======================================================================= ______ _ __ _ __ / ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / / / /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ / / __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/ /_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_) 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 7 September/October ISSUE #222 ======================================================================= Welcome to the latest edition of Fascination, the Unofficial Cirque du Soleil Newsletter. * * * LUZIA HEADED TO AUSTRALIA! * * * It's official! Luzia is coming for a 2024-2025 national tour, visiting Melbourne, Adelaide, Perth, Brisbane and Sydney. These performances will highlight the 25th anniversary of Cirque du Soleil in Australia. * * * KÀ CELEBRATES 8,000 PERFORMANCES * * * It's been a big year for Cirque du Soleil in Las Vegas. This year marks the 10th Anniversary of Michael Jackon ONE at Mandalay Bay, the 25th Anniversary of "O" at Bellagio, and the 30th Anniversary of Mystère at Treasure Island. Recently, Cirque du Soleil celebrated another milestone - KÀ at MGM Grand celebrated 8,000 performances on Saturday, September 23rd! "8,000 shows on the Las Vegas Strip is an astounding accomplishment, made possible by our incredibly talented cast and crew over the past 18 years," said Eric Grilly, President, Resident Shows Division and Affiliate Shows Division at Cirque du Soleil Entertainment Group. "We look forward to many more years of astonishing audiences with the incredible story of KA." Since the show opened, more than 960,000 fireballs and 720,000 pyrotechnic devices have been fired and over 880,000 arrows have been shot through the air. There are also more than 500 props and seven puppets in the show. It took artists and crew members 1,300 hours just to create the crab puppet. * * * ALEGRIA & CRYSTAL CELEBRATE 1,000 PERFORMANCES * * * On September 4th, ALEGRIA: In a New Light, celebrated its 1,000th performance since premiere. And on September 24th, CRYSTAL celebrated a milestone too - its 1,000th. Since creation in 2017, CRYSTAL has performed in 20 countries and 137 cities. * * * ONE NIGHT FOR ONE DROP IS BACK * * * Steve Aoki will take the stage as the headlining performer at One Night For One Drop at Marquee Nightclub inside The Cosmopolitan of Las Vegas on Wednesday, Nov. 15. Additional performances by entertainment superstars Neon Trees, Just Kool Featuring: The Iconic Robert "Kool" Bell of Kool and The Gang along with The Legendary Mohamed Moretta and an appearance by artists from Cirque du Soleil, strip icon Lorena Peril and the ladies of FANTASY. Presented by MGM Resorts International, Cirque du Soleil and in partnership with One Night for One Drop's official carrier Air Canada, the transcendent evening will be filled with dining, dancing and a specially curated tasting with fine wines and spirits from world-renowned estates. Steve Aoki known for his collaborations with Bulgari, BMW and BTS will perform for guests at this year's highly anticipated event. The night's entertainment headliners will help the crowd raise funds for the One Drop Foundation and contribute to ensuring sustainable access to safe water for millions of people around the globe. The evening will feature a live auction including the premiere item, LAFFITE AUTOMOBILI's flagship model, LAFFITE LM1, the first "Le Mans-type" hypercar of the modern era to be produced for road use. Making history, LM1 will be the first of 24 produced from January 2025, specially designed by designers Fabrizio and Giorgetto Giugiaro (GFG Style Design Studio in Torino) engineered and manufactured in collaboration with L.M.Gianetti at their Torino production plant. Sir Jackie Stewart, OBE, Founder and Chairman of the Board of Trustees, Race Against Dementia, offers a personal Formula 1 Experience at Silverstone during the 2024 British Grand Prix, perfect for any race enthusiast. In addition to the live auction, guests will have the opportunity to enjoy a specially curated wine tasting from the most coveted estates including Domaines Barons de Rothschild Lafite, Opus One, Domaine Faiveley and many more. * * * CIRQUE IN LONDON PERMANENTLY? * * * It's a tale as old as time! A permanent Cirque du Soleil residency in the City of London has been a dream for the company ever since hopping the pond and finding success there with Saltimbanco in 1997. It has, as of yet, been unable to make that particular dream a reality. So the recent announcement that Cirque could soon have a permanent UK home at iconic London venue The Saville Theatre has certainly raised eyebrows here at Fascination. Located on Shaftesbury Avenue, in the heart of London's West End theatre district, the 110,000 sq. ft, Grade II listed the Saville opened its doors in 1931 with a play "For the Love of Mike." It was subsequently home to live performances and known for hosting the Rolling Stones, Chuck Berry, The Who and Jimi Hendrix, before being converted to a four-screen cinema in its later years. Cirque du Soleil Entertainment Group has confirmed it is exploring the Saville as its first permanent home in the UK. Perhaps this... (oh, I've lost count) time's the charm? Back in 2000, Fascination! explored a number of "what if" scenarios - announcements about shows, permanent locations, or other ideas that Cirque du Soleil intended to explored but were scrapped for various reasons - in a 7-part series; one of these articles spoke about the numerous times Cirque in London has come up over the years. (I guess I'll have to update that one now...) So, if you're interested in learning more about the history of Cirque residing in London, I invite you to read the except within this month's issue. And if you're interested in reading more about these what if possibilities, check out the entire series beginning in issue #199/200, August/ September 2000. * * * CIRQUE DU SOUND LAUNCHES! * * * Cirque du Soleil has a new project and it sounds pretty awesome! It's called CIRQUE DU SOUND and it's a sonic trip exploring creativity itself. "For decades, you've witnessed the boundless creativity, innovation, and imagination of Cirque du Soleil on stages across the world," writes Maxim Potvin, Cirque du Soleil Blog editor. "Now, the creators behind Cirque are taking you on a new kind of journey through the theater of the mind!" Cirque du Sound is a sonic trip from the outer edges of the universe to the inner folds of humanity. Hosted by renowned director and Cirque du Soleil Creative Guide, Michel Laprise, Cirque du Sound immerses you in a series of profound dialogues with modern visionaries in art, science, nature, philosophy, and everyday wonder. And you can check out the first three episodes right now! Learn more in our CIRQUECONNECT (Outreach) section this month. So, let's get into it! /----------------------------------------------------\ | | | 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) CirqueConnect -- Updates from Cirque's Social Widgets * Life is a Circus (Posts from the Official Blog) * Other Outreach (Official Peeks & Noted Fan Finds) o) Fascination! Features * "CRYSTAL in Australia!" - A Review By: Kerry Hennigan, Australia * "On The Thames" a Cirque du Soleil 'What if?' By: Ricky Russo - Atlanta, Georgia (USA) * CIRQUE DU SOUND: Meet the Host & Guests By: The Cirque du Soleil Blog * "CDS: Growing the Business with High-Flying Operations" By: SAP Software Solutions o) Copyright & Disclaimer ======================================================================= CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS ======================================================================= *************************************************************** LA PRESSE -- General News & Highlights *************************************************************** ---------------------------------------------------------- Review: Cirque soars high with circus show Kooza {Aug.31.2023} ---------------------------------------------------------- If you're going to run away to join the circus, especially Cirque du Soleil, you'd best have an amazing skill or talent. It's a requirement for any Cirque show — and Kooza, which runs in the Big Top Tent at Stampede Park until Oct. 8, is no exception. Whether it's a clown, acrobat or contortionist, every artist in Kooza is jaw- droppingly talented and a great performer as well, though some not as obviously so. In the first half of the show, the high-wire act is easily the most spectacular. The five artists who hail from Spain and Colombia are all members of an extended circus family and they know how to elicit gasps and cheers from their audiences. It's billed as a double-wire act because there are two wires, but it's not until all five men congregate on the top wire that things get mind-bending. Two of the men riding bicycles are joined by a yolk that is a mini wire, and on top of that, the fifth man balances on a chair much to the disbelief of the audience, especially when he allows it to sway. By comparison, Dmytro Dudnyk and Anastasiia Shkandybina on the unicycle seem tame, except that Dudnyk eventually ends up balancing Shkandybina on his head. It's a feat that rivals anything on that high wire. Japanese aerialist Mizuki Shinagawa performs an intricate ballet on the aerial silks that's so beautiful to watch that you almost forget how much skill and practice this act requires, and how exquisitely it has been choreographed. Contortionists never cease to amaze because everyone knows the limits of flexibility in their own bodies. The three young women from Mongolia who perform in Kooza are not just inconceivably flexible but also incredibly strong. At one point, one of the women bends to make a table of her body and balances the other two on her stomach. The Wheel of Death, an astonishing act, opens the second half of Kooza, and it is easily the most exciting. Jimmy Ibarra Zapata and Angelo Lyezkysky Rodriguez, who hail from Colombia, run, jump, tumble and sway inside a pair of huge spinning wheels in the air. That's enough to get an audience fired up to an almost deafening roar, but then they swing themselves onto the outside of these spinning wheels, once again running, jumping, skipping and tumbling. It's an adrenaline rush, not just for them, but for the audience as well. The Wheel of Death is the centrepiece of an elaborate dance sequence featuring spectacular costumes to recall the Mexican holiday Dia de los Muertos. It's visually spectacular. The Wheel of Death is a hard act to follow but that's the assignment for Aruna Bataa from Mongolia and Wei-Liang Lin from Taiwan. Batta manipulates as many as a dozen hoops at one time and Lin manipulates a device known as diabolos, which is like a highly sophisticated yoyo. To their immense credit, they each had the audience cheering and begging for more. There's even a showstopping drum solo from Israeli musician Eden Bahar, reminding us of the work of the band in the back tower to provide continuous background music. Kooza is not just a showcase for acrobats but also for clowns, and the more than a dozen in Kooza delight adults as much as they do children. They are the warm-up artists as the audience enters and their hi-jinx are a delight. Vocalists Joanie Goyette and Kathryn Holtkamp have the most unappreciated roles in the show because they have to try to sing over a band that often overpowers them, especially in the first half of the show. Visually and technically, Kooza is a stunner, the perfect compliment to the international talent on display. From the moment you enter the Big Top compound, you're greeted with a real carnival atmosphere. { SOURCE: The Calgary Herald } ---------------------------------------------------------- Sun Life reaffirms partnership with Cirque du Soleil {Aug.31.2023} ---------------------------------------------------------- Sun Life Financial Inc. and Cirque du Soleil Entertainment Group today reaffirmed Sun Life as the proud Presenting Partner of Cirque du Soleil Touring Shows in Canada. From walking the tightrope between saving and spending, to the vanishing act that may occur in bank accounts at the end of the month, many Canadians are experiencing their own juggling act. In today's economic environment, planning for a secure financial future has never been more important. That's why through reaffirming its partnership with Cirque du Soleil, Sun Life's is aiming to inspire Canadians from coast to coast to achieve their biggest dreams, while leaving the circus act to the professionals. "Cirque du Soleil is a shining example of making the impossible, possible through creativity, collaboration, and preparation," said Jacques Goulet, President, Sun Life Canada. "With this