrobatique -- John Cartin Chorégraphe mouvements -- Andrew Skeels Concepteur sonore -- Jacques Boucher Concepteur des maquillages -- Julio Cesar Da Silveira TICKET INFORMATION Cirque du Soleil ECHO will be presented under the Big Top in the Old Port of Montreal starting April 20, 2023. Cirque Club members can purchase tickets for these performances online starting today at www.cirquedusoleil.com/ECHO PARTNERS Cirque du Soleil ECHO is presented by Sun Life Global Investments, presenting partner of the 2023 Canadian Tour. Cirque du Soleil would also like to thank Air Canada and Mastercard official partners. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- CDS launching its first original show since the pandemic {Oct.12.2022} ---------------------------------------------------------- The Cirque du Soleil unveiled its first original show since before the pandemic at a press conference Tuesday morning at the Palais des congrès. But Echo isn't completely new. It's a radical revamp of a Cirque show that was supposed to have its world première under the Big Top in April 2020. That show, titled Under the Same Sky, never opened, shut down like every other Cirque du Soleil production around the globe by the COVID- 19 pandemic. There were issues with the show even before the pandemic scuttled it. A preview for Cirque executives early in 2020 didn't go well and the original writer/director/production designer Es Devlin had already been shifted aside, with her role described only as "conceptual support." The Cirque brought in new director Mukhtar Omar Sharif Mukhtar in the first months of 2020 and he has been reinventing the show ever since. The original creation remains Devlin's work and she is also responsible for the set design. "Unfortunately we went through this very tough period of time, but it allowed us to step back and rethink the creative intent of the show," Cirque du Soleil CEO Stéphane Lefebvre said. "We brought some new blood into the creative team and I think we've landed something very powerful as a new show." Echo will première under the Big Top at the Old Port beginning April 20, with tickets going on sale Oct. 17. This will be the Cirque's 20th Big Top show. Chantal Tremblay, creation director for Echo, said this is a very different show from Under the Same Sky. "Visually it's the same," Tremblay said. "So we have the same set. But with Mukhtar, we've changed the rhythm." Tremblay noted that they had brought Mukhtar in before the pandemic to collaborate with Devlin, a well-known British multimedia artist and stage designer, and Tremblay underlined that it is not unusual for the Cirque creative team to rework shows in the weeks leading up to the première. "Es has great ideas, but to put it together on stage we needed support and that's what we did," Tremblay said. Mukhtar, who lives in Las Vegas, appeared at the press conference via video conference. He said one of the big changes to the show in the past two years was to focus on today's youth, a demographic represented by the lead character, a woman named Future, played by Montreal-based French circus performer Louana Seclet. "A lot has happened in the last three or four years," Mukhtar said. "The way we think right now is different to what it was pre-pandemic. We look at life differently. We exchange with each other differently. So this was another big inspiration for me … the last inspiration is the youth of today, the creativity that youth have, their drive. Lastly, the awareness that youth have of what's going on in the world." One of the central elements in the show is a giant two-storey-high cube, which will have acrobats performing in it and on top of it as it moves around the stage. Lefebvre said the Cirque has managed to rebound after a disastrous period in which all of its shows were shuttered. The resulting loss of almost all its revenue forced the company to seek bankruptcy protection. Now the Montreal-based circus has new owners — a creditors group led by Toronto-based investment firm Catalyst Capital Group — and has 15 shows running around the world. In Las Vegas, the Cirque has seven shows, the same number it had before the pandemic started, and it has eight touring productions. That is still a lot fewer than it had pre-COVID, when 44 shows were being performed internationally. The first show in Montreal since the pandemic was a revival of their 2007 hit Kooza and it was the circus's biggest success in Montreal, with 270,000 tickets sold following its première in the Big Top in the Old Port this past May. "We are so pleased with the way things have panned out," Lefebvre said. "All of our employees put so much effort into relaunching the shows. It was a huge challenge, frankly, so people have worked so hard to make it