======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 23, NUMBER 4 June 2023 ISSUE #219 ======================================================================= =========== 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) Fascination! Features * "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 2 of 3] By: Keith Johnson - Seattle, Washington (USA) * "LIFE IS A CIRCUS II: More Posts from the Cirque Blog" By: Cirque's Artists, Editors, and More... o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- This Summer Cirque is Back in Andorra! {May.12.2023} ---------------------------------------------------------- Cirque du Soleil celebrates ten years of collaboration with Andorra with the creation of the new show FESTA, a show of impossible acrobatics, music and great staging, which you can only see in Andorra. Cirque du Soleil invites you to check into extraordinary at FESTA, a make-believe hotel in the heart of the Pyrenees mountains where wonder and imagination come to play. With celebratory storytelling, colourful characters and epic acrobatics, FESTA will draw you into a world with no limits and leave you feeling uplifted like never before while paying tribute to the vibrant beauty and culture of Andorra. The festive story opens with the concierge, an endearingly eccentric character who is taking a nap on his lunch break and dreaming of love. With their boss distracted, the hotel staff get busy planning a surprise party to mark the hotel's 10-year anniversary. The arrival of the vacationers kicks off a colourful and chaotic adventure, with the hotel team and guests coming together in a feel-good celebration of friendship, life and love. A great celebration where you'll relive some of the best acrobatics that you've enjoyed over the past ten years awaits. Cirque du Soleil's tent, which is fully covered, will be pitched in the Prada Casadet communal car park in front of the government building in the centre of Andorra la Vella, with several car parks nearby. It will take place from Tuesday to Sunday, with a special performance on Sunday, July 30. As usual, it lasts 1 hour and starts at 10pm with animations scheduled before the start time. Take note that since last year it has changed its location and is now located in the Prada Casadet car park (in front of the administrative building of the Government of Andorra). { SOURCE: Cirque du Soleil, Visit Andorra } ---------------------------------------------------------- Copyright fight over hand-balancing Cirque du Soleil act tossed back to lower court {May.16.2023} ---------------------------------------------------------- Two brothers and two sisters will continue their hand-balancing act copyright infringement battle in trial court after a Ninth Circuit panel remanded the case for further proceedings. Marco Paulo Rodrigues Lorador and Paulo Renato Rodrigues Lorador performed for Cirque du Soleil for 23 years under the stage name the Alexis Brothers. Their routine, "Peace and Discord," was registered as choreography with the U.S. Copyright Office in 2003. Cirque obtained a license for the work from the Alexis Brothers and the routine was performed as part of the Cirque show until the onset of Covid-19, which brought the curtain down on performances in early 2020. When performances resumed in 2021, Cirque hired Michelle and Nicole Kolev, performing under the stage name Kolev Sisters, in their own hand-balancing act. The Alexis brothers had lost their jobs. In the original complaint filed in federal court, the Alexis Brothers claim that on July 27, 2021, the Kolev Sisters "debuted in the show, occupying the portion of the show that the Alexis Brothers previously occupied, and performing what was substantially a copy of the work." The Alexis Brothers sued the Kolev Sisters, Cirque du Soleil and Las Vegas resort Treasure Island claiming copyright infringement and moved for a preliminary injunction, which a federal judge granted in part. Both parties appealed to the Ninth Circuit. In an unpublished per curiam memorandum issued Tuesday, a three-judge Ninth Circuit panel said the trial court should have determined whether the similarities in the works of choreography are protected by copyright. "Absent direct evidence of copying, proof of infringement involves fact-based showings that the defendant had access to the plaintiff's work and that the two works are substantially similar." The panel noted the lower court had correctly determined the Alexis Brothers had a valid copyright and the Kolev Sisters had access to the brothers' work. But the court had to go to the second step of the extrinsic test and did not. "Because the district court must disregard any similarities that contain unprotectable material, 'it is essential to distinguish between the protected and unprotected material in a plaintiff's work,'" the panel wrote. "The district court simply claimed that 'Peace and Discord' was 'a sequence of uncopyrightable elements that are already in the public domain.' It did not address what the 'uncopyrightable elements' were, which similar elements were protectable, or why the elements were protectable and others were not. "Simply put, the district court did not perform an analysis based on sufficient 'external, objective criteria' to determine which aspects of the routine were protectable by copyright. And given the highly technical nature of the case, the district court could not have done so without the benefit of expert testimony," the panel wrote. U.S. Circuit judges Lawrence VanDyke, a Donald Trump appointee, and Gabriel Sanchez, a President Joe Biden appointee, and U.S. District Judge Stephen Murphy III, a George W. Bush appointee sitting by designation from the Eastern District of Michigan, vacated the order on preliminary injunction and remanded for further proceedings. "We recognize the challenges inherent in determining whether hand- balancing routines are protectable by copyright. And we recognize the court's thorough analysis of the evidence," the panel wrote. "But that analysis fell short of the 'analytical dissection' required for the extrinsic test." { SOURCE: Courthouse News } ---------------------------------------------------------- 'Mad Apple' in Vegas replicates the energy of New York {May.19.2023} ---------------------------------------------------------- The energy exhibited during a performance of Cirque du Soleil's Mad Apple is a bit overwhelming at times—much like the city the show salutes through a series of vignettes, some comical, some acrobatic, some a bit profane. Through it all, the Cirque troupe lovingly replicates the bustling vibe of the City That Never Sleeps. Everything about this show screams motion—bodies are constantly moving and flying across the stage; there's a bar set up in front of the stage prior to showtime, with both bartenders displaying their flair skills for the crowd. Heck, even the live band, including a trumpeter, saxophonist, keyboard player and drummer, can't sit still, twisting and turning in their perches above the