partnership, we're inspiring Canadians to take the same approach when planning for their future. Financial health is critical to overall wellbeing, but for many Canadians, it can feel like a daunting challenge. By planning, leveraging creative solutions, and working with the right team, Canadians can achieve their biggest dreams, including lifetime financial security. Sun Life was born in Montreal and has a long and proud history in the region, including over 2,500 Quebec Employees who are dedicated to making life brighter for our Clients. We are proud to continue our partnership with Cirque du Soleil to inspire more Canadians to achieve their dreams." Increasing financial security is a key pillar of sustainability at Sun Life. Through innovative products and services, proactive education, and improved access to and use of insurance and wealth products, Sun Life is committed to supporting Canadians' financial security and wellbeing in a rapidly evolving world. Yesterday, at the Cirque du Soleil headquarters, 10 young people aged 11 to 12, from Maison Kekpart de Longueuil were given the opportunity to test their acrobatic skills and dream big. With guidance from circus artists, participants discovered the intrigue of the aerial hoop, mastered physical strength, and embarked on a journey of teamwork like never before. They also toured behind the scenes at the Montreal-based International Headquarters, learning a few of the secrets behind the entertainment company's outstanding international success. At the event, each youth was surprised with a gift from Sun Life to help them take the first step in investing and achieving their dreams. They also had the opportunity to speak with a Sun Life advisor about the importance of planning for the future. "At Cirque du Soleil, our commitment goes beyond the performance," said Stéphane Lefebvre, Chief Executive Officer, Cirque du Soleil Entertainment Group. "We are thrilled to reaffirm our partnership with Sun Life to foster long-lasting relationships with Canadians in a creative and inspirational manner. The natural synergy between our brands presents an amazing realm of opportunities for the future." Cirque du Soleil has redefined how the world views live entertainment. Sun Life wants to redefine how Canadians view their financial futures. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- The Next Gen of Cirque Comes to the DMV with "Echo" {Sep.01.2023} ---------------------------------------------------------- District Fray went behind the scenes with the cast of "Echo" before their Under the Big Top performances from September 6 to October 22 in Tysons, Virginia. "We put the ‘what' factor in your face and let you digest it as an audience — we don't try to hide it." I'm standing with Fabrice Lemire, artistic director for Cirque du Soleil's "Echo," trying to give him my full attention while watching performers complete perfect backflips midair behind him and catching a flurry of stunning costumes and makeup artistry in my peripheral vision. When I apologize for being so easily distracted by this behind-the-scenes glimpse of their latest show in the Cirque du Soleil Montreal Grand Chapiteau just hours before their next performance, Lemire chuckles with a knowing glance, then continues. "What's new is we're revisiting something old," he says, walking me through what makes Cirque du Soleil's 20th Big Top production and 51st show in its 40-year history stand out from the rest. Rather than try to create additional magic around a classic technique, the native Parisian says "Echo" invites you to just take it for what it is. This minimalist approach is a welcome deviation from the norm for the Cirque du Soleil team and "Echo" performers, who speak with collective pride about going back to basics with a laser-sharp focus on the physical acts. District Fray was invited to visit Cirque du Soleil's international headquarters in Montreal this summer for a sneak peek of "Echo" before 51 artists and their creative team relocate to Northern Virginia. From September 6 to October 22, the cast and crew will put down temporary roots in Tysons, Virginia with performances in the Under the Big Top tent. Two days of learning about the massive global operation run out of HQ, experiencing the palpable preshow buzz backstage in the Grand Chapiteau and absorbing the excitement of the hometown audience during a live performance as "Echo" neared its 100th show in Montreal all paint a vivid picture of authenticity around the iconic entertainment group's ethos. "What I see is the audience leaves the show lifted," Lemire says, noting "Echo" has had the most successful immediate reaction he's ever experienced from the Big Top crowd among his past Cirque du Soleil productions. "We must be doing something right for the time we are currently in with the public we have. It speaks to them — no question." Audiences are matching the "Echo" cast's energy. This aggregate of wildly talented up-and-comers who are mostly in their early to mid-20s and span 19 nationalities — with one-fifth of the troop hailing from Ethiopia — represent the next generation of circus artists. Whether they're making their Cirque du Soleil debut or returning with a renewed sense of purpose, they're breathing new life into traditional disciplines and embracing a collaborative approach to this production. "These are really old disciplines we weren't seeing for such a long time," says double hair suspension artist Charlotte O'Sullivan, who plays one of the two Firefly characters with her partner and fellow double hair suspension artist Penelope Scheidler. "That was very clever of Cirque to approach artists at this level who had tested the limits of these disciplines, and bring them to a production like this to really show what we're doing. People believe these are new disciplines, which is so great because it means we reinvented them." The Toronto native says what audiences notice first is the beautiful aesthetic of "Echo" and how unique it is within the Cirque du Soleil canon. "You have this mix between [characters] who look like people and are wearing suits and those who are totally covered as animals — almost like moving set pieces. Those things alone are totally different [than other Cirque shows]." While the plot line of "Echo" leaves much open to interpretation, the gist is that a young woman named Future, played by Washington Trapeze artist Louana Seclet, explores a fantasy world where she connects with animals and nature. But when she finds a mysterious cube, how the natural world and technology collide and coexist comes to the forefront. Seclet, who grew up in the French countryside, says audiences can choose to see "Echo" simply as a version of "Alice in Wonderland" or as complex and layered as George Orwell's "1984" — a kind of choose-your-own-adventure visual experience. "While the show is more futuristic and minimalist in its ideas, it's really raw in the ways we bring the acts," she says. "You see the human performance. You see the risk. We don't replace the human acts with projections. The projections and technology support the human performance." This juxtaposition between an old-school approach to the pure physicality brought to bear by each performer and the sheer volume of technical elements implemented onstage is a bit of an enigma to Lemire and his cast. The combination of the two somehow works to create a show that's contemporary yet nostalgic, complex yet simple, avant- garde yet classic. The 52nd cast member with by far the highest price tag is the cube itself, towering onstage at the height of a two-story apartment building. The "heart of the show" requires 10 video projectors to cover it along with the stage and artists, rotates on a central pivot to move upstage and downstage, and can even float above the Big Top stage. "This is my first time using the technology of projections," Lemire says. "We are rethinking the way we work with these elements — including the cube itself. We can create so much dimension and depth by just having a simple box in the middle of the floor. There is nothing in this show that holds your hand and tries to take you to a fairy land. You sit and watch something evolve in front of you: a big box. How much can we have that box converse with you?" The human cast is eager to find new ways to connect with audiences, too. "Echo" is introducing the new guard of Cirque du Soleil performers to the world, bringing their camaraderie to the stage as they perform familiar disciplines with originality and passion. Seclet says one of the best compliments she's received as Future is being thanked by audience members for her onstage generosity, and how much emotion she puts into her trapeze performance. "I'm really excited to see how people in the United States and Washington, D.C. react to the show," she says. "We are a young cast and we want to show the world that we do what we love and we are happy about it." { SOURCE: District Fray Magazine } ---------------------------------------------------------- Cirque Artistic Director Reveals the Magic Behind CRYSTAL {Sep.03.2023} ---------------------------------------------------------- Cirque du Soleil's artistic director has spoken about the thrills, challenges, and behind-the-scenes antics of their latest groundbreaking show CRYSTAL. Brisbane-born Rob Tannion, who has spent 26 years overseas and recently returned to his roots, expressed immense joy at the company's grand return to Oz. It's been a remarkable journey since their last Sydney performance of KURIOS back in 2019. ‘Everything's going well, rehearsals are on track, and everyone's in high spirits. It's bucket-list moments for many,' he told Daily Mail Australia. The show, specifically created for arenas, promises an immersive 270-degree viewing experience, ensuring there's not a bad seat in the house. Tannion promises a show designed to encapsulate the entirety of the audience. ‘It's about the connection between the performer and the audience,' he shared. But this isn't just any show – it's Cirque du Soleil's very first acrobatic show on ice, making the stakes extraordinarily high. With performers doing risky acrobatics on ice, the challenge is magnified. ‘There's a perceived danger,' Tannion explained. ‘We're doing high-level acrobatics on ice, and all shoes have around 40 spikes underneath to help them. The integration process for performing over ice is complex.' ‘Imagine being told to execute complex acrobatic feats on ice. The danger is always there, and it's a challenge our artists have risen to splendidly,' he chuckled. Having joined the company in 2019, Tannion has dedicated his heart and soul to Crystal. Later this year, he'll transition to a ‘big top' show, offering a different perspective on the Cirque experience. The magic doesn't solely rest on the aerial acrobatics or death-defying stunts, but in the narrative of the show and the universality of its appeal. ‘You can be anywhere in the world and still be able to tell a story,' Tannion beamed. With 25 nationalities and 23 language groups involved, the rehearsal could be in English, Spanish, or French. ‘We all speak circus,' Tannion said, a testament to the universality of their art. But what goes into maintaining the magic? ‘My role as the Artistic Director is really ensuring the show's quality,' he added. From managing technical glitches to sudden injuries, Tannion's role is to ensure that every performance is nothing short of spectacular. A true backstage maestro, he has multiple show versions ready to adapt to any unforeseen challenge. Asked about the challenges and pressures, Tannion admitted the stressful moments are backstage and the goal is to remain calm, clear, and ensure seamless communication with the entire team. When the curtains close and the audience leaves with awe in their eyes, that's the real reward for him. Given Tannion's rich dance background and experience in choreography and direction, he's no stranger to the performing arts. ‘[Joining the circus] was an accident,' he laughed. ‘But working with a giant like Cirque du Soleil, the ability to weave narratives that transcend boundaries and languages is a remarkable experience.' Tannion also shed light on his role as Artistic Director, one that sounds just as thrilling as the high-flying stunts on stage. ‘It's about ensuring that every performance is seamless, spectacular, and of the highest quality. There are times when we have mere seconds to adjust and adapt, but when the audience leaves with ‘that was amazing' on their lips, it's all worth it.' Indeed, the circus may seem like pure magic, but for Tannion and his team, it's a combination of meticulous planning, an intimate knowledge of the show, and, of course, a whole