work. A couple of big surprises we've had is that performers wanted to come back to work with us and they were actually fit, which helped the whole relaunch plan. And the response from our fan base was phenomenal. We broke a record for ticket sales in Montreal and we had the same thing in many other markets around the world." { SOURCE: Brendan Kelly, Montreal Gazette } ---------------------------------------------------------- CDS to Present AMORA in Malta {Oct.14.2022} ---------------------------------------------------------- AMORA by Cirque du Soleil, a brand-new production created exclusively for Malta, will be presented in at the Mediterranean Conference Centre in Valletta, from November 24 to December 18. "Cirque du Soleil has become a yearly awaited event in Malta's cultural calendar. From signature style acrobatics to visual artistry, both foreign and domestic tourists will have the opportunity to see high-level artists produce a memorable spectacle for another year," remarks Minister for Tourism Clayton Bartolo. For the third year, Cirque du Soleil is honoured and thrilled to present a brand-new creation for locals and tourists alike. "It is a great privilege for us to imagine a story and craft a show that will resonate with a wide audience, wherever they come from and whatever background they have. AMORA is about the power of love. Packed with colourful characters and high-calibre acrobatics, the show is a love letter to the beauty of Malta and a celebration of circus arts. We've carefully curated the 12 acrobatic acts composing the show, all of them never seen before in Malta." explains show director Alexia Bürger. After a creative and acrobatic workshop at the Cirque du Soleil International Headquarters set to happen end of October, the cast and crew along with the creative and production teams will soon be travelling to Malta to put the finishing touches to AMORA. AMORA by Cirque du Soleil is a celebration of the magnetic force of love, it speaks to the central love story between Bruno and Loulou. At the same time, it is a love letter to the beauty and richness of Malta, and to the circus arts. The story centres around a clumsy but lovable character, Bruno. Gazing up at the skies of La Valette, he sets eyes on a mysterious woman, Loulou. Captivated, he tries to climb up to her balcony to reach her, but she flies away and vanishes out of sight. Bruno's obsession to find Loulou grows as the story unfolds. He sets out on a quest to find her, meeting colourful new friends with extraordinary powers along the way. These characters will teach Bruno how to defy gravity and reach the sky to unite with the woman he loves. Despite Bruno's clumsiness and many challenges along the way, love ultimately conquers all, and the entire city comes together in celebration as he finds his way to Loulou's heart. Tickets for the 75-minute performances of AMORA by Cirque du Soleil, presented at the Mediterranean Conference Centre (Valletta) from November 24 to December 18, are available online at www.cirquedusoleil.com/amora / www.visitmalta.com. { SOURCE: The Times of Malta } ---------------------------------------------------------- Cirque du Soleil spotlights its digital strategy {Oct.25.2022} ---------------------------------------------------------- Today's digital experience platforms are geared up to serve every kind of business, traditional or disruptive, from D2C and e-commerce to banks, engineering and construction and publishing. How about the largest contemporary circus company in the world? With a huge presence in Las Vegas and shows around the world, today's Cirque du Soleil is worlds away from the small troupe of performers busking in a Quebec town almost 40 years ago. Pierre-Luc Camirand is the circus's director of digital customer experience. "I'm in charge of all that relates to digital, so basically I oversee everything in regard to CRM, web development, our martech project management office, as well as everything in regard to customer data." While there are B2B elements in Le Groupe Cirque du Soleil's business, Camirand is responsible for the individual user side of the CRM that relates to customer support. MANAGING AN ENTERTAINMENT PORTFOLIO The need for this technology came out of an onslaught of too much complexity. "In 2017 and 2018," said Camirand, "we went through an acquisition phase. We bought different entertainment companies like Blue Man Group; so we had to manage all these platforms. Sitecore allows us to manage a dozen platforms with a pretty small team of engineers." Unlike the publisher Wolters Kluwer, another Sitecore user, Cirque du Soleil wanted to preserve the individual branding of their new companies, rather than migrate them all to a central, common destination. "Each