proceedings, and even joining the zaniness on stage from time to time! As your ears are treated to live versions of songs like "New York State of Mind," "Summertime" and "Rhapsody in Blue," your eyes are treated to some of the best Cirque acts the Strip has to offer: o) A juggler who exudes confidence (and more than a bit of sexiness) as he throws juggling pins high into the air, catching them from all angles; o) A diabolo artist who keeps adding yo-yos without skipping a single beat; o) Basketball dunkers who seem to almost be on the verge of vaulting into audience members seated at the sides of the stage (Of course they never do, and in the process show off impeccable timing); o) A woman who hangs from a harness by her long hair and performs a full routine that way, spinning, cavorting and displaying a gracefulness most of us would not possess were our follicles in danger; o) Two performers who make the entire audience hold its breath while they flip each other through the air using only the power of their legs; o) A strongman who's harnessed into place on a large contraption and grabs a woman by the arms, flipping and flinging her into the air using only his arm strength; o) A hand balancer who's as graceful as he is lithe and sinewy; o) Aerialists who spin around the stage and over some of the audience, as well as floor acrobats who jump through hoops that get progressively higher and higher. There's also plenty of humor, most of it supplied by comedian Harrison Greenbaum, an America's Got Talent alumnus who even performs a bit of magic in between the hilarious jokes and audience banter. Another comedic highlight involves the show's "stage manager" displaying his talents when it comes to shadow puppets. (Spoiler alert and a surprise to absolutely no one: It's for adults only!) Speaking of hand gestures, yes, there are plenty of "Bronx salutes" in this show—would you expect anything less? { SOURCE: Ken Miller, Las Vegas Weekly } ---------------------------------------------------------- CDS and Gamefam Unveil New Immersive World on Roblox {May.24.2023} ---------------------------------------------------------- Cirque du Soleil Entertainment Group and Gamefam, a leading metaverse game developer, are joining forces to create Cirque du Soleil's first- ever immersive experience on Roblox, a global immersive platform where millions of people connect and communicate daily. In Cirque du Soleil Tycoon, users can build their own Cirque du Soleil universe filled with performers, artists, sell-out crowds and some of the most visually stunning performances in the metaverse. Community members will have the chance to build and manage their own Big Top performance, try their skills in interactive challenges and mini-games, hire acrobats, and set the stage to create their very own custom Cirque du Soleil site. Inspired by Cirque du Soleil's brand-new touring show, "ECHO", which explores the relationship between humans and nature, the experience incorporates whimsical and fantastical Cirque du Soleil details and brings existing and new fans together for a behind-the-scenes look at how Cirque du Soleil productions work. Roblox community members will also have access to unique virtual items, such as animal head masks inspired by real-life ECHO costumes, allowing them to customize their avatar and express their creativity in true Cirque du Soleil fashion. "Cirque du Soleil Tycoon will channel the influence of global online platform Roblox for immersive shared experiences and harness Cirque du Soleil's high-end entertainment expertise, creative DNA, and multi- generational fanbase. To launch Cirque du Soleil's first-ever digital experience on a major immersive platform like Roblox made a lot of sense for us – just like the story of ECHO which centers around connection, Roblox is all about bringing people together, and in this case, also enabling us to offer a coveted behind-the-scenes experience to millions of fans at once, sans distance or other physical limitations," said Sébastien Ouimet, Head of Filmed and Immersive Entertainment at Cirque du Soleil Entertainment Group. This unique experience supports Cirque du Soleil's newly defined mission to diversify its offering beyond live shows by bringing its world-renowned creative development engine to the immersive world of Roblox and allowing new and existing fans to engage with a first-of- its-kind metaverse experience. "With the creation of Cirque du Soleil Tycoon, we underscore the increasing importance of widening our portfolio of brand experiences across 3D immersive and filmed entertainment, premium content, gaming, and beyond," notes Nickole Tara, Chief Growth Officer, Cirque du Soleil Entertainment Group. "It has been a privilege to bring one of the world's most admired and magical attractions to Roblox and invite the community to experience Cirque du Soleil beyond the physical big top," added Ricardo Briceno, Chief Business Officer at Gamefam. "Cirque du Soleil Tycoon serves as yet another great example of how beloved brands can extend their reach and engage new fans right where they are spending time each and every day." By tapping into Gamefam's metaverse gaming expertise, Cirque du Soleil aims to engage some of the 66 million+ daily active players on Roblox, attract a new fan base, and provide people globally an easily accessible way to experience the creativity and universe of Cirque du Soleil. Cirque du Soleil Tycoon will be available for free on Roblox via most platforms and devices, including consoles, PCs, mobile, and tablets starting in summer 2023. About Gamefam Gamefam, a leading metaverse game developer and publisher that creates connected experiences with gaming communities and well-known brands, is building the next generation of pop culture franchises born from the metaverse. Our mission is to create dynamic experiences for an amazing community while we grow the next generation of super hit gaming and entertainment franchises from within the metaverse. Gamefam operates the largest network of games on Roblox with over 25 million daily game sessions and 115 million hours of engagement each month across 30+ live games in the company's portfolio. Gamefam's top franchises include Sonic Speed Simulator, Twilight Daycare, Tower of Misery, Funky Friday, Ultra Power Tycoon, Starving Artists, Hot Wheels Open World, Easy Obby and Weapon Fighting Simulator. The Gamefam experience also extends into metaverse destinations including its operation of the three leading Minecraft servers and development of Fortnite's top 40 maps. With its headquarters in Los Angeles, the Gamefam team combines the business and production expertise of longtime brand experts and game industry professionals with the metaverse's top creators. For more information, visit https://gamefam.com. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- CDS and COSM Unveil New "Shared Reality" Experience {May.24.2023} ---------------------------------------------------------- Cirque du Soleil Entertainment Group and Cosm, a leading immersive technology, media, and entertainment company, today announced a partnership to deliver a completely new way to experience Cirque du Soleil. Under the partnership, Cosm will produce and present an iconic Cirque du Soleil show at its forthcoming venues, the first of which will open in Los Angeles in spring 2024 and showcase a 26.6-meter diameter LED dome in a 65,000 total square feet facility. Cosm's new generation of venues will bring entertainment to life by utilizing its revolutionary domed and compound curved LED technology to create a larger-than-life ''Shared Reality'' experience that bridges the virtual and physical worlds, all with corresponding sights and sounds. Merging the energy of the crowd, elevated food and beverage service, and state-of-the-art visuals, fans will be able to experience Cirque du Soleil's avant-garde creativity from a brand-new perspective. "From our research we know our fans are seeking immersive, emotionally fulfilling experiences featuring creative storytelling through innovative formats that ignite the imagination and foster human connection. This partnership with Cosm will allow us to once again push production and technology boundaries to seamlessly blend virtual and physical worlds and cultivate our connection with fans beyond the stage,'' commented Sébastien Ouimet, Head of Filmed and Immersive Entertainment at Cirque du Soleil Entertainment Group. This unique immersive experience supports Cirque du Soleil's goal to diversify its offerings beyond live shows by expanding its portfolio across gaming, premium content, filmed and immersive entertainment, as well as an increased emphasis on licensing and merchandising. "Cirque du Soleil has established itself time and time again as a category-defining entertainment genre," added Neil Carty, VP, Head of Cosm Studios at Cosm. "Its combination of live theater, circus arts, and immersive storytelling has captivated audiences around the world. We're excited for this partnership to bring an iconic Cirque performance to our venues in Shared Reality." Cosm recently broke ground at its first venue in Los Angeles at Hollywood Park, adjacent to SoFi Stadium and Intuit Dome, and announced its second venue in Dallas at Grandscape, with plans to expand to additional locations in key markets. Details around the schedule of events upon the opening of these venues will be shared at a later date. About Cosm Cosm is the leading experiential media and immersive technology company redefining the way the world experiences content. With a storied history of building some of the most innovative experience technology in the world, Cosm provides sensorial experiences for every type of fan, from sports and entertainment to immersive art and education. Its immersive venues bridge the virtual and physical worlds through pioneered technology that expands the realm of what's possible, connecting people and bringing them together in Shared Reality. As the company continues to expand to new cities and countries, Cosm is sparking shared passions and providing guests across the globe with experiences they need to feel to believe. To learn more about Cosm, visit www.cosm.com. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- Motorola Launches Razr+ With CDS And Kim Petras {Jun.05.2023} ---------------------------------------------------------- What do the collapse-able Motorola phones, Grammy award-winning Kim Petras, and Cirque du Soleil all have in common? An event collaboration for the launch of the new razr+ phone, which is reintroducing the beloved pink design for the first time since the early 2000s. Alongside announcing the launch of the new razr+, the event aimed to showcase the seamless integration of technology, entertainment, art, and pop culture. The night kicked off with an exclusive, one-of-a-kind show from the iconic Cirque du Soleil. Inspired by the new Motorola phone, the mind- bending performance complemented the reveal of the bendable razr+, with a phone-infused act. The new Motorola razr+ has an "ultra pocketable" design and is considered the thinnest flippable smartphone in the industry when flipped closed. Users are able to stand the device completely on its own at multiple angles. Alongside its abilities when opened as a normal phone, the razr+ has many of the same features on the external screen when closed, such as texting, playing games, using Spotify, and watching videos. Following the Cirque du Soleil performance and razr+ reveal, guests were escorted to the main space where they were able to engage with backdrops and props to match each of the colors of the new Motorola razr+. Surprised by an intimate performance from Kim Petras, the guests remained on the dance floor throughout the night, celebrating the upcoming release of the razr+ phone. { SOURCE: V Magazine } ======================================================================= 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: Tokyo, JP -- February 8, 2023 to June 25, 2023 Osaka, JP -- July 14, 2023 to October 10, 2023 Madrid, ES -- December 4, 2024 to January 6, 2024 Barcelona, ES -- March 20, 2024 to April 14, 2024 Koozå: Toronto, ON -- April 7, 2023 to June 18, 2023 Denver, CO -- July 5, 2023 to August 13, 2023 Calgary, AB -- August 25, 2023 to October 8, 2023 Vancouver, BC -- October 21, 2023 to December 31, 2023 Kurios: Milan, IT -- May 10, 2023 to June 25, 2023 Knokke, BE -- July 27, 2023 to August 27, 2023 Brussels, BE -- September 7, 2023 to October 8, 2023 Paris, FR -- November 16, 2023 to December 17, 2023 Luzia: Frankfurt, DE -- June 13, 2023 to July 23, 2023 Bazzar: Buenos Aires, AR -- June 24, 2023 to July 9, 2023 Oaks, PA -- September 26, 2023 to October 22, 2023 San Antonio, TX -- November 5, 2023 to December 3, 2023 Charlotte, NC -- December 16, 2023 to January 14, 2024 St. Petersburg, FL -- February 22, 2024 to March 24, 2024 ECHO: Montreal, QC -- April 20, 2023 to August 20, 2023 Washington, DC -- September 6, 2023 to October 22, 2023 Atlanta, GA -- November 5, 2023 to January 21, 2024 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: Christchurch, NZ -- Jun 16, 2023 to Jun 25, 2023 Auckland, NZ -- Jul 4, 2023 to Jul 9, 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 Windsor, ON -- Nov 30, 2023 to Dec 3, 2023 Oshawa, ON -- Dec 7, 2023 to Dec 10, 2023 Hamilton, ON -- Dec 14, 2023 to Dec 17, 2023 Montreal, QC -- Dec 22, 2023 to Dec 31, 2023 Hershey, PA -- Jan 11, 2024 to Jan 14, 2024 Pittsburg, PA -- Jan 18, 2024 to Jan 21, 2024 CORTEO: 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 Columbus, OH -- Jun 22, 2023 to Jun 25, 2023 Ottawa, ON -- Jun 28, 2023 to Jul 2, 2023 Kingston, ON -- Jul 6, 2023 to Jul 9, 2023 Saint Paul, MN -- Jul 13, 2023 to Jul 16, 2023 Sacramento, CA -- Aug 3, 2023 to Aug 6, 2023 San Jose, CA -- Aug 9, 2023 to Aug 13, 2023 Oakland, CA -- Aug 17, 2023 to Aug 20, 2023 San Francisco, CA -- Aug 23, 2023 to Aug 27, 2023 Palm Springs, CA -- Aug 31, 2023 to Sep 3, 2023 San Diego, CA -- Sep 6, 2023 to Sep 10, 2023 Phoenix, AZ -- Sep 13, 