lot of passion. Dazzling acrobat Harley McLeish also spilled the beans on the magic behind the show, his icy adventures, and a journey that began with a school newsletter. For Harley, the acrobat, slipping into ice skates was a chilly challenge. ‘Everybody's tried ice skating at one point or another. And you think, yeah, I can do it,' Harley chuckles. But meeting the figure skaters made him realise, ‘We don't know what we're doing.' Thankfully, their icy counterparts were more than willing to help. ‘It's a fun thing to add into the repertoire,' Harley beams, reminiscing about the couple of months of skating classes they had. Juggling Dreams: Circus Calling from Childhood! The call of the circus echoed early for Harley. Starting with juggling and walking on stilts in a youth circus at 10, it wasn't long before he was trading university dreams for global circus tours. ‘By the time I finished high school, that's it,' he recalls. China to Montreal, Harley's circus journey has taken him across continents and amidst some of the best talents. ‘It's an amazing team that we have,' he enthuses. Ice-Tumbles, Show Jitters, and Behind-the-Scenes Rituals! For all his prowess on stage, Harley candidly admits that it wasn't always smooth sailing. The anxiety before performances was real, often leaving him feeling sick. But the magic begins the moment he steps on stage. ‘Once you're out there, you don't have time to be stressed,' he says, emphasising the importance of training and repetition. Oh, and for those curious about those icy falls? Harley admits to a few slips but credits his shoes with spikes (crampons) for preventing any major tumbles. ‘My job is to stand on the ground and stop other people taking big falls,' he grins. { SOURCE: The Daily Mail } ---------------------------------------------------------- Behind the Scenes of ECHO in Wash DC {Sep.11.2023} ---------------------------------------------------------- For Cirque du Soleil's "ECHO" show, it's all about Ruby. Ruby (which comes from Rubik's cube) is the massive, two-story cube that serves as the centerpiece for the circus company's production. On display at Tysons, Virginia's Under the Big Top venue until Oct. 21, "ECHO" tells the story of the connection between humans and the animal kingdom. And Ruby sits at the very center, anchoring every act and artist while bouncing light in the form of projections. "ECHO," which is supposed to be the most technically complex production in Cirque du Soleil history, takes place in and around the cube. Ruby measures 23 by 23 feet, weighs 12 tons, has motors in each wall and can move up and down the stage. In total, 40 blocks of different materials make it up, and Assistant Technical Director Sarah Morales said that each piece must be placed in exactly the right spot. "As much as all the squares look interchangeable, they absolutely cannot go anywhere aside from where they're supposed to go and you don't have the time or space to fix it," Morales said. This centerpiece has to support 40 artists at one point during the show, with the help of five winches (a mechanical device that holds wire rope) and 16 lines of wire rope. The top hosts a lightbox with approximately 1.6 miles of LED strips. At the same time, 10 projectors (placed all around the tent and requiring their own infrastructure built by the team) showcase imagery to support the artists during the show. All in all, putting this traveling show together requires about 26 technicians. When the trucks roll up — everything travels with the team — it takes about five or six days to go from an empty parking lot to bringing the artists in for training sessions. But this show is a little different than others. "ECHO" was originally set to hit the stage in 2020 until COVID-19 put everything on pause. For this show, though, Morales said it worked out because as the most technical show Cirque du Soleil has ever done, the creative team was able to take a lot of notes from the technician and redesign elements that weren't quite working. "I very strongly believe it's the only reason it is as successful as it is," Morales said. "We got a second go at it, we got a second iteration and there's things that we wouldn't have had time to fix before that we have time to fix now." Behind the projections and wire drops for artists are two heads of automation as well as another technician who splits between automation and rigging (how equipment or performers are suspended onstage). Previously, the Cirque teams used a manual joystick to control all of a show's elements. To power the show, Cirque uses a platform called TAIT Navigator, which has a mix of software and hardware elements for machinery, lighting, audio and more. The technicians have the power to manually override and take control if necessary, but Navigator has better precision, according to Assistant Head of Automation Dalen Vigil. That means the show can do more elements at a faster pace and do bigger flights because technicians can tell the system exactly what they want. Navigator is huge in the performance industry, Vigil said; it is currently being used for Taylor Swift's Eras tour and was employed in Rhianna's Super Bowl Halftime Show. It's ideal for shows like this, he noted, because it has a level of accuracy and consistency that humans can't quite achieve. "When I hit the go button, that winch is going to go to the exact same place, at the exact same time, every single time," Vigil said. "In terms of artist comfort, they know exactly what's going to happen and in terms of the artistic look, it's always going to look the same." That consistency is necessary for a number of reasons. But it also helps with a goal of "ECHO:" making sure everything is identical for every single show. "Our goal is to put on the highest level show every night, but make it the same," Morales said. "If you see it the first week we're here and somebody else sees it the last week that we're here, you saw the exact same show." If all of that wasn't enough technology, the show also features firefly drones that fly all over the tent. The fireflies are powered by motors within their bodies and flown through joysticks, and they fly by the motor making the wings flap just like real fireflies, Morales said and feature a small light that makes them glow. With everything behind the scenes required, Morales said that the director decided to add a technical bow at the end of the show. "We did it and the roar from the crowd was super cool because for me, like yes, they're applauding those technicians but they're it's a moment to acknowledge the entire technical aspect — the whole machine behind it," Morales said. { SOURCE: Technical.ly } ---------------------------------------------------------- Meet Emma Horvath, Alegría Stage Manager {Sep.12.2023} ---------------------------------------------------------- Emma Horvath is a stage manager and show caller with Alegría by Cirque du Soleil. In addition to working in both Cirque du Soleil's Resident Shows and Touring Shows divisions since 2017, Emma has been a key member of the production team for a variety of special events, independent circus performances, and community-based projects around the world. Q. What is your favorite part of Alegría? It's hard to pick. I love the music, the lighting and the circus performances. I think my favorite part is when all the elements come together to create a really big storytelling moments. Like the snow storm or the flying trapezes at the end when everybody is watching. I love the storytelling on it. Q. What part of Alegría would you like to recommend? I wouldn't want to recommend too much because I want them to be surprised. I think the best part of Alegría is to be surprised. But I would say, if you are wondering if you should come to the show, come if you want to see a really joyful performance from a diverse group of performers and technicians and something that will stick with you for a long time. Q. What was the hardest part during the rehearsal? For this show, I was not a part of the original creation rehearsal process. We rehearse on a day-to-day basis when we want to add new things or change something. The hardest part I think is paying attention to all the small details. Because in my job, we coordinate the difference at departments to make sure we have everything we need for the rehearsal. So everyday, we're sending out a schedule information on what's going to be in the show, who is needed to be at each rehearsal. So staying on top of that is challenge. But we have a great team. We all work together and cover each other. Q. How about comparing to other Cirque du Soleil's productions you have involved with? I used to work at Mystère in Las Vegas. I also was on tour with Crystal before and I think Alegría is that we see different parts of the show, big group acts and small solos and duos. You saw sort of a special version today with here. In Japan, we have many different acts in rotation because we knew so many shows. We don't want people to get too tired and worn out. So we have a variety of acts coming through today. You saw a show that had more solos in it than usual. Sometimes we have more group acts and they all are wonderful so come back and see it again! We also have longer rehearsal days now because we have all these extra acts. Also, if you were to look at my calls script, you would see that I have the main acts that were in the show when we were in North America, and then the additional backup and rotational acts that we sort of switch out every day, depending on what's in the show. So we do have to stay really alert and we sort of do a different show every day. Q. When you have a such a hard time, how do you manage it? When I start to feel a little bit down or a little bit stress, I think what really brings me back is, I'm lucky I get to call the show, so I get to see the audience and to hear the audience reactions and see everybody enjoy Alegría and enjoy our work. That's really rewarding. In fact, last week, we had a group of full house from a school, middle school and high school students, and they were so excited to see the show. Reacting loudly and with enthusiasm and it was a real gift for us. Q. What do you think is the best part being part of Cirque du Soleil? There are two parts right there. The shows and The people. I get to meet people I never would have met working for Cirque du Soleil. I never would have traveled to Japan, maybe I would have gone on vacation, but I wouldn't get to spend nine months here. Just looking at my colleagues right now, and I'm looking at people from probably eight different countries, who speaks just as many different languages, people of different specializations who share our knowledge together. And it's not just a circus performance. We get to create worlds with the set and the lighting. We get to take you from the forest to the underground, to the palace, all around this world of Alegría. So both of them are very special to me. Q. How did your career with Cirque du Soleil start? When I was in university, I studied stage management. And when I graduate it I was lucky enough to get an internship with Cirque du Soleil. So I went to Las Vegas for 3 months. I worked at the show, Zumanity as an intern and I got to learn from that stage management team. And then, I went out into the world, have had some more stage management experiences, and grew my career a bit. And then after a while, I was hired at Mystère in Las Vegas, full-time. I started as an assistant stage manager. So I was running the backstage tracks and working on the schedule and the office task. And then at Mystère, I learned calling a circus show. Calling this types of shows is more intricate and more challenging than calling just a play or a musical because you hold people's life on your hands. So I I got that education at Mystère and that was really wonderful. And then, I wanted to explore the touring world and go out and travel and see the world. So I joined first Crystal and now Alegría. Q. Anything you want to try in Cirque du Soleil? I know that I've been really fortunate to work on several shows that have a long history. Mystère and Alegría are some Cirque du Soleil's oldest shows. And I would like to try doing something newer or creating a new show or working on the the frontier of Cirque du Soleil even. Trying out what's new and what hasn't been done before. Q. What's your future career goal? I think my future career goal would probably be to continue to work with incredible people making art. But maybe to make art in a way that feeds those communities that don't have as many advantages, people who might not get as much arts education, otherwise students or people who don't have as much access to buy tickets