brand has its own website, but when you look in the back-end behind it, it's the same for everyone." Initially, the plan was for each website to be operated separately. "We quickly realized it was way too much work, so the strategy quickly became to use the same baseline, re-use the same modules from one site to another, but keep a certain flexibility with the front-end and design." Cirque du Soleil used Sitecore's technology to make this happen. Their relationship with the tech company precedes the acquisitions. "I think we started back in 2009 with Version 5," said Camirand, "so it's been a while." THE KEY SITECORE MODULES In keeping with Sitecore's offering of composability, Cirque is using some Sitecore products and not others. "Definitely the multi-site infrastructure," said Camirand. "We are now able to do release and deployment for all our websites at the same time. This is a huge advantage for us because it allows our development team to work faster and be more efficient." In 2018, building a new website could take six months; a new page or section, two or three months. "Now we talk about weeks," said Camirand. "Also what's really important is the multi-language capability of Sitecore, because have shows everywhere on the planet — South Korea, South America, Europe — so we need to be able to manage, I think, ten different languages." Marketing teams use drag-and-drop functions within the CMS to create content on their own. More complicated challenges end up with a webmaster expert. They are not yet using the Sitecore DAM. Their vast trove of assets reside in Widen which does have the potential to connect with Sitecore (something Camirand hopes to have in place next year). The system lets Cirque visitors to third-party ticketing platforms like Ticketmaster content from its own sites related to the shows people are looking at. "We want to go further than that," Camirand said, "using other sources of data; for example, if you're looking at family packages, when you come back to cirquedusoleil.com we want to show you family content. Pushing the right content to the right person at the right moment is really key, so personalization is something we need to do." The international nature of the business means privacy regulation is a minefield. To tackle this, the company plans to create a CDP, not only to handle customer data from multiple sources, but consent records too. They are currently looking at several possible solutions and do not expect to use Sitecore's CDP. THE KEY CHANNELS Perhaps surprisingly, it chooses not to have a mobile app. "It's not easy to attract people to download your app and re-use it," Camirand said. "Most apps are not used; people use maybe 10% of the apps on their phone." Instead, about a year ago, they launched a platform they call the "interactive program." "It's a mobile platform; a website optimized for mobile. The goal was to improve the pre-show and post-show experience of our guests." The program offers "fun facts" about the show, character descriptions and storylines. Unlike an app, the mobile website can't do push notifications. However, it does allow Cirque to re-target customers elsewhere such as the main website. That website has a blog to bridge the gap between customers and individual performers. Performers are encouraged to create content for the blog that can then be amplified on their own social media feeds. "They're quite happy to do it because they want the exposure." DOWN THE ROAD? On Camirand's informal roadmap, he plans to look at Sitecore connectors going beyond Widen. "I know there's a connector for Salesforce and Sitecore." (Cirque is using Salesforce CRM.) "There's probably a good way to connect both platforms together and better run our campaigns." { SOURCE: MarTech } ---------------------------------------------------------- Meet Dawn Porter – "Cirque du Soleil: Without a Net" {Nov.15.2022} ---------------------------------------------------------- Dawn Porter is an award-winning writer and producer. Her work has been featured on HBO, Netflix, CNN, PBS, MSNBC, MTV Films, and other platforms. Porter's 2016 film "Trapped," which explores laws regulating abortion clinics in the South, won the Special Jury Social- Impact Prize at the Sundance Film Festival and a Peabody Award. Her other credits include "37 Words," "The Way I See It," "John Lewis: Good Trouble," and "Gideon's Army." She is the recipient of the 2022 Critics Choice Documentary Awards Impact Award, and is an honoree at the 2022 Gracies Leadership Awards. "Cirque du Soleil: Without a Net" is screening at the 2022 DOC NYC film festival, which is running from November 9-27. Q. Describe the film for us in your own words. "Cirque du Soleil: Without a Net" is an extraordinary