2023 to Sep 17, 2023 Wichita, KS -- Nov 9, 2023 to Nov 12, 2023 Dayton, OH -- Nov 16, 2023 to Nov 19, 2023 Cleveland, OH -- Nov 22, 2023 to Nov 26, 2023 Omaha, NE -- Nov 30, 2023 to Dec 3, 2023 Winnipeg, MB -- Dec 7, 2023 to Dec 10, 2023 Regina, SK -- Dec 14, 2023 to Dec 17, 2023 Saskatoon, SK -- Dec 21, 2023 to Dec 24, 2023 Edmonton, AB -- Dec 27, 2023 to Dec 31, 2023 MESSI10: Salta, AR -- Jul 14, 2023 to Jul 29, 2023 Buenos Aires, AR -- Oct 5, 2023 to Nov 5, 2023 OVO: Tallinn, EE -- Jun 1, 2023 to Jun 4, 2023 Vilnius, LT -- Jun 8, 2023 to Jun 11, 2023 Riga, LV -- Jun 15, 2023 to Jun 18, 2023 San Sebastian, ES -- Jul 19, 2023 to Jul 23, 2023 Gijon, ES -- Jul 26, 2023 to Aug 6, 2023 Gran Canaria, ES -- Aug 12, 2023 to Aug 20, 2023 Amsterdam, NL -- Sep 7, 2023 to Sep 10, 2023 Rotterdam, NL -- Sep 14, 2023 to Sep 17, 2023 Bordeaux, FR -- Sep 21, 2023 to Sep 24, 2023 Turin, IT -- Sep 28, 2023 to Oct 1, 2023 Berlin, DE -- Oct 5, 2023 to Oct 8, 2023 Zurich, CH -- Oct 11, 2023 to Oct 15, 2023 Bratislava, SK -- Oct 19, 2023 to Oct 22, 2023 Pesaro, IT -- Oct 26, 2023 to Oct 29, 2023 Bologna, IT -- Nov 2, 2023 to Nov 5, 2023 Florence, IT -- Nov 8, 2023 to Nov 12, 2023 Lyon, FR -- Nov 15, 2023 to Nov 19, 2023 Toulouse, FR -- Dec 7, 2023 to Dec 10, 2023 Granada, ES -- Dec 13, 2023 to Dec 17, 2023 Lisbon, PT -- Dec 20, 2023 to Dec 30, 2023 Lausanne, CH -- Jan 18, 2024 to Jan 21, 2024 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystère: Location: Treasure Island, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Variable Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) July 21, 2023 o) September 8 thru 12, 2023 o) November 10, 2023 "O": Location: Bellagio, Las Vegas (USA) Performs: Wednesday through Friday, Dark Monday/Tuesday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) June 18, 2023 o) August 16-20, 2023 o) October 22, 2023 o) November 29-30, 2023 o) December 1-3, 2023 o) December 6-10, 2023 KA: Location: MGM Grand, Las Vegas (USA) Performs: Saturday through Wednesday, Dark Thursday/Friday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) June 14, 2023 o) August 16, 2023 o) October 21 - 25, 2023 o) November 18, 2023 o) December 13, 2023 LOVE: Location: Mirage, Las Vegas (USA) Performs: Tuesday through Saturday, Dark: Sunday/Monday Two Shows Nightly - 7:00pm and 9:30pm Age Requirements: - Children under 5 not permitted. 2023 Dark Days: o) July 4 & 11, 2023 o) September 5-9, 2023 o) September 12-16, 2023 o) November 18, 2023 o) December 25, 2023 MICHAEL JACKSON ONE: Location: Mandalay Bay, Las Vegas (USA) Performs: Thursday through Monday - Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm and 9:30pm 2023 Dark Days: o) June 5, 2023 o) August 10 - 14, 2023 o) October 16, 2023 JOYÀ: Location: Riviera Maya, Mexico Performs: Tuesday through Saturday, Dark: Sunday/Monday 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 2023 Dark Days: o) June 9 - 13, 2023 o) August 21 – 22, 2023 o) October 27 – 31, 2023 o) November 3 – 7, 2023 o) December 18 – 19, 2023 ======================================================================= FASCINATION! FEATURES ======================================================================= o) "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 2 of 3] By: Keith Johnson - Seattle, Washington (USA) o) "LIFE IS A CIRCUS II: More Posts from the Cirque Blog" By: Cirque's Artists, Editors, and More... ---------------------------------------------------------- "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an Exclusive Interview with David Wallace, head of PLANS at Cirque du Soleil's "Drawn to Life" [Part 2 of 3] By: Keith Johnson - Seattle, Washington (USA) ---------------------------------------------------------- Last issue we began part one of our multi-part conversation with Mr. David Wallace - Head of PLANS (Projections, Lighting, Audio, Networking & Special Effects) for Cirque du Soleil's Drawn to Life in Orlando. This month we continue our conversation, discovering how extra COVID-related down time provided a way to refocus and refine the show, and learn how the sophisticated sound equipment in the theater helps the music go round and round. * * * "The takeaway I had from the COVID situation was it gave us [and director Michel Laprise (who also directed Kurios and Septimo Dia – https://www.facebook.com/michel.laprise.35 )] a little breathing room." The long down time meant there were inevitable changes. "From Creation One [of Drawn to Life] we had two acts that did not return to the [show]. We had an interesting Icarian act that was done on an acrobatic apparatus that spun. It was like having pedals on a bike and it was turning in the air, and the Icarian performers would be on these pedals. They would do foot juggling on this apparatus as it was spinning, and they would be doing tumbling while they were 40 feet in the air. It was quite extraordinary and certainly quite dangerous." [In a February 2023 addition to the show an Icarian act has been re- added, performed by a pair of Ethiopian acrobats.] "And the other act - you remember the diabolo act from La Nouba? We had a new version. The ladies were a little older, but they had new costumes with new music. That act was such a favorite [from La Nouba] and was in the original Drawn to Life, but it was replaced by the Unicycle Act." A SECOND CREATION PERIOD ------------------------ Having a second creation period offered other opportunities as well. "Some wonderful things happened during Creation Two. Such as with the band. We were able to organize rehearsals and they came back three weeks before Creation Two. Because the band is learning the music, but the music is being written and changing every day. So there might be a piece of music in front of you [that] you've [been] playing and then there's adjustments and changes - we've added a measure here, we've moved this section there - and that all happens exceptionally quickly." "But the musicians have just met and started playing with each other, they never really get to play as a band because they're learning new music [every day]. And then they rehearse while everybody is still trying to figure out their own parts." "So, we would go into the theater at night when everybody else had gone home, and we would just play the music. So, they had three weeks to play together as an ensemble, the bandleader got to rehearse, and the band got to play with each other. So, by the time we started Creation Two, it was working well from a sound perspective and a band perspective. The band was working together extraordinarily well, they had learned to play as an ensemble by that point. I think that was a result from COVID that had an interesting sort of domino effect." Ah, the music! Composed by Cirque veteran and composer of La Nouba, Benoit Jutras (.com – see our interview with him at https://www.cirquefascination.com/?p=2417 ), it mixes that trademark Cirque musical oeuvre with myriad recognizable musical quotes from Disney productions. And played, as they are in most Cirque productions, by live