to Cirque du Soleil. I would really love to use the skills that I have from stage management, project management, event management to impact the world in a positive way. Q. Do you have any advice for those who admire you or admire your job? I would say, be true to what brings you happiness in your career. It's great to have goals and aspirations. But at the end of the day, what's going to give you the life that you want, is to follow what makes you happiest. Not what makes you the most money or the biggest amount of prestige. But if you really want to work for Cirque du Soleil, I would say, get involved with circus arts in whatever way you can. And try to meet as many people as you can. Almost every job I've gotten has been because I knew somebody who knew somebody who could introduce me to the right person so that I could show my value to the right person. { SOURCE: Broadway World } ---------------------------------------------------------- Cirque du Soleil Permanent U.K. Venue on the Cards {Sep.19.2023} ---------------------------------------------------------- Cirque du Soleil could soon have a permanent U.K. home at iconic London venue The Saville Theatre, which is being revived and restored by Yoo Capital. Located on Shaftesbury Avenue, in the heart of London's West End theatre district, the 110,000 sq. ft, Grade II listed the Saville opened its doors in 1931 with a play "For the Love of Mike." It was subsequently home to live performances and known for hosting the Rolling Stones, Chuck Berry, The Who and Jimi Hendrix, before being converted to a four screen cinema in its later years. Yoo Capital acquired the site in October 2021 with a view to revive the venue. Cirque du Soleil Entertainment Group has confirmed it is exploring the Saville as its first permanent home in the U.K. The live entertainment group is looking at the Saville as a venue that "would complement Cirque du Soleil's annual Royal Albert Hall residency and offer theater-goers a more intimate space to enjoy incredible performances all year round." Eric Grilly, president, resident and affiliate show divisions at Cirque du Soleil Entertainment Group, said: "We see a unique opportunity to bring back live entertainment to a beloved venue with fresh content and new ideas." Well-regarded architecture firm SPPARC is leading the proposed masterplan designs to accommodate Cirque du Soleil's intended needs as well as the wider conversion plans that will look to incorporate a boutique hotel by luxury lifestyle and hotel brand citizenM and a food and beverage offering provided by Incipio Group. Following public consultation, Yoo Capital – a real estate firm that has invested over £2.5 billion ($3.1 billion) into central London since its formation in 2010 – will submit planning permission when all elements have been considered and finalized. Lloyd Lee, managing partner, Yoo Capital, said: "We are committed to contributing this beautiful building back into the wonderful tapestry of live performance around the West End by revitalising its theatrical and hospitality history in a modern way. It has been relatively forgotten and underinvested in comparison to its sibling theaters and the buildings along Shaftesbury Avenue. Our plans will look to optimise benefits to the local community and the West End theatrical, live entertainment and hospitality industry." Trevor Morriss, principal architect at SPPARC, added: "Having not operated as a theater for over 50 years, SPPARC is privileged to design a theater space that will rekindle the free-spirited creativity that made it a special venue for a great many globally celebrated performers." Klaas van Lookeren Campagne, CEO at citizenM Hotels, said: "We strive to foster a sense of community throughout the development process and into our operations, by featuring local artists in our spaces, supporting community initiatives, and heroing locals in our campaigns and through art displays on our buildings. We're looking forward to bringing our affordable luxury concept to our new neighbours in Soho." { SOURCE: Variety } ---------------------------------------------------------- Bellagio, ‘O' Celebrate 25-year Anniversary {Oct.03.2023} ---------------------------------------------------------- The iconic Bellagio Hotel and Casino and Cirque du Soleil's "O" celebrated their silver anniversary at the Clark County Government Center Tuesday morning. The Bellagio opened on Oct. 15, 1998, and has been a Las Vegas staple ever since. The Clark County Commission honored the 25-year milestone with a proclamation, speakers, and a snippet of a show for the showstopping 36-story hotel and casino. With nearly 4,000 rooms and amenities, Bellagio and Park MGM President and Chief Operating Officer Ann Hoff said the level of luxury didn't exist before. "Bellagio redefined sophistication in the market of Las Vegas and paved the way for others to do the same," Hoff said. The Italian-inspired hotel has an impact on pop culture with several film and TV cameos and on Las Vegas culture. "Like our fountains, the conservatory, an art program in the Bellagio Gallery of Fine Arts that rivals some museums around the world, and of course, ‘O'," Hoff said. "O" has sold more than 19 million tickets and its performers have dazzled audiences more than 11,000 times. The fountain's water is recycled from underground wells. It has put on more than 180,000 shows. An employee who has been with the casino since it opened shared his thoughts. Mark Sirota worked at the Mirage before transferring to the Bellagio. He said he has never missed a day of work in 34 years. "Nothing compares to the Bellagio," Sirota said. "I am still thrilled and blessed to be there." Sirota started as a butler and in food and beverage. He's now a longstanding table games floor supervisor. The walls are rich with stories, and celebrities past and present have stayed. Sirota said his favorite celebrity encounter was meeting Robin Williams. People travel far and wide. Hoff said the best is yet to come. The Bellagio was built on the former site of the Dunes Hotel and Casino. Steve Wynn and his company purchased the property. The structure was imploded to make way for the resort which cost $1.6 billion. The world's most expensive resort at that time. Wynn sold Bellagio in May of 2000 to MGM. { SOURCE: KLAS Las Vegas } ---------------------------------------------------------- How WFM Helps CDS Balance Artistic Ambition & Creativity {Oct.11.2023} ---------------------------------------------------------- Human Resources and talent management professionals all over the world will tell you they are jumping through hoops when it comes to managing today's workforce. But for one of the world's leading entertainment companies, managing a workforce and top talent that has to actually jump through hoops is quite another story. Cirque du Soleil Entertainment Group is known for its world-class performance artists, acrobats, dancers, and musicians that delight audiences across the globe with pure creativity in motion. Founded with the vision of attracting the best talent from all over the world, the company allows the world's best creative minds, craftspeople, and experts to collaborate and experiment in creating new acts that ignite imaginations. During the global health crisis, Cirque du Soleil saw the need to adapt and diversify its offering beyond live shows. To remain resilient, it widened its portfolio of brand experiences across 3D immersive and filmed entertainment, premium content, gaming, and beyond. To become a diversified global entertainment brand beyond live stage shows, Cirque du Soleil chose to undergo a complete HR transformation using SAP SuccessFactors solutions. The company needed to raise the bar and move beyond manual recordkeeping by optimizing its core HR operations in the cloud. It also called for a reimagining of how the HR team supported Cirque du Soleil's people, moving from a data entry and recordkeeping mindset to a strategic focus. To become a diversified global entertainment brand beyond live stage shows, Cirque du Soleil chose to undergo a complete HR transformation using SAP SuccessFactors solutions. The goal was to pave the way for more engaging experiences, enabling its people to focus on artistic development and creativity without being weighed down by administrative paperwork. Transitioning to automated and streamlined core HR processes with self-services would also free the HR team from manual data entry and help ensure Cirque du Soleil was compliant globally. This allows them to focus on more strategic tasks, such as revamping the annual salary increase process, from end to end. "With SAP SuccessFactors, we can enable a better employee experience and a process that's more accurate and secure," said Sylvia Poulin, talent systems manager at Cirque du Soleil. As an entertainment company, Cirque du Soleil's workforce includes everyone from traditional office staff, performance artists, and technicians as well as a large number of contract-based workers. To help it better understand the breadth of its workforce, including on- call and contract labor, the company captured information from every worker assigned to different shows in the SAP SuccessFactors Employee Central solution. Now, instead of complicated spreadsheets and manual counts, the team at Cirque du Soleil can quickly generate reports on demand. This reporting gives the team a true sense of the people assigned to specific projects and also the type of workforce it employs for different events. In addition, when the company tours from country to country, it needs to consider the various complex workplace and privacy laws regulated in those different locations. This amounts to a huge juggling act on the administrative side to ensure compliance with specific jurisdictions. Functionality offered by SAP SuccessFactors solutions allows Cirque du Soleil to manage roles-based permissions and give workers access to specific information they need, ensuring compliance with data security and confidentiality regulations. When fully implemented, all the company's workers, even those contracted for a specific timeframe, will be able to receive important and timely company communications. As part of its HR transformation, Cirque du Soleil is also reimagining its compensation management processes, building strategic compensation programs and offering powerful self-service functionality. With automated statement generation and notifications for salary increases and bonuses, the company no longer relies on outdated manual workflows. With stronger data integrity and governance, Cirque du Soleil can reduce the risk of errors and can take advantage of automated processes and information workflows to manage its talented people. As its HR team transitions from using spreadsheets, it is also continuously identifying ways to eliminate manual work by automating with SAP SuccessFactors solutions to improve employee experiences. This includes satisfying environmental, social, and governance (ESG) goals by launching initiatives around diversity, equity, inclusion, and belonging. The company also plans to fast-track new hire processes by implementing the SAP SuccessFactors Onboarding solution. SAP SuccessFactors Employee Central is the cornerstone of Cirque du Soleil's reimagined core HR strategy. "SAP SuccessFactors has given us a purpose to unite. It's a central place to drive processes for the entire HR team," said Dominique Bensadoun, senior director of global compensation and HRIS at Cirque du Soleil. "At first, we focused on simplifying our information. Now we're moving forward with more automation so our users can easily understand what's happening in the business." { SOURCE: Forbes } ---------------------------------------------------------- An ‘O' celebration: 25 facts on 25th anniversary {Oct.12.2023} ---------------------------------------------------------- "O" turns 25 this weekend. It is not the first Cirque du Soleil residency production on the Strip, following "Mystere's" opening on Christmas Day 1993. But the critically acclaimed "O" is the company's undisputed box-office champ and flagship production. The show's formal silver anniversary celebration is Sunday night at the Bellagio Theatre. We'll dive in (as it were) with a list of 25 facts about "O" as it turns the calendar: 25: The show is performed in a 1.5-million-gallon, man-made lake. 24: The stage is 25 feet deep. 23: The production has notched about 11,350 performances. 22: A total of 1,200 costumes and headpieces are used in every performance. 21: The theater is based on a 14th-century European opera house. 20: The show's name is from "eau," French for water. 