journey back from the brink of collapse. Cirque almost did not survive the pandemic. Their staff experienced significant hardship and isolation. A year later, the reopening of live entertainment at large was uncertain but it was also too important to let go. We embedded backstage at "O," Cirque's most popular show, and filmed for two months as the cast and crew worked tirelessly to put their show back together. What we uncovered was a story fraught with uncertainty but also full of hope and resilience. Q. What drew you to this story? I am a news junkie, and a year into the pandemic, I was completely exhausted by the state of the world. I wanted to focus on something else. I've always been fascinated by the beauty and artistry of Cirque and jumped at the opportunity to explore their world. Q. What do you want people to think about after they watch the film? Something that I thought about a lot while making this film was the idea of connection. All of us lost a sense of connection at some point during the pandemic. Many are still searching for it. What is it about gathering in person that can't be replicated? A feeling that is indescribable and yet, essential. The experience of sitting in a theater and watching a Cirque du Soleil show has everything to do with that connection — between the artists on stage, the crew in the background, and the audience in their seats. I hope this film can help remind us all how magical it is when we come together. Q. What was the biggest challenge in making the film? Filming every day for two months was both a blessing and a curse. Think about how visual a Cirque show is — people literally do flips while flying through the air. "O" is a water-based show, so there are complicated and intricate details unfolding both above and below the surface. We filmed all of it, from multiple angles, rehearsal to rehearsal, day after day. We were fortunate to capture hours and hours of stunning footage. But when it came to post-production, it was a challenge to sift through the sheer volume of footage to find the best moments. Q. How did you get your film funded? Share some insights into how you got the film made. It is privately financed. Q. What inspired you to become a filmmaker? I felt I had something to say. Q. What's the best and worst advice you've received? Best advice: don't be deterred from your goals as long as you know who you are. If you know who you are and what you want, your inner voice is a good guide. Worst advice: Buy crypto! I didn't — I don't buy things I don't understand. Q. What advice do you have for other women directors? My advice for female directors is the same as for any director: figure out what you want to say and keep asking yourself if you are saying it. Q. Name your favorite woman-directed film and why. "The Oath" by Laura Poitras. It's so honest. Q. What, if any, responsibilities do you think storytellers have to confront the tumult in the world, from the pandemic to the loss of abortion rights and systemic violence? I think it's a given that documentary storytellers are driven by a desire to right wrongs and confront injustice. But at this point, the field is crowded and audiences are dealing with information overload. We have a responsibility to make sure we create stories that go beyond just showing the terrible thing that exists in the world: what else can we say with our story? Q. The film industry has a long history of underrepresenting people of color on screen and behind the scenes and reinforcing – and creating – negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive? There are so many people involved in making a film — executives, financiers, directors, agents, writers, producers, DPs, etc. The decisions that each of them make compound and can have a huge impact on which stories are told, and by whom. The more people of color we have in decision-making positions throughout the industry, the better equipped we are to tell authentic stories. { SOURCE: Women and Hollywood } ---------------------------------------------------------- How to rebuild your team post-pandemic, according to Cirque du Soleil's CHRO {Nov.16.2022} ---------------------------------------------------------- If there's one organization that values all things wired and wonderful, with a little bit of folly, it's Cirque du Soleil. The world-famous circus is known for its dazzling performances and death- defying tricks – but the past couple of years have been a far cry from the glitz and success they're used to. Pre-pandemic, Cirque du Soleil Entertainment Group had a global staff base of more than 5,000 employees. However, when COVID hit in 2020, the company was forced to cut nearly all of its employees. "In March 2020, we had to close down our 44 active