humans. "[For] musicians we have a solo violin, cello, guitar, percussion, and drums. Tom, our bandleader is playing piano as well as calling the show and triggering the cues. And then we have the singer, Stephanie. And two woodwind players who are multi-instrumentalists who play everything: flute, clarinet, English horn, oboe, bassoon, and clarinet, and they're switching instruments multiple times during many of the songs. And those instruments [are played live]." For those playing along at home, here is the musician lineup for Drawn to Life. o) Thomas Lipps – Bandleader/Keyboard o) Steffi Ledbetter – Singer (https://www.linkedin.com/in/steffi-ledbetter-5051a1163/ ) o) Michel Levin – Guitar/Cello (https://www.linkedin.com/in/michael-levin-56084747/ ) o) Kit Chathan – Drums (from Corteo, Viva Elvis, and Kurios; see our interview with him at https://www.cirquefascination.com/?p=6486 ) o) Kateryna Chechel – Violin (https://www.instagram.com/che_violin/?hl=en ) o) Nathaniel Edison – Woodwinds (https://www.instagram.com/nathanieledison/?hl=en ) o) Alex Fontaine – Woodwinds (https://www.linkedin.com/in/alex-fontaine-a3506441/ ) As at La Nouba, the musicians are divided into two pods perched above the stage on the left and right. However, unlike La Nouba where they were visible to the audience, they are now hidden from view by some of the screens on which animated projections are shown at points during the show. "I understand why the band is hidden," Mr. Wallace comments, "but I would love for the public to know that there are live musicians playing the [music of the] show. So many [audience members] don't realize it until the end when we have the woodwind player on stage with the guitar player and the singer. Which is strange to me, because I guess they're not realizing that they're on stage at the beginning as well. Every time I mix the show there'll be someone from the audience who comes up and goes, "I didn't realize it was live". So, in some ways it's a neat little secret that people come to realize. But at the same time, I wish they knew [it was played live], because it sounds so beautiful and these musicians deserve so much credit for their work." Creation of a show always presents its own challenges, where the "what" of creation meets the "how" of production, which as always affects every department, including sound. "The most challenging [thing] overall wasn't the acts themselves, [it was] the transitions. I think from an audio perspective the most challenging act was the Double Wheel of Death act – we call it "The Old Mill". It's challenging because there's so many cues going on." (Originally a 1937 Disney Silly Symphony short film, it marked the first use of the multiplane camera, pioneering depth in animation – see more information on it here: https://en.wikipedia.org/wiki/The_Old_Mill ). Drawn to Life relies on a complex series of electronic cues and triggers to make the magic happen exactly when it should. "The systems integration [cueing] on Drawn to Life involves the bandleader's triggering. We've programmed triggers in the music that trigger projections and sound effects. And then we have sound effects that trigger lighting cues. Take the pencil sharpener from the [beginning of the] show. We turn that device by hitting a sound effect from the sound desk. There are times [when] the music is driving the lighting, triggering all the lights in a sequence, or the lighting is triggering certain sound effects, or we're telling projections to do things, or projections [are] telling us to do [things]." Interplay of systems in a high-tech theatrical production can make for a complicated cueing system. "Think of it as a matrix, bridging the various disciplines together in a cohesive whole. The bandleader isn't thinking about the lights or projections, and not thinking about those technical requirements; he's just running the music, we've embedded cues to make changes. Because we're still mixing live, taking all those cues and those sound effects it becomes very challenging because there's so much going on." "Looking at creation challenges overall it was [most challenging] putting some of the transition elements together. Whether time was the limiting factor, [or] how fast can we do this change, [or] where are we going to be, [or] how are we going to get those swings on the stage at the right time? And all of that created a fascinating creation period because we could see the vision." Drawn to Life provided Cirque another opportunity to explore new ideas and break new ground. "The interaction between the projections and the artists, for me that was the biggest moment. An example is when the Aerial Pencil act [starts] and the tip of the pencil looks like [it's] drawing across the stage. And the Comforting Sheets which is a huge fan favorite especially for our Disney friends, with our characters interacting with the projections. I think that was the biggest moment for me, technically." The show also includes a return to hand-drawn animation for Disney, who created brand-new animation for the show, with an interesting edge. "We have possibly the only hand-drawn official Olaf animation, because he's in the Comforting Sheets section. In the Frozen movies Olaf was, of course, computer generated, but our Olaf was hand-drawn. And I never thought about it until [I heard it during] one of the question-and-answer periods the company manager had done. And it dawned on me because of course, there is no hand-drawn Olaf." "Some of what I adore about the animation was getting to see some of the original pencil drafts of characters like Ariel, Cinderella, and Tarzan. I have no idea what the dates on those are, but they are just incredible historical Disney animation documents. And they let them out of the vault to be part of this show and partner with Cirque. That's a generous and beautiful part of the story." Drawn to Life, at least to this writer, seems a perfect fit for Disney Springs because it incorporates Disney into it. "And I think, hopefully moving forward, that's the draw. With La Nouba we had a number of people saying, "Oh, is it a Disney show?" I know Disney folks have mentioned that some customers thought maybe it was a Disney show." "And anytime you partner with someone else you're going to have differing opinions. I'm sure there are some Cirque fans that [feel] this is really about Disney, this isn't a true, pure Cirque show. But the [response] is, well, it's really a Cirque show telling a story about animation, and what better story to tell than through the artwork of Disney. That's one thing that was interesting during creation. You have two very divergent styles of storytelling and creation between Disney and Cirque du Soleil. And it made for a really interesting adventure to see those two styles come together and create Drawn to Life. And it worked remarkably well." Mr. Wallace transitioned somewhat seamlessly (with breaks for theater refit and COVID) from La Nouba to Drawn to Life, for 25 years of continuous service to the cause