19: During a marketing campaign for "V — The Ultimate Variety Show" at the V Theater at "the Miracle Mile Shops at Planet Hollywood Resort, producer David Saxe produced a series of videos satirizing Cirque. The clips featured a character named "Eau" and were a spoof of the Mac vs. PC commercials airing at the time. 18: Cast members and the theater are featured in Imagine Dragons' video for "Sharks," issued in 2022. As of this week, the video had amassed almost 106 million views. 17: More than 60 technicians and 12 scuba divers work behind the scenes on "O." 16: Seventy-seven performers are employed by the production. 15: The character engulfed in fire is called L'Allumé, a drifter who seems oblivious to the fact that he has been set aflame. 14: The long-haired characters who appear in nearly every scene are a team of synchronized swimmers known collectively as the Nage. 13: The theater's Art of Richard MacDonald gallery exhibits more than 100 bronze sculptures, including 20 life-size works, along with original drawings, paintings and limited-edition prints. 12: Air vents under each seat keep the temperature at 72 degrees. 11: Twenty-six underwater speakers are installed in the stage. 10: Musicians play inside glass booths to protect their instruments, some of which are 100 years old. 9: An erhu, a traditional Chinese stringed instrument, can be heard in the "O" soundtrack. 8: Sixty loads of laundry are done each night. 7: All the figures in the four-horse carousel are constructed from fiberglass, with a propeller and steering mechanism to allow artists to navigate through the water. 6: The heaviest prop, the clown house, weighs more than 7,000 pounds. 5: The theater uses 222,956 feet (more than 42 miles) of cable. 4: About 19.1 million tickets have been sold over 25 years, surpassing the 18 million sold by all-time Broadway champ "Phantom of the Opera." 3: This was the first production ever in Las Vegas to command a $100 ticket price when it opened in 1998 (the joke at the time was, when people saw the ticket price, they went "O!"). 2: The show was an inspiration for Celine Dion's "A New Day …" Dion and Rene Angelil partnered with "O" writer-director Franco Dragone to create the groundbreaking residency production at the Colosseum at Caesars Palace. 1: In 2001, Paul McCartney and George Harrison visited "O" to scout the production for a Beatles-Cirque show being discussed at the time. That show was, and is, "Love." { SOURCE: Las Vegas Review-Journal } ---------------------------------------------------------- Cirque Launches Artist Influencer Network {Oct.12.2023} ---------------------------------------------------------- Cirque du Soleil Entertainment Group announced today a new offering with the launch of the Cirque du Soleil Artist Influencer Network, a platform that connects brands with the company's diverse talent roster to create influencer-style content. The network will host over 1,500 artists at launch, totaling over 35 million followers across nano, micro, and macro audiences within the network. Offering creative talent from all corners of the world, Cirque du Soleil will support and prioritize the amplification of their artists by connecting them with brand partners that match their values, passions, skills, and aesthetics to produce social-first content that resonates with their target audiences. Understanding the value their creative talent brings beyond each performance, the Artist Influencer Network was created as another outlet for artists to express their creativity and connect with fans through their individual passion points. "At Cirque du Soleil, our commitment to creativity and wonder extends beyond the stage. We've witnessed significant organic social growth and interest among our on-stage artists, technicians, and other creative employees over the past two years," stated Christopher Bower, Head of Global Brand & Social at Cirque du Soleil. "The Artist Influencer Network represents the next natural progression, providing brands with access to our exceptional roster of individuals who offer original content and unique perspectives." Talent will span diverse backgrounds and age demographics and across verticals such as acrobatics, fitness/wellness, family & kids, travel and comedy. In addition to the Talent, the Artist Influencer Network will supply brands with social media experts ready to oversee a seamless process from start to finish by supporting artist identification, onboarding, creative strategy, project management culminating in custom content, paid distribution and success metrics. The Cirque du Soleil Artist Influencer Network will be available beginning today, October 12th across social media platforms. For more information, please contact partnerships@cirquedusoleil.com. { SOURCE: Cirque du Soleil } ---------------------------------------------------------- ECHO Brings a Bold New Style to the Famed Big Top {Oct.12.2023} ---------------------------------------------------------- Acrobats catapult through the air, whirling around a colossal white cube wearing sculptural animal masks and street style-inspired tailored suiting. Cirque du Soleil's 20th big top production, Echo, which premiered this fall in the U.S., showcases gravity-defying feats of the human body. Weaving together a storyline about relationship between humans and animals, Echo is the company's first new show since the pandemic. And the creators have come back with a completely refreshed style, a streamlined minimalist feel that makes the stage a runway for polished, high-performance fashion. The show's two central groups of characters are paper animals and paper people. Costume designer Nicolas Vaudelet created suits in white fabric made to resemble crumpled paper — a huge departure from Cirque's usually more ornate style. The symbolism is subtle. The fabric's wrinkles, he said, give the feel that these characters' lives are still being crafted. Pops of fluorescent color differentiate the humans from the animals. All of the acts are performed on a stage with video projections of nature, fire and a band of live vocalists, creating an effect that is cool and more relatable. Vaudelet started his career in haute couture. He has worked with fashion houses including Alexander McQueen, Christian Lacroix and Jean-Paul Gaultier, with whom he developed the costumes for Madonna's "Confession" tour. But circus, he says, is a totally different world. "In couture you can do a lot, but in circus you can do even more. We don't have limits on creativity." And as a costume designer, he added, he can also take more time to create. Echo's production was halted in 2020 due to the pandemic. Vaudelet used that period to reflect and refine. "We never stopped working. I would say the costumes have been four years in the making." Production resumed in 2022 and the show was finally unveiled for the first time in Montreal, last spring, where the company is headquartered. It has been the highest selling show to premier in the history of Cirque du Soleil. At their headquarters in Montreal, Cirque's atelier and wardrobe department is made up of a team of more than 200 employees who work on the research and development for all of the company's shows. This includes milliners, shoemakers and wigmakers. Costumes are all created in house from beginning to end, including developing fabrics. "The shape and pattern of a look may seem simple, but in a circus world, there are a lot of details and technicalities behind every detail," said Vaudelet. "A lot of research that goes into it." For Echo, Vaudelet spent a great deal of time developing the textured fabric for the suits, which acrobats wear as they perform some of the company's most complicated maneuvers. The design team developed a thin but strong polyester treated to be matte with stretchability that allowed for the acrobats to move freely. The material also had to go through several tests for durability so it can withstand the rigor of 10 shows a week. Another big design challenge for Vaudelet was putting acrobats in full head coverings. The teeter board artists wear animal headpieces while propelling through the air on narrow boards, one of the most dangerous acts to pull off. "We have to make sure their vision is never compromised in any way," Vaudelet said. The headwear is developed using medical grade materials to ensure they are lightweight and stay in place throughout the complex movements. "Montreal is like a big laboratory. We do a lot of testing," Vaudelet explained. Printing on white fabric with bright colors, such as the neon orange used in the show, led to unanticipated issues. "We washed it and the orange bled all over. So this type of simple thing took a lot of trial and error." The footwear for the show is created by Cirque's own shoemakers or purchased from athletic footwear brands like Asics and New Balance. Those are then modified with covers so the original shoe is not visible. The atelier also uses 3D printers to make everything from the buttons, to show props. Because the costumes for the shows have to remain consistent as they tour around the world, creating everything in house ensures the best results. A library in the atelier catalogues the tens of thousands of fabrics and colorways created over the years. "The magic is we are working for a show, we are not selling any of this. We just want beautiful silhouettes and characters. That's the difference between traditional fashion and costumes. We are not presenting a collection for buyers," Vaudelet said. "We want to create characters that look beautiful on a stage and together tell a story. Echo is a show that should make you feel like you're are walking in a dream." After the U.S. premier in Washington, D.C., the Echo big top will move to the Miami area at the end of October, followed by four other cities this year. { SOURCE: WWD.com } ======================================================================= ITINÉRAIRE -- TOUR/SHOW INFORMATION ======================================================================= o) BIGTOP - Under the Grand Chapiteau {Alegría INAL, Kooza, Kurios, Luzia, Bazzar, ECHO, and 'TWAS THE NIGHT} o) ARENA - In Stadium-like venues {Crystal, Corteo, Messi10, OVO} o) RESIDENT - Performed en Le Théâtre {Mystère, "O", LOVE, MJ ONE, JOYA, Drawn to Life, 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: Osaka, JP -- July 14, 2023 to October 15, 2023 London, UK -- January 11, 2024 to February 11, 2024 Barcelona, ES -- March 20, 2024 to April 14, 2024 Malaga, ES -- May 31, 2024 to June 23, 2024 Alicante, ES -- July 16, 2024 to August 4, 2024 Seville, ES -- September 28, 2024 to October 27, 2024 Madrid, ES -- December 4, 2024 to January 6, 2025 Kooza: Vancouver, BC -- October 21, 2023 to December 31, 2023 San Francisco, CA -- January 17, 2024 to March 10, 2024 San Jose, CA -- April 18, 2024 to May 26, 2024 Kurios: Knokke, BE -- July 27, 2023 to August 27, 2023 Brussels, BE -- September 7, 2023 to November 5, 2023 Paris, FR -- November 16, 2023 to January 7, 2024 Munich, DE -- January 26, 2024 to February 25, 2024 Dusseldorf, DE -- March 8, 2024 to April 7, 2024 Luzia: Seoul, SKR -- October 25, 2023 to December 17, 2023 Melbourne, AU -- March 24, 2024 to May 5, 2024 Adelaide, AU -- June 9, 2024 to June 30, 2024 Perth, AU -- July 25, 2024 to August 18, 2024 Brisbane, AU -- September 25, 2024 to October 27, 2024 Sydney, AU -- November 24, 2024 to January 15, 2025 Bazzar: 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: Washington, DC -- September 6, 2023 to October 22, 2023 Atlanta, GA -- November 5, 2023 to January 21, 2024 Miami, FL -- February 22, 2024 to April 7, 2024 Toronto, ON -- May 8, 2024 to July 21, 2024 TWAS THE NIGHT: Minneapolis, MN -- November 24, 2023 to December 3, 2023 St. Louis, MO -- November 29, 2023 to December 10, 2023 Phoenix, AZ -- December 15, 2023 to December 24, 2023 Baltimore, MD -- November 24, 2023 to December 3, 2023 Chicago, IL -- December 7, 2023 to December 28, 2023 Milwaukee, WI -- November 24, 2023 to November 26, 2023 New York, NY -- December 7, 2023 to December 28 2023 ------------------------------------ ARENA - In Stadium-Like Venues ------------------------------------ CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE: 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 21, 2023 to Dec 31, 2023 Detroit, MI -- Jan 4, 2024 to Jan 7, 2024 Hershey, PA -- Jan 11, 2024 to Jan 14, 2024 Pittsburg, PA -- Jan 18, 2024 to Jan 21, 2024 Frisco, TX -- Feb 7, 2024 to Feb 11, 2024 Fort Worth, TX -- Feb 15, 2024 to Feb 18, 2024 Cedar Park, TX -- Feb 21, 2024 to Feb 25, 2024 Tucson, AZ -- Feb 29, 2024 to Mar 3, 2024 CORTEO: Mexico City, MX -- Oct 4, 2023 to Oct 15, 2023 Monterrey, MX -- Nov 2, 2023 to Nov 5, 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 Penticon, BC -- Jan 4, 