shows, following government guidance, and to ensure the health, safety, and wellbeing of our employees, artists, and guests," says Marie-Noëlle Gagnon, chief talent officer at Cirque du Soleil. "COVID-19 has had a dramatic but temporary impact, effectively requiring a total shutdown of our business and resulting in nearly $100M in lost revenue per month. We weren't sure how long it would be until we could relaunch our shows – I thought maybe a couple of weeks – little did we know it would take months, yet years for some shows. In shutting everything down, we had to let go of 95% of our employees – going from 5,000 employees to around 150, to stabilize the company for the future. For the HR department, we went from 125 employees to nearly 20." Happily, the organization was bought out by a group of creditors, meaning they could afford to rebuild in preparation for lockdowns lifting. Part of this suggested that Gagnon could rehire some former employees and supercharge her HR team. "As of today, we're sitting at around 3,500 employees, out of which 65% are people that we had to let go and that have now been rehired," she says. "This is phenomenal considering where we were months ago." Rebuilding the HR team presented quite a challenge. Gagnon had to effectively piece the whole organization back together while she was running on skeleton staff and trying to repopulate her own department. "We relaunched the operations at the same time we rebuilt the HR team," she tells HRD. "We have 60 employees now in our HR team. Every single person that joined our department post-pandemic has been handpicked – and a lot of that centered around trust, growth mindset, and leading-edge competency. At Cirque, we aim to have the best talent on stage and off-stage." COVID impacted the live entertainment industry more than most other sectors, forcing many organizations to shut up shop for good. Because of this uncertainty, Gagnon had to field many questions from candidates about future closures and possible lockdowns ahead. "It all came down to authenticity, transparency, and trust," she says. "When I was recruiting my new team, there were a lot of questions like, "Can you guarantee there won't be another crisis? Will my job be safe in the months to come?" Obviously, I couldn't make any promises – but what I did say to the candidates is that I'm fully committed to working with you to collectively co-create the second golden age of Cirque du Soleil, contribute to your personal and professional growth, make this journey meaningful for you and our people and have much fun whilst we are doing it. "We hired people based on their mindsets, unique genius, unconventional backgrounds, and can-do attitude. Let's never forget where Cirque started: a bunch of street performers, fire breathers, and stilt walkers – with a dream to make a living out of traveling the world. For me, it was important to be surrounded by people who can dream big, challenge the status quo, and are experts in their own field. After all, we're rebuilding the foundation of one of the world's most beloved brands in performance entertainment. We need a team that's excited about it, isn't afraid of challenges, and is committed to seeing all of us succeed for the benefits of our millions of fans worldwide." Aside from this, Gagnon was looking for curiosity, agility, and empathy as key traits, especially in post-pandemic times. "I invited all my leaders to be what I call a "player-coach", which means that while they set the direction for their people, empower them and contribute to their growth, they also get their hands dirty, get on the ground with their teams and make things happen." At the very core of Cirque du Soleil, their mission is to invoke the imagination, provoke the senses and evoke the emotions of people around the world. This isn't just a promise to the customers and fans; they're values that apply to their employees too. Intrinsically linked to these values are Gagnon's own personal attachments to talent support and development. "We want to be a Talent magnet, on stage and off-stage, hence why we are taking pride in our approach to inclusion and diversity. The world is our playground. We have employees from everywhere across the globe… we are collectively unique." As for the future at Cirque du Soleil Entertainment Group, Gagnon believes its second golden age is well underway and promising. "I'm so excited to see what the future holds for our people at Cirque and our millions of fans," she tells HRD. "We're rebuilding, we're growing, and we're going bigger and better than before. My team and I will focus on talent growth, ESG, and fostering an engaging, unique, and caring employee experience. It's a great time to be part of Cirque du Soleil Entertainment