of Cirque audio artistry. That surprises others in the theater arts, where longevity with one company or production is rare. "Other audio engineers and [others] have asked me – "You stayed with the show for how long? How did you do that?" And I'm [thinking about] the question behind the question. And they're usually trying to figure out, "Wouldn't you be bored?" [But] there's nothing like mixing a Cirque show, nothing on the planet, because of the design, and the fans. The audience becomes part of the fabric of the show. The major elements of the music are live and are played by humans, so every night is different, and every night has its own flavor. And if you're someone who can live in the moment it's always new. From opening until closing night [of La Nouba] I never felt like the musicians played the same show. I did front of house sound for La Nouba for something like over 5,000 shows. There was always enough musical interest to keep me there. And of course, you're working with that tremendous talent on stage and being part of what's going on in front of you. You'll never get another experience like it. So that's how I could maintain the years and years of the same show, because it's always a little different and certainly awe- inspiring." SOUND STUFF ----------- OK, fair warning for you, dear reader – we are about to get deep into the tech with the sound biz. Being a person that has adored sound as an avocation for my life, I wanted to go deep on the theaters sound – what was changed between La Nouba and Drawn to Life, and a bit of how the show runs from a sound perspective. So, pardon us while we get a little – technical. Mr. Wallace was happy to oblige. "Certainly! The sound designer, Jonathan Deans (www.designingsound.com ), has designed [most] of the resident shows [including La Nouba with Francois Bergeron – see a list at https://designingsound.com/portfolio/ ] as well as a number of touring shows. [And] I'm sure you know Benoit Jutras (.com) was the composer for both La Nouba and Drawn to Life. So, a big part of our sound team has been together for over 23 years now." "At the time that La Nouba was created and designed, the [sound] system was a distributed system using Meyer Sound (.com) MSL-2 speakers (a picture can be seen at https://www.manualslib.com/manual/ 969181/Meyer-Sound-Msl-2a.html ) as the main system as well as EAW's (.com) for orchestra surrounds on the back wall and some Tannoy (.com) speakers in the knee walls (a short wall used to support rafters in roof construction)." "When we got to Drawn to Life, we realized that though the system had been incredibly well maintained the technology had grown in leaps and bounds over the course of 19 years. So, when Jonathan designed the show, he went with newer Meyer sound arrays. The boxes we're using are Leopards (https://meyersound.com/product/leopard/ ), they are the main arrays and a beautiful sounding speaker, along with Meyer subwoofers." "There's a center cluster, Meyer JM-1P's right above the center seats in the proscenium that is mainly used for our vocal system, which gives dialogue much better clarity and intelligibility, the singers voice is used in that system as well. Then on our four arrays we have 7 Leopards per array. The upper arrays are hung where the band sits, which in La Nouba you could see but in Drawn to Life you do not see. And the lower arrays are just below that as well as the sets." "We didn't toss out the La Nouba PA. We repurposed those speakers and hung them as overhead surrounds, mid-field surrounds, effect speakers and delays. Jonathan not only utilized what we had but added modern technology with the array system and the center clusters to improve the quality of the facility sound." "And there are 40 speakers on the stage. If you look carefully at the stage, especially from the upper bowl, you'll see Donald Duck footprints. Those are actually speakers pointed straight up and they [have] a very wide spread and a dual purpose, so we can track sound effects across the [entire stage] and also provide foldback to the artists on stage. We can send any information that we would like to the stage during the act. that was a huge upgrade." Mr. Wallace then provided a rough count of the number of speakers in the theater. "I can give you a breakdown. [These are all Meyer sound (.com) speakers.] We have 28 Leopards (https://meyersound.com/ product/leopard/ ) in the array clusters. We have six 1100-LFCs (https://meyersound.com/product/1100-lfc/ ) which are low frequency subwoofers. And then we have 6 more 900-LFC subs (https://meyersound.com/product/900-lfc/ ). We have 8 speakers in the center cluster, 39 speakers on the stage in the deck, 4 additional speakers on stage for foldback and effects, and then 11 front fills in front of the stage, pointing directly at the audience. We have 14 orchestra surrounds, 6 midfield surrounds, 7 overhead surrounds, and 12 cross-aisle surrounds. We have 8 delay speakers. By the time we hit the stage we're at 40 speakers in the house and 79 [elsewhere], about 111 speakers. Of course, the mixing desks and other electronics were upgraded as well. "Absolutely! Jonathan chose to go with DiGiCo (.biz) as our console. So front-of-house we have an SD10 (https://digico.biz/consoles/sd10/ ) and then for monitors we have an SD9 (https://digico.biz/consoles/sd9/ ) and those are connected using MADI. (Multichannel Audio Digital Interface – a format for carrying multiple channels of digital audio between devices, also called AES10). The snakes (gatherings of multiple audio cables) are located on the band towers and [the audio signals are] converted to MADI [that is transported] over fiber optics. The mixing desk collects and merges all the individual instruments, microphones, and playback tracks into the final mix of sound heard in the theater. But all those sources start out as individual signals, approximately 128 in total. Some sources are the samples and sequences that are part of the music that are not played by the musicians. Things like string sections of songs and some other elements. Like some of the quirky sounds that are in Teeterboard – the almost cartoonish quality of the samples in that song – those would be an example of what is played back." "[There's also] utility stuff; like the click track to guide the musicians, as well as vocal tracks for artists that are on stage. As an example, when (lead character) Julie is on stage and she's doing the initial sequence when she goes through the desk into the basement, that whole sequence where she is reaching for the pencil, the pencils are getting sharpened, the pages of pictures are churning, that's all on a track that she's hearing in her ear [because] she can't see the video. So there's a voice (the conductor) that is [telling] her – turn the page in three, two, one, reach for the pencil in three, two, one - So that her timing lines up with what is happening on the screen." Surprisingly, in a show as technically complicated as Drawn to Life there is very little timecode