2024 to Jan 7, 2024 Victoria, BC -- Jan 11, 2024 to Jan 14, 2024 Seattle, WA -- Jan 17, 2024 to Jan 20, 2024 Loveland, CO -- Jan 25, 2024 to Jan 28, 2024 Beaumont, TX -- Feb 16, 2024 to Feb 18, 2024 Baton Rouge, LA -- Feb 22, 2024 to Feb 25, 2024 Houston, TX -- Feb 29, 2024 to Mar 3, 2024 Jacksonville, FL -- Mar 7, 2024 to Mar 10, 2024 Greensboro, NC -- Mar 14, 2024 to Mar 17, 2024 MESSI10: Buenos Aires, AR -- Oct 5, 2023 to Nov 12, 2023 Caracas, VE -- Feb 21, 2024 to Feb 25, 2024 OVO: 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 Santiago, ES -- Jan 3, 2024 to Jan 7, 2024 Zaragoza, ES -- Jan 10, 2024 to Jan 14, 2024 Lausanne, CH -- Jan 18, 2024 to Jan 21, 2024 Zagreb, HR -- Jan 25, 2024 to Jan 28, 2024 Vienna, AT -- Feb 1, 2024 to Feb 4, 2024 Budapest, HU -- Feb 8, 2024 to Feb 11, 2024 Bucharest, RO -- Feb 15, 2024 to Feb 18, 2024 Lille, FR -- Mar 7, 2024 to Mar 10, 2024 --------------------------------- RESIDENT - en Le Théâtre --------------------------------- Mystere: Location: Treasure Island, Las Vegas (USA) Performs: Friday through Tuesday, Dark: Wednesday/Thursday Variable Nightly - 7:00pm and 9:30pm 2023 Dark Days: 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) 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) 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) 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) October 16, 2023 JOYA: 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) October 27 - 31, 2023 o) November 3 - 7, 2023 o) December 18 - 19, 2023 ======================================================================= CIRQUECONNECT - UPDATES FROM CIRQUE's SOCIAL WIDGETS ======================================================================= --------------------------------------------------- LIFE IS A CIRCUS: Posts from the Official Blog --------------------------------------------------- o) COLLECTING CIRQUE DU SOLEIL'S HISTORY BY: Antoine B Cotes, TikTok Influencer | September 15, 2023 I was young back then, very young indeed. My memories are fuzzier now, but I clearly remember being in my stroller, in front of the imposing blue and yellow Big Top. I was four years old—you'll have to forgive me! My mother later shared with me the rest of that first experience. What better than a little Cirque du Soleil story during a family dinner? She laughs and says that on the way home from the show, I twirled the cords of my coat to imitate the boleadoras number I'd just seen. We went back to the Old Port almost every year. It became my springtime tradition, my favorite thing to look forward to (and I still do, even at 35!). I can just picture my mom sitting in a chair by the kitchen phone, handset to her ear, calling the Cirque box office to buy our tickets for their latest creation. The excitement that came with that famous call was the harbinger of a great passion that would continue to grow over the years. Few people know that in my early teens, I would produce my own circus shows for my family. Some stuffed animals were the acrobats, while others took on the role of singers or even technicians. I hung sheets from the basement ceiling to create a backstage area. It was serious stuff, with a trapeze, a tightrope and a teeterboard. I even created programs and tickets that I printed and handed out to my family members. My brother kindly contributed by filming the show with the school camcorder, for posterity's sake! It was quite a production, believe me! (In case you're wondering, yes, there's still evidence of these many performances in my parents' basement. And no, you won't be seeing those VHS recordings!) Speaking of VHS tapes, I've always collected anything remotely related to Cirque du Soleil. I had in my possession a small collection of VHS tapes with the Quebec TV broadcasts of Saltimbanco, Quidam and Dralion. These tapes played on a loop in the VCR for years. I didn't realize it, but they were the first items in my collection. Pretty sweet, you've got to admit! I've since acquired official VHS tapes of the shows I love, but I keep them in their original packaging to protect them. I also treasured my show tickets, which I kept in a little envelope tucked away in my bedside table. Sweaters, caps, posters, you name it. As I got older, I began to take an interest in rarer items, such as the famous denim jacket, straight out of the '90s, with the Soleil embroidered on the back. It's definitely my favorite collector's item. I wear it often—even at the risk of damaging it—because I think life experience gives it a little je ne sais quoi. Some of the items in my collection are much older, rarer and more fragile. I have a few official programs, coveted collectors' items, dating back to 1986 and 1987. It's fascinating to leaf through them and see how much Cirque du Soleil has changed since then. I should also mention the very chic Alegría fanny pack, perfect for carrying the essentials around. I recently added several items from the latest show, Cirque du Soleil ECHO, to my collection: a hooded sweatshirt, a cloud-print pouch, a reusable bag and an ornament for my Christmas tree. I'm happy to say that my little collection of Cirque du Soleil items keeps growing. I'm already burning with excitement to see what I'll manage to find next. Who knows what special treasure that might be? o) I BUILT AN ENTIRE CIRCUS WITH MY CHILDREN... ON ROBLOX! BY: Valérie Lévesque, Gamer & Streamer | September 19, 2023 If you have school-aged children, you have certainly heard all about Roblox. I have two of my own, aged eight and ten, and they love this app. As a content creator in the world of video games, I had no choice but to test it out for myself to understand the phenomenon and discover the various experiences offered on the platform. As a result, I was often able to play with my children and have a blast as a family! Cirque du Soleil Tycoon is an immersive experience where you can build and manage your very own show under the Big Top. It includes interactive challenges and mini-games, characters from the show you can discover and explore behind the scenes of Cirque du Soleil ECHO. Watch acrobatic performances, dress up your avatar with unique virtual items inspired by real ECHO costumes, and unleash your imagination in true Cirque du Soleil fashion! Come be part of the Cirque du Soleil community on Roblox, where extraordinary adventures await. As soon as we entered the experience, we knew that what we were about to create was going to be completely wild. The amount of exclusive items and custom visual elements make Cirque du Soleil Tycoon stand out from other experiences offered on Roblox. It shows incomparable attention to detail, a signature of Cirque creations. Having played several experiences of the same type on Roblox, I sometimes get the impression that it's redundant. Fortunately, Cirque du Soleil Tycoon is a breath of fresh air on the platform. I greatly appreciated the developers' creativity that helped them design a unique and enchanting world! My children loved every step of creating the ECHO show while also being able to discover the behind-the-scenes secrets. It's surprising to know that so many people are involved in organizing a Cirque du Soleil show. In fact, in-game, you need to hire employees to fill the same positions as those occupied by staff, artists, and technicians who provide unforgettable moments for spectators under the Big Top. It creates wonderful family discussions about the circus world and live show. That's what I love most when I get involved in children's new interests: there's always a way to make it a fulfilling experience all around. My kids enjoyed being able to watch the show, which is presented on stage once the Big Top is complete, and it made them want to attend a live performance in Montreal! Tell your children about Cirque du Soleil Tycoon, they can add the new game to their Roblox library and have fun for hours. Roblox is a free and multiplayer online immersive experience platform for children and teenagers. It's a sandbox-like application that allows anyone with access to a computer to program an experience themselves and share it with players around the world. The platform includes many types of experiences, as well as popular video games, such as obstacle courses (obbys), tycoons (simulations), shooting games, escape games, and several others. Any player can enjoy their favorite type of experience. Users control their own avatar when visiting the experience. They can change their appearance by buying a variety of items like hats, clothes, or even faces. They can purchase these objects with Robux, the virtual currency used on Roblox. The Roblox and Cirque du Soleil Tycoon worlds are accessible on PC, Xbox, tablets, and mobile phones! o) HOW TO PRONOUNCE CIRQUE DU SOLEIL BY: Cirque Editorial Team | October 5, 2023 The words Cirque du Soleil inspire others to see, hear, and feel performances that defy conformity (it's in our DNA). But how do you pronounce Cirque du Soleil, really? Our shows have many names, and some of the pronunciations aren't always obvious. Some might even surprise you! Read along to learn how to pronounce our show names so that by the end of this article, you can shout it with us: Cirque du Soleil! HOW DO YOU SAY CIRQUE DU SOLEIL? You aren't alone — many struggle with pronouncing Cirque du Soleil at first. We've heard ‘Circus Olay,' "Serk Doo Soolie," and ‘Cirque Soooolay' to name a few. But once you learn how to pronounce the name, you'll never forget it. Cirque du Soleil is French, which is why you can't just cobble together the English sounds for each letter and get the right pronunciation. The phonetic spelling of Cirque du Soleil in English is "surk-doo-so lay." "Surk" rhymes with "lurk." "Doo" rhymes with "boo." "So" rhymes with "go." "Lay" rhymes with "hay." Put this string of words together and you get Cirque du Soleil. The French name Cirque du Soleil translates to Circus of the Sun in English. Here are some others... KÀ -- The phonetic spelling of KÀ is simply "kah." It rhymes with "rah." This one is fairly easy to pronounce, though you wouldn't be the only one to trip over the two-letter construction. KÀ is commonly mispronounced online — many AI recordings pronounce it similar to how you'd say "Kansas," because they confuse the KA in KÀ with the abbreviation for the state. Don't let the AI fool you. KOOZA -- The phonetic spelling of KOOZA by Cirque du Soleil is "koo-zah." "Koo" rhymes with "too." "Zah" sounds similar to "ta" or "da" from "ta-da," and believe us, KOOZA is magical! MESSI10 -- The phonetic spelling of Messi is ‘meh-'see.' Then, you add the number 10, or ‘ten.' Our production of Messi10 by Cirque du Soleil is based on the story of professional soccer player Lionel Messi. If you know how to say his name, you can pronounce the show's name. OVO -- The phonetic spelling of OVO by Cirque du Soleil is "oh- voh." Both syllables of the pronunciation rhyme with "go." Michael Jackson ONE -- This Cirque du Soleil is named after the King of Pop himself. In the order they appear, the phonetic pronunciation is: "My-kuhl" "Jahk-son" "Won" ALEGRIA -- The phonetic spelling of Alegría is "ah-leg-ree-ah." The "ah" sounds like the first part of "apple." BAZZAR -- A bazaar is a type of market, typically found in Middle Eastern or Asian countries. To pronounce our show name BAZZAR, you say "bah-zar." The first syllable rhymes with "rah" and the second syllable rhymes with "car." ECHO -- English speakers will be pleased to learn that ECHO is identical to the English word "echo," which is pronounced "eh- kow." KURIOS -- This show is pronounced differently than the English word, "curious." Pronouncing the show correctly sounds like: ‘ku-ree-ohs' CORTEO -- To pronounce this Cirque du Soleil show, start with the word, "core." Then add "tay-oh" — it sounds like "day-oh!" You get the phonetic spelling of "core-tay-oh." JOYÀ -- JOYÀ is pronounced exactly like the Spanish word. When you put it all together, you get "ho-ya." LUZIA -- LUZIA is a person's name, meaning, "the one who is born at daybreak." Its origin is Portuguese. The "z" makes a buzzing "zzz" sound, so you end with a pronunciation sounding like, "loo-zee-ah." CRYSTAL -- "Crystal" is an English word, and the show name is the same. The phonetic spelling of CRYSTAL is "kri-stl" or "krist-uhl." That said, Cirque du Soleil CRYSTAL is anything but ordinary. "O" -- "O" by Cirque du Soleil is pronounced similarly to the letter, "o", or "oh." More than a letter, "O" brings together the grace of water and world-class divers, synchronized swimmers, and acrobats to create something unlike anything you've seen before. But, chances are you've seen its name before. The name comes from the French word for water, which is "eau" and pronounced