Group. I would not want to be anywhere else; this is the most exciting time in Cirque's history." { SOURCE: Human Resources Director Canada } ---------------------------------------------------------- Hommage 2023: "Guy!" {Nov.16.2022} ---------------------------------------------------------- Translated from the original French via Google Translate The Corporation des Évènements de Trois-Rivières and Cirque du Soleil are delighted and excited to unveil today the theme of the seventh show in the Cirque du Soleil Tribute Series which will be presented during the next summer season. The new Cirque du Soleil production will celebrate the ice cream prodigy, exceptional player and mythical number 10, the legendary Guy Lafleur . "We are very proud to be associated again with the Cogeco Amphitheater for a seventh year. Over the years, the Trois-Rivières public and its visitors have become loyal to our proposal to combine circus arts and Quebec's cultural heritage. Once again, we will have the chance to deepen and explore the creative platform of the Tribute Series, but from a new angle. Gathering, inspiring and persevering, Guy Lafleur, who has become the idol of a people, is part of our history, and we are honored to be able to pay tribute to him through this new creation," says Stéphane Lefebvre, President and Chief Executive Officer. from the Cirque du Soleil Group. "For six years now, the Cirque du Soleil Tribute Series shows have been the foundation of the Cogeco Amphitheater's summer programming. It's a get-together, a tradition deeply rooted in the hearts of Quebecers. We are delighted to be able to breathe new life into the Tribute Series this year with a theme that goes beyond our usual slots," says Roger Picard, president of the Corporation des Évènements de Trois-Rivières. In fact, after six great editions that have hailed the big names in Quebec music and nearly 334,000 spectators, the creative platform of the Tribute Series is enriched with the choice of Guy Lafleur. "It's a natural evolution," adds Marie-Josée Adam, vice-president and general manager of Cirque du Soleil's Events & Experiences division. "Above all, we celebrate Quebec figures, who through their musical work, their sporting genius or their larger-than-life personality have marked and still mark the hearts of Quebecers. A source of inspiration for many, it is therefore the man, his immense talent and his legacy that we will celebrate within the walls of the Cogeco Amphitheater next summer. » Nicknamed the Blond Demon or Flower by his teammates and many fans during his career, Guy Lafleur thrilled several generations in Quebec with his flashes of play, his great generosity and his innate sense of sports spectacle. He made the Colisée de Québec and then the Forum de Montréal resonate with scenes of collective jubilation, where the crowd chanted "Guy, Guy, Guy" in the same glorious momentum. With more than 1,125 games played and no less than 560 career goals, Guy Lafleur rose to the top with determination, perseverance and humility. "My father was an ice artist. He knew how to show great imagination to be the best in his discipline. He also used to say that hockey is not a one-man show, but rather teamwork," adds Martin Lafleur, son of Guy Lafleur. "This creativity and this sense of community are very strong and very present in Cirque du Soleil shows. I am proud to know that my father will be honored in Trois-Rivières next summer. » Tickets The seventh edition of the Cirque du Soleil Tribute Series will be presented at the Cogeco Amphitheater from July 19, 2023 until August 19, 2023. Starting at $55.83 (plus tax), tickets will be on sale Wednesday, November 16 starting at 10:30 a.m. on amphitheatrecogeco.com, at the J.-Antonio Thompson box office and at 819 380-9797 or 1 866 416-9797 Tuesday to Saturday, 11 a.m. to 6 p.m. Cogeco Amphitheater Located at the confluence of the Saint-Maurice River and the Saint- Lawrence River, the Cogeco Amphitheater is an exceptional cultural venue for the presentation of shows distinguished by its remarkable acoustics and enchanting decor. With a capacity of accommodating up to 3,500 people in its bleachers and an additional 5,500 people on its grassy esplanade, it includes top-notch outdoor stage equipment that can host the biggest local, national and international productions from May to September, including an exclusive show by Cirque du Soleil. The rest of the year, the stage of the amphitheater is converted into a cabaret, an interior room accommodating up to 600 people. Programming details on amphitheatrecogeco.com { SOURCE: Cirque du Soleil } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegria INAL, Koozå, Kurios, Luzia, Bazzar} o) ARENA - In Stadium-like venues {Crystal, Corteo, Messi10, OVO} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", LOVE, MJ ONE, JOYA, X: The Land of Fantasy, and Mad Apple} 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/ >. ------------------------------------ BIGTOP - Under the Grand Chapiteau ------------------------------------ Alegría-In a New Light: Seoul, KR -- October 20, 2022 to January 1, 2023 Tokyo, JP -- February 8, 2023 to June 4, 2023 Koozå: Mexico City, MX -- November 18, 2022 to December 25, 2022 Houston, TX -- January 25, 2023 to March 5, 2023 Denver, CO -- July 5, 2023 to August 13, 2023 Calgary, AB -- August 25, 2023 to October 8, 2023 Kurios: Atlanta, GA -- Oct 6, 2022 to Dec 24, 2022 London, UK -- January 13, 2023 to March 5, 2023 Rome, IT -- Mar 22, 2023 to Apr 29, 2023 Milan, IT -- May 10, 2023 to June 25, 2023 Luzia: Madrid, ES -- January 11, 2023 to January 22, 2023 Seville, ES -- February 3, 2023 to March 5, 2023 Frankfurt, DE -- June 13, 2023 to July 16, 2023 Vienna, AT -- April 12, 2023 to May 14, 2023 Bazzar: Sao Paulo, BR -- Sep 8, 2022 to Nov 27, 2022 Rio de Janiero, BR -- Dec 8, 2022 to Dec 30, 2022 Santiago, CL -- January 19, 2023 to February 5, 2023 ECHO: Montreal, QC -- April 20, 2023 to August 20, 2023 Washington, DC -- September 6, 2023 to October 22, 2023 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Munich, DE -- Nov 3, 2022 to Nov 6, 2022 Frankfurt, DE -- Nov 9, 2022 to Nov 13, 2022 Oberhausen, DE -- Nov 16, 2022 to Nov 20, 2022 Malaga, ES -- Dec 10, 2022 to Dec 18, 2022 Lisbon, PT -- Dec 22, 2022 to Jan 1, 2023 Pamplona, ES -- Jan 4, 2023 to Jan 8, 2023 Barcelona, ES -- Jan 12, 2023 to Jan 22, 2023 Lausanne, CH -- Jan 25, 2023 to Jan 29, 2023 Brussels, BE -- Feb 9, 2023 to Feb 12, 2023 Antwerp, BE -- Feb 17, 2023 to Feb 19, 2023 Stuttgart, DE -- Feb 22, 2023 to Feb 26, 2023 Oslo, NO -- Mar 23, 2023 to Mar 26, 2023 Hamburg, DE -- Mar 30, 2023 to Apr 2, 2023 Brisbane, AU -- Jul 21, 2023 to Jul 30, 2023 Sydney, AU -- Aug 3, 2023 to Aug 13, 2023 Melbourne, AU -- Aug 17, 2023 to Aug 27, 2023 Adelaide, AU -- Aug 31, 2023 to Sep 3, 2023 Perth, AU -- Sep 15, 2023 to Sep 24, 2023 CORTEO: Bangor, ME -- Dec 9, 2022 to Dec 11, 2022 Hartford, CT -- Dec 15, 2022 to Dec 18, 2022 Montreal, QC -- Dec 21, 2022 to Jan 1, 2023 Pittsburgh, PA -- Jan 5, 2023 to Jan 8, 2023 Worcester, MA -- Jan 12, 2023 to Jan 15, 2023 Manchester, NH -- Jan 19, 2023 to Jan 19, 2023 Norfolk, VA -- Jan 26, 2023 to Jan 29, 2023 Austin, TX -- Feb 2, 2023 to Feb 5, 2023 Oklahoma City, OK -- Feb 9, 2023 to Feb 12, 2023 Seattle, WA -- Mar 2, 2023 to Mar 5, 2023 Portland, OR -- Mar 9, 2023 to Mar 12, 2023 Los Angeles, CA -- Mar 23, 2023 to Apr 30, 2023 Frisco, TX -- May 17, 2023 to May 21, 2023 Kansas City, MO -- May 25, 2023 to May 28, 2023 Hoffman Estates, IL -- Jun 1, 2023 to Jun 4, 2023 Boston, MA -- Jun 8, 2023 to Jun 11, 2023 Newark, NJ -- Jun 15, 2023 to Jun 18, 2023 Ottawa, ON -- Jun 28, 2023 to Jul 2, 2023 MESSI10: Buenos Aires, AR -- Mar 9, 2023 to Mar 26, 2023 OVO: Riyadh, SA -- Oct 12, 2022 to Dec 3, 2022 Kuwait City, KW -- Dec 14, 2022 to Dec 18, 2022 Dubai, UAE -- Jan 11, 2023 to Jan 18, 2023 TWAS THE NIGHT BEFORE...: Boston, MA -- Nov 25, 2022 to Dec 11, 2022 Detroit, MI -- Dec 15, 2022 to Dec 26, 2022 Dallas, TX -- Nov 25, 2022 to Dec 11, 2022 Phoenix, AZ -- Dec 16, 2022 to Dec 24, 2022 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Variable Nightly - 7:00pm and/or 9:30pm 2022 Dark Days: o) November 8 & 11, 2022 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Friday, Dark Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm 2022 Dark Days: o) November 30, 2022 o) December 1 - 13, 2022 KA: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm 2022 Dark Days: o) December 14, 2022 LOVE: Location: Mirage, Las Vegas (USA) Performs: Tuesday to Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm 2022 Dark Days: o) December 31, 2022 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2022 Dark Days: o) December 5 & 12, 2022 JOYÀ: Location: Riviera Maya, Mexico Performs: Tuesday through Saturday, Dark: Sunday/Monday X: THE LAND OF FANTASY: Location: Hangzhou, China DRAWN TO LIFE: Location: Walt Disney World Resort, Orlando, Florida (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 5:30pm and 8:00pm MAD APPLE: Location: New York-New York, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm and 9:30pm Age Requirements: - Children under 16 not permitted. - Children under 18 must be accompanied by an adult ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 22, Number 5 (Issue #215) – November 2022 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2022 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. { Nov.16.2022 } =======================================================================