used. (An electronic reference signal sent to various departments in a production to keep all the various elements in sync with each other.) "No, strangely enough, there's very little timecode in the show. What we do use it for is the Rhythmic Gymnastics act (the inflatable mat act), for that one we have the bandleader sending timecode to the lighting console; that is the only moment in the show that is timecoded." "We had originally implemented timecode going everywhere. Every department was receiving timecode from multiple sources because we weren't sure. Of course like a good concert production we were ready for anything, but in the end we found that we were using a lot more UDP (UDP-based Data Transfer – a high-performance data transfer protocol) over Ethernet for things like video and projections, because the projection elements were short enough that we weren't really worried about sync over a long period." In addition to the musicians, there are a few artists who need to be heard during the show and wear microphones. "At some point in the show The Animators, the four sort-of clowns, will all get mics. Julie (played by Chloe Diane Polson or Miho Inaba) has a mic, Miss Hesitation (played by Emily Carracher) has a mic. We've [used a mic] for Mr. Pencil (played by Guerassim Dichliev) occasionally when certain people are out. So overall we probably have six character mics." In a structure continuing from La Nouba, Drawn to Life resides in a theatre that is owned and managed by Disney. "We maintain the equipment [but] Disney owns the equipment. So, repairs, replacements, all of that gets funneled through Accounting as a "go back." They [supply] the personnel that run food and beverage, the box office, front of house, house and theater management, the guest-facing side is all managed by Disney. And we all work incredibly well as a team." * * * Next month, in our final installment, we discuss Mr. Wallace's other passions, as well as his philosophical thoughts and words of wisdom. ---------------------------------------------------------- "LIFE IS A CIRCUS II: More Posts from the Cirque Blog By: Artists, Editors, and More... ---------------------------------------------------------- From life outside the big top to peeks behind the curtain, Cirque du Soleil has started a blog to allow fans to get up close and personal with their fascinating talent as well as a look at the know-how that goes into giving a Cirque show its spark – the kinds of things you might not get to see from beyond the stage. Here are a few more of the recent posts that we found interesting to share! # # # # # BAYARMA ZODBOEVA-PARRY'S BIGGEST ROLE BY: Maxim Potvin, Blog Editor | April 12, 2023 Motherhood is an extraordinary experience that can be challenging, rewarding, and transformative. It's a role that demands a great deal of physical, emotional, and mental endurance, which makes it more impressive when combined with a demanding profession like contortionist for Cirque du Soleil. We had the chance of speaking with a remarkable performer who not only excels in her craft but also balances the demands of motherhood while touring the world with one of the most iconic circus troupes in history. Q. Could you introduce yourself and let our readers know about what you do? My name is Bayarma Parry, I've been working with Cirque du Soleil since 2011, I'm a contortionist on KURIOS – Cabinet of Curiosities and I'm currently answering these questions from Rome, in Italy! Q. Getting right into it, we wanted to know how you planned to celebrate Mother's Day this year? This Mother's Day, I'll probably be celebrating by performing two shows in Milan, since it falls on a Sunday. My husband is away in Saudi Arabia since he's a stage manager with Cirque du Soleil and we planned to visit him in May during our tour break, before Mother's Day and have an early celebration with our son, Ashton. That's just what our life looks like right now: sometimes we work together, sometimes we travel together and sometimes we travel to each other. Q. Sounds like you've made your way around the globe a few times, has this had any impact on your child's upbringing? I'm from the Republic of Buryatia, in Siberia and my husband is from England, but we live in Las Vegas. My son Ashton was born in Sydney, Australia, after travelling to nine countries inside my tummy! I feel like Ashton is so much more of a traveler at his young age, since he's been doing so before he was even born. Even now, at 3 years old, he's the one saying, "let's go to a new home!", when he wants us to get back on the road and head to a new country! Q. How has caring for a baby changed your professional routine? I think my life changed a lot. Before my pregnancy, I've always been fully dedicated to my training, my performance, and my act. Now, I feel like motherhood has become a priority. My schedule allows me to be a mom starting at 8am and keep at it until it's showtime, at 8pm. I'm a professional acrobat, that hasn't changed, but I'm much less of a workaholic than before. I spend a lot of time enjoying my life at home with my family. Q. What unexpected challenges can arise when raising a child on tour? Caring for a baby is all about the routine, same goes as they age – only the routine changes. Initially, having to rebuild the routine with Ashton at every new city you visit was challenging. Every two or three months, you must find new grocery stores, new playgrounds, new nannies, new schools, new hospitals, the list goes on. Q. In what ways is your community helping you manage your unique reality? Of course, after the pandemic break, a lot of the cast and crew came back with a new addition to their family. We all support and help each other while on tour. We all know we're in the same boat right now, there's a lot of kids around the same age, so we celebrate birthdays together, we eat together, and the children share playrooms. It's just nice to know we're not alone, we're one big family touring and exploring the world. It warms my heart to be a part of a community that helps each other. Q. Given the opportunity, would you trade your lifestyle for something more traditional? Would you ever settle down and raise your family in one location? We know that touring isn't forever. But I feel like touring is the best school, it's a privilege and opportunity to get see the world. For example, why read about Italy when you can just go and see Italy and try all it has to offer? I was myself a travelling kid, I started to travel when I was 12 years old, studying in Hungary and Poland at the embassy's school and in every other city we were working at. I think it was a great exposure to the world and I learned so much. I speak five languages just because of my travels for work. Until Ashton is enrolled in a school, we plan to keep touring as much as we can. We're even looking at online schools for him, something that was very helpful to the people around us during the pandemic. If my son enjoys travelling that much, we will be happy to have him experience this incredible life. Q. To end this interview on a bright note, what would you say makes you the proudest? I'm proud of being able to keep performing. Before the pandemic forced us into a break, Ashton was only 3 months old, and I was planning to get back to work when he reached 6 months. This ended up being 3 years break for me, counting the months before giving birth, and I'm proud to be back in full force after that. Want to Follow Bayarma's Adventures Around the World? Follow Bayarma and her family on Instagram (https://www.instagram.com/bayarmabella/) and watch her perform on KURIOS across Europe this year. # # # # # DIVE DEEP INTO THE WHIMSICAL SEASCAPE OF "O" BY: Maxim Potvin, Blog Editor | January 20, 2023 If there was ever a Cirque du Soleil show that made a splash on The Strip, it would quite literally be "O". As this classic amphibious production enters its 25th year as a resident show at the Bellagio Hotel in Las Vegas, it's only fair that we dip our toes back in this one-of-a-kind universe. SOAK UP THE UNIVERSE OF "O" For those unfamiliar with this timeless performance, "O" tells the thrilling story of a young Sicilian boy, Philemon, who went out looking for adventure and marvels untold. To no one's surprise, this is exactly what he stumbles upon, after entering a strange new world. This realm populated by a manifestation of his hopes, dreams, and fear engulfs him as he sets out to explore deeper, darker waters. On this dream-like expedition, Philemon encounters the cast of this aquatic story as they perform multiple acts in front of the audience. Amongst these 77 characters, a young lady stands out and captures Philemon's attention: Aurora. Is a love story about to unfold before your eyes? Our colorful performers' stories flow into one another's, narrated by an enigmatic figure, known as Le Vieux, accompanying our main character on his way through the realm. Many mysteries lay deep beneath the waves of the pool: what else awaits the protagonist of "O"? WATER IS A MAIN CHARACTER Water is central to the continuity of this story, as a river follows its course. It's clear how "O" is inspired by the infinity and the elegance of water's pure form. The focus on this graceful element is key to many performers' acts and serves as the red thread between the characters. The ever-changing nature of water and its many properties proved it to be crucial to this production. As the story progresses, water comes on and off the stage to mimic tides, pours down from the sky in a perfect storm and springs up in the air from the pool below. The water also contrasts greatly with the fiery and aerial acts sprinkled throughout the performance. A COLOSSAL PRODUCTION PUZZLE "O" has amazed its audience consistently and this is thanks to relentless efforts to make this show run as seamlessly as possible and countless ameliorations since its launch. With moving parts weighing in at 900lbs, this masterwork of ingenuity and innovation has kept the crowd on their toes for 24 years now and shows no signs of stopping any time soon. Ensuring continuity and transitions between acts, an elite team of 17 synchronized swimmers perform choreographies co- created by Debra Brown and the Olympic gold medalist Sylvie Fréchette. But the pool is not the only place where tightly choreographed performances take place. High up in the air, our elite divers jump from 60 feet – higher than an Olympic diving board – into a 17 feet deep section below water. This is no small feat but fear not: "O" features the largest contingent of Olympic Athletes of any of the Cirque du Soleil productions. Many of our performers have taken part in one or more Olympic Games before joining the show. Currently, we have gold, silver, and bronze medalist winners in the show. Safe to say they all know exactly what they're doing! Below the water are a team of 14 technicians and certified scuba divers who help move set pieces, aid in transitions between scenes, and supply oxygen to artists underwater as they wait for their cues to appear above the surface. They've mastered underwater communications and give a hand to artists during the performances and are a crucial element to the show. WHAT TO EXPECT First and foremost, if you're lucky enough to be seated in the front rows of the theater, you can expect to get a little bit wet! Luckily for you, the theater hosts four different micro-climates, so the audience can enjoy a sensible 72 degrees ambient temperature. It is also safe to expect and mind-blowing performance like you've never seen before! Years of practice really makes perfect, and everybody involved in the show works tirelessly to make sure you won't forget your night. Still looking for more insider secrets on "O"? To get the most out of your experience with the Interactive Program, look for QR codes outside the theater and learn even more about the show, the cast and crew, and Cirque du Soleil. # # # # # THE ARCHITECTURE OF CIRQUE DU SOLEIL'S INTERNATIONAL HQ BY: Tony Babinski, Writer and Creative Director | April 19, 2023 Cirque du Soleil designed and built its Montreal head office to both express its heartfelt vision and serve the needs of its artists and creators. The result is entirely unique. When Cirque chose Montreal's Saint-Michel district for its headquarters, it was driven by a desire to transform the community for the better. At the time of construction, Saint-Michel was one of the poorest communities in Canada, and the Cirque du Soleil project was intended as a pillar of urban revitalization. When visitors arrive at the headquarters, they first notice the apple trees and vegetable garden outside. Cirque planted these as an expression of its commitment to nature and the environment. Everything grown there is used by the company. Similarly, rainwater is collected and reused in the building – a total of 2 million liters of water per year. In order to serve the unique needs of the circus artists, the structure has several training studios with high ceilings, fed by natural light. These ceilings must be high enough to accommodate acrobatic performances and rigging of every kind, including aerial acts. One studio at the headquarters, Studio A/B, is large enough to accommodate sets built for Big Top shows. Studio T features a smaller Italian stage for rehearsing more intimate performances. The headquarters also has a complete music studio. In addition, the building is home to Cirque du Soleil's costume atelier. This space is large enough to meet the needs of a department that makes and repairs costumes for all of the company's live shows. Also full of natural light, the atelier is large enough to fit material and costume professionals, as well as textile and dyeing shops. ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 23, Number 4 (Issue #219) – June 2023 "Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C) 2001-2023 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. { Jun.09.2023 } =======================================================================