similarly but shorter. MYSTERE -- This famous production is named after the French word that translates to "mystery." You pronounce it by saying "mee- stair." DRAWN TO LIFE -- Drawn to Life by Cirque du Soleil is pronounced exactly as it looks in English. In the order they appear, the phonetic pronunciation is: "Draw-uhn" "Tew" "Lyfe" TWAS THE NIGHT --- Our first holiday show, ‘Twas the Night Before is based on the classic poem "A Visit from Saint Nicolas" and will have you counting down the days until Christmas. In the order they appear, the phonetic pronunciation is: "Twuhz" "The" "Nyt" "bee-for" MAD APPLE -- This New York-inspired production is chaotic, wild, and lively, but its pronunciation is a lot more tame. The phonetic spelling of Mad Apple is "mad" (rhymes with "bad") and "ah-puhl." LOVE -- This show, named after the fab four group of musicians, is pronounced: "The" "Bee - tuls" "Luhv" The good news is you can visit the big top whether or not you can pronounce the show's name. View upcoming shows and come say: "hello," "bonjour," "hola," or simply flash a smile. --------------------------------------------------- OTHER OUTREACH: Official Peeks & Noted Fan Finds --------------------------------------------------- o) CIRQUE DU SOUND A great creative idea can come from anywhere, at any time. The trick is – knowing how to spot it. Cirque du Soleil is widely known as a beacon of creative thinking. For decades, they've thrilled audiences with imaginative, interdisciplinary live experiences drawing creative inspiration from art, science, nature, philosophy, and the magic of everyday life. Cirque du Sound is a brand-new podcast from the creative minds at Cirque du Soleil. It's an immersive sonic trip exploring the creative ideas at the root of some of Cirque du Soleil's most beloved shows. Do you want to bring more creativity into your work, or your life? Join host Michel Laprise, renowned director, and Creative Guide at Cirque du Soleil, for deep-dive conversations with modern visionaries from all over the globe. Conversations bent on widening the definition of creativity, all while looking through the unique ‘cirque-oscopic' lens of Cirque du Soleil. * EPISODE 1: Sympathy for the Devil, with Screenwriter John August. https://blog.cirquedusoleil.com/cirque-du-sound-episode-1 Screenwriter and director John August (Charlie & The Chocolate Factory, The Nightmare Before Christmas) is known for creating wildly imaginative storylines where darkness and light get turned upside-down. He joins Michel Laprise for a chat about character evolution, story-worlds, and stories that challenge our understanding of darkness. Together they discuss Alegría, a Cirque du Soleil show exploring themes of light vs. darkness, the thirst for change, and "sympathy for the devil". * EPISODE 2: The Magic of the Every-day, author Luis Alberto Urrea. https://blog.cirquedusoleil.com/cirque-du-sound-episode-2 Open your eyes to magic, and you will find it all around you. A conversation featuring award-winning and best-selling Mexican- American author and journalist Luis Alberto Urrea (Goodnight Irene, The Hummingbird's Daughter, The Devil's Highway) in conversation with Michel Laprise about the inspiration to be found in adopting the lens of magical realism, ghosts, and miracles - and by looking at life in all its subtlety, chaos, and splendor. Together they explore the infinite possibilities of a blank page and the things we might find in the world if we only had the eyes to see. Following themes from LUZIA, a Cirque du Soleil show filled with light, rain, and the culture of Mexico. * EPISODE 3: Creative Rites, with anthropologist Wade Davis https://blog.cirquedusoleil.com/cirque-du-sound-episode-3 The rite of passage is at the heart of the hero's journey. Understanding it is crucial to understanding humanity, and essential to many forms of creative storytelling. Award-winning anthropologist Wade Davis is a rare combination of scientist, scholar, poet, world-traveler, and passionate defender of all of life's diversity. He joins Michel for a deep conversation about the creative and cultural significance of the rite of passage, across cultures and throughout history, and delves into the significance of today's modern "rites". Together, they discuss KÁ, a Cirque du Soleil show with themes of rites of passage, and self-discovery. With each episode linking back to a central theme found in popular Cirque du Soleil shows, Cirque du Sound broadens your definition of creativity through a unique 'cirque-oscopic' point of view. Listen in and open your mind for 12 utterly unique episodes of the Cirque du Sound podcast. Check out this new and exciting podcast on the platform of your choice: -) Spotify: https://open.spotify.com/show/ 1g1xGigNbUbHg6LeIzjBKy?si=22c56a189dd244d3 -) Apple Podcasts: https://podcasts.apple.com/us/podcast/ cirque-du-sound/id1707221236 -) Google Podcasts: https://podcasts.google.com/feed/ aHR0cHM6Ly9mZWVkcy5jb2hvc3Rwb2RjYXN0aW5nLmNvbS9hamJpYm9HeA -) YouTube: https://www.youtube.com/@CirqueduSoleil/podcasts -) Cirque Blog: https://link.chtbl.com/cirque-du-sound-blog ======================================================================= FASCINATION! FEATURES ======================================================================= o) "CRYSTAL in Australia!" - A Review By: Kerry Hennigan, Australia o) "On The Thames" a Cirque du Soleil 'What if?' By: Ricky Russo - Atlanta, Georgia (USA) o) CIRQUE DU SOUND: Meet the Host & Guests By: The Cirque du Soleil Blog o) "Growing the Business with High-Flying Operations" By: SAP Software Solutions ---------------------------------------------------------- "CRYSTAL in Australia!" - A Review By: Kerry Hennigan, Australia ---------------------------------------------------------- Cirque du Soleil's Crystal is the first visit to Adelaide, South Australia, by a Cirque show since the pandemic saw the cancellation of the Australian tour of Kurios, and it was a big, exciting "welcome back" to "the city of churches" with a large crowd attending the matinee session on Saturday 2 September 2023. Crystal - Cirque's first ever ice show, debuting in 2017 - took over the Adelaide Entertainment Centre where I had my first live experience of the celebrated Montreal-based entertainment troupe. The show was Saltimbanco (revised version), which I loved, little knowing the many other Cirque experiences I would subsequently have that would surpass it in the years that followed. Crystal certainly does not disappoint, and it is one of those few Cirque shows where the storyline is fairly easy to follow, helped by occasional narration (in English) as Crystal, a young woman desperate to get away from her safe, humdrum life, falls through the ice when out skating. She tumbles down to an underworld where her imagination opens up new experiences for her, new opportunities to express herself and change her life. Think ‘Alice through the Looking Glass' but replace "Alice" with "Crystal" and the "looking glass" with an ice arena and you'll know what to expect. The clever, daring feats we've come to expect from Cirque are present, with the added excitement of being performed on ice – or above it. Which means, of course, all the performers are wearing skates. It's impossible not to admire such talent, which not only has to possess traditional circus skills, whether it be juggling, balancing, swinging or something else, but which has to be done in skates, on ice, under constantly changing lighting effects. The set and set dressings are rendered atmospheric by these changing kaleidoscopes of colours. It provides Crystal with essential atmosphere and drama for each scenario that is presented. The same must be said of the music, always a very special part of the Cirque experience. For Crystal, the live musicians lead us from scene to scene with the audience clapping in time when prompted by the beat of fiddles and piano accordion. What did surprise me was the inclusion of some non-Cirque contemporary pop songs which slot into the show with great effect and help heighten the viewer's emotions. At least they did for me, because I knew them all well i.e. "Chandelier," "Sinner Man," "Halo" and "A Beautiful Day." Sadly there was no soundtrack CD on sale at the souvenir kiosk in the lobby, but I did bring home a copy of the program – something I've purchased for every Cirque show I've ever seen. My collection of programs from shows I've attended not just in Adelaide, but in Melbourne, Hong Kong, London, Sacramento, Las Vegas (especially Las Vegas!) and Orlando provide a way to refresh my memories of all those magical Cirque du Soliel moments I've been blessed to experience. Crystal has now been added to the collection, and I anticipate many more to come. ---------------------------------------------------------- "On The Thames" a Cirque du Soleil 'What if?' By: Ricky Russo - Atlanta, Georgia (USA) ---------------------------------------------------------- Rumors of Cirque setting up in this fantastic city are almost as old as resident shows themselves, and some of the earliest regarding London stretches back to the late 1990s. It's no secret that following their explosive 1987 premiere in Los Angeles and subsequent conquering of North America, that Cirque du Soleil had set their sights on Australia, Japan, and Europe. But each was met with a few challenges. While it would take some time for the Cirque and Japanese interests to hammer out a deal (they would sign with Fuji in 1991 for a unique tour the following year), and a planned Australian tour of Le Cirque Réinventé for early 1988 fell apart late in the discussions (keeping the continent down-under Cirque-free until Saltimbanco's visit in 1999), Cirque did attempt its first European Tour in 1990. London was the start of a two-year tour that was supposed to take Le Cirque Réinventé to Paris, Barcelona, and other European cities. "We are a little bit nervous about Paris especially," said Danny Pelchat, the circus's general manager and international advance man, in an interview. "Actually, very nervous." Much was riding on the success of this tour; Cirque's successes in North America kept multiplying their operating costs. The more people they drew, the bigger they got, adding on acts and paying more for the venues where they pitched their tent. As costs increased, so did the circus' dependence on larger markets which could sustain such a large infrastructure. Those markets were found on the international scene, prompting Cirque officials to admit bluntly that they had to succeed in Europe if the Cirque was to survive. "We're shaking a bit in our boots -- but maybe that's good for us," Guy Laliberté said. Taking a distinctively North American success story to more blas audiences in Europe was a tall order. The main reason the European trip was such a gamble was that the Cirque had to chalk up an 85-per-cent attendance rate in a 1,600-seat arena to break even. Under the 2,500-seat big-top used in North America, the break-even rate was just 65 per cent. So the Cirque had to fill a greater percentage of seats in Europe without the benefit of the recognition factor it had garnered in North America. Asked what would happen if the European stand was not a success, Pelchat replied: "That can't happen. Period." But if the unthinkable did happen, "there are always back doors" to save the day. One option would be to move the show to Italy or Germany, where success was more guaranteed. Why not go there first? Because playing it safe was boring, they said. Not the Cirque du Soleil way. Unfortunately, the tour was a complete disaster, cut short by a heat wave, war, and indifference. Cirque du Soleil returned to North America with their tails between their legs. Although Cirque had hoped to be successful and tour Nouvelle Experience there, the company would not attempt Europe again until Saltimbanco made inroads in 1995. By that time, Cirque du Soleil would have its first resident show in Las Vegas, with attempts to place them in Vancouver (1994), Toronto (1994), and Berlin (1996), and with new announcements for a second residence in Las Vegas (1996) and Walt Disney World (1996). It made perfect sense that Cirque du Soleil would want a permanent presence in London too. But unlike the other potential residences mentioned so far, London is a far more complicated story because it rears its head often, and becomes mixed into a number of different proposals over the years. The first time we'd hear about Cirque adding London to its growing list of homes away from home was on February 3, 1997. The Montreal Gazette published a blurb that mentioned a Hong Kong-based developer said Cirque du Soleil had agreed to locate a troupe at a giant leisure and entertainment complex it was building in South London. "The contract hasn't been signed, but the two parties have agreed in principle," says Andrew Dowler, a spokesman for the developer, Parkview International. Dowler said the deal is subject to Parkview getting planning permission to build extra facilities on its site, home of the abandoned Battersea Power Station. But if the deal has been all but clinched, the Cirque du Soleil isn't saying. A company spokeswoman would neither confirm nor deny the deal. "Nobody here is going to tell you anything about this," said the woman, who would not identify herself. The article went on to state that Parkview expected to receive preliminary planning approval by March 1998 and could then begin construction by the end of the year. The projected completion date was around the turn of the millennium. The company saw Cirque du Soleil as an integral part of its plan to develop the 12-hectare site, located at Battersea, on the Thames about three kilometers from the Houses of Parliament. Parkview's plans included a 32-screen cineplex, rides, restaurants, hotels, offices, and a train station to link the complex to London's transportation network. The project was expected to cost about $1 billion USD. But little was said about the project for more than three years until a May 2000 interview with Sc no Plus, the performance space design firm from Montreal that mentioned they were working on the "huge, if slow-moving" project at Battersea. It wasn't until December 11, 2000, when Laliberte unveiled a strategy to develop and open "Entertainment Complexes" in major entertainment capitals of the world, was the London project made official. "Over the years, we have collaborated with creative people from around the world to conceive, devise and realize our shows. With the Cirque du Soleil Complexes, we intend to expand our platform by bringing together an ensemble of innovative ideas and talent under one roof and applying them to a physical location. We envision our Complexes as international meeting places where patrons will be inspired and entertained in the spirit of celebration and festivity. We want to surround our public with artful living," announced Laliberte. The complexes would be a unique fusion of drama and design, of architecture and the arts. They would be a place where technology, tourism, arts and leisure converge, and would provide a year-round base for Cirque du Soleil in the form of a permanent theater in the host city. Laliberte added, "We want to situate our patrons in the moment by creating an environment, a microcosm, where no detail is expendable in the profound belief that every detail is part of the big here and now. We believe this to be a natural extension of our mission statement: invoke the imagination, provoke the senses, and evoke the emotions of people around the world." Planning was underway to develop four to six of these complexes within the next ten years, the release said, with the first being planned for The Battersea Power Station site in London at a price tag of 500m. Built in 1930, Battersea Power Station is believed to be the largest brick building in Europe. Its size, its four tall chimneys, and its prime location on the south bank of the River Thames have combined to make it one of London's most recognizable landmarks. In the 1970s, it featured on the album cover for Pink Floyd's "Animals". Despite its renown, however, the station has stood empty since 1975. And there have been plenty of revitalization projects for the site over the years, none of them working out. Guy Laliberte, called the Power Station project a "massive and truly exciting challenge." He continued, "To me this building continues to radiate the energy that it used to convert. It is a hugely powerful symbol. We want to reflect that energy and power in helping to create an environment and destination that will excite the imagination and stimulate the senses. The success of Cirque du Soleil is founded on radical thinking-not just the acts that appear in our shows but the whole entertainment experience. For the first time ever we have the opportunity to apply that radical thinking to a project of this size and scope." But why London? "London is the entertainment capital of the world, so that is why we want a home here for Cirque du Soleil. We want [to build] an entertainment complex using traditional businesses--restaurants, hotels, spas--and challenging them with new creative content. Like we did with the Cirque--taking the traditional and twisting it." As previously stated, Cirque du Soleil formed a strategic alliance with Parkview International, owners and developers of the site, and would advise on artistic content for what became one of the largest urban redevelopment projects in Europe. The Parkview Group Holdings, controlled by the Hwang Family, originally established a construction and development business in Taiwan in 1949. Since then, the Family has specialized in major integrated developments, principally in the Far East and, most notably, their flagship Residential Development in Hong Kong. Cirque du Soleil aimed to contribute their own special brand of lateral thinking, working alongside the site's planners, designers and architects. Talking about the alliance, Parkview's President, Mr. Victor Hwang, said, "Cirque du Soleil's imagination, style and creative energy will help provide the stimulus to build what will be a truly innovative environment. We are delighted that they are going to join a select team that is driving the renaissance of this London icon and the city's South Riverside." Work on the site was to begin within six months of the announcement with an opening date in 2004. The plans called the dilapidated building to be converted into a 2,000-seat auditorium, a ballroom, a cinema, and two hotels. One of the hotels would be conventional. The other, Mr. Laliberte said, would be a "Generation X" hotel that offered entertainment as part of the experience. "The butler in the morning serving you coffee might have a face that makes you crack up laughing or you might be in the elevator and someone will climb out of a little door in the lift and have a chat with you." A spa at the complex will be inspired by the baths of ancient Rome and include festivities, music and food, although it will stop short of offering orgies, Mr. Laliberte said. One of the plant's four chimneys would be turned into an observation tower with the others being used for technical equipment. The redevelopment has been an on-again off-again affair for years. In 1987, the future looked bright. John Broome, then chairman of Alton Towers (a theme park in Staffordshire, England, near the village of Alton), promised to bring 7,000 visitors an hour to an Edwardian- themed amusement park there, but his vision was doomed. Broome set off with gusto, ripping the roof off and tearing out the interior, but costs for the project steadily rose as huge amounts of asbestos and sulfur damage to the brickwork were found. The costs soared past 240m (out of an initial estimate of 34m), forcing Broome to sell Alton Towers to keep his dream alive. When costs reached 300m, the contractor Sir Alfred McAlpine pulled out. The scheme finally ran out of funding in 1989 owing 75.8m and, in 1993, the receivers sold the debts to Parkview for about 10m. But still the project languished, this time because of wrangles over planning consent. Victor Hwang, president of Parkview, said: "I've seen three prime ministers come and go and not a single brick has been laid on this project." Victor Hwang first saw Battersea power station as a schoolboy. Huang said he recognized the potential of the Battersea site from the moment he saw it. His plans for it easily rival Broome's for ambition. He says: "It was a very quick decision; we were aware of the site but we closed the transaction taking over the bank debt within 48 hours of coming to see it. We convinced ourselves that it would become a remarkable development because the position is so good. It is right across the river from Kensington and Chelsea." He was also attracted by the iconic status of the power station, which is instantly recognizable to anyone who has visited London. Hwang remembers it from trips to London made when he was a 13-year-old Taiwanese schoolboy sent to boarding school a long way from home in north Wales. The plans for Battersea were masterminded by Michael Lowe of Arup Associates, the architects and engineers, and Sir Philip Dowson. The project encompasses the development of 37 acres of prime riverside land on which the giant relic stands, as well as the refurbishment scheme by two firms of architects, Benoy and Nicholas Grimshaw & Partners, for the power station itself. And it seemed that this proposal a better chance of success, than many others But... it never happened. By September 8, 2001, in an article highlighting the achievements of Sc no Plus, there was a small section mentioning some of the projects the company was in on that fell by the wayside. Within it mentioned the company being called upon by Cirque and Parkview International to devise a redevelopment plan for the Battersea project, only to have the partnership fall apart. What that article does not make clear is whether the partnership between Sceno and Cirque/Parkview fell apart or the partnership between Cirque and Parkview. Considering it was a piece on Sc no Plus the more likely outcome was that the partnership between Cirque and Sc no soured here. In the end it wouldn't matter too much. On December 3, 2002, Cirque du Soleil announced that, faced with an economic downturn in the hospitality industry, it would abandon plans to open a series of hotel complexes around the world, including in London. The Battersea project appeared off the books. Not much more was heard about residing in Europe until Cirque President and CEO Daniel Lamarre in July 2004 alluded to no less than three new permanent ventures within the next few years; Tokyo, London and New York City. "I wouldn't want to put a calendar to the construction," Lamarre said in an interview with The Star, "but I think it's safe to say we will begin work on the Tokyo project very soon." The Tokyo project became ZED in 2008, of course, which unfortunately folded at the end of 2011. The New York City announcement ultimately became WINTUK in 2007, which also ended its run at the beginning of 2011. London had remained elusive though rumors abounded. Like this one from The Stage: On April 18, 2006, Cirque du Soleil was said to be in negotiations about a possible residency at the O2, the multi-million-pound sports and entertainment complex being built on the site of the former Millennium Dome in Greenwich. Under the deal, the Canadian circus troupe would have a regular show at a 1,800-seat theater that would form part of the new venue. Illustrations showing how the finished O2 would look were announced and a completion date of July 2007 was given for the project. But while the O2 arena would eventually come together, Cirque's involvement did not. On November 15, 2010, an interesting blog post came up at Sky News HD, a component of BskyB in London, which suggested Cirque du Soleil was now actively looking for a permanent home in London through an advisory firm. Guy Laliberte had appointed Allen & Co, a specialist media and entertainment advisory firm, to identify prospective partners who could help establish a permanent residence for the acrobatic dance troupe-cum-circus in London. Mr Laliberte said: "We are working hard trying to find a place in London. We have been looking all over for 10 years. Eventually, we will be at the right place at the right moment with the right real-estate developer. We have looked at the O2. It has been part of the discussion." David Campbell, the chief executive of AEG Europe, which owns the O2, confirmed the talks: "We have looked at it and it's just a question of getting the right business model. It's not imminent but it's not been dismissed." And as of 2020 there's still been no word, and no permanent residence in London. Just hopes. ---------------------------------------------------------- CIRQUE DU SOUND: Meet the Host & Guests By: The Cirque du Soleil Blog ---------------------------------------------------------- Cirque du Sound is a new creative podcast by Cirque du Soleil that explores the boundaries of creativity itself through 12 Cirque-themed conversations with visionaries across a spectrum of disciplines. Below meet Michel Laprise, Creative Guide at Cirque du Soleil and the host of the brand-new podcast, as well as his first three guests: Screenwriter and Director John August, award-winning Mexican-American author and journalist Luis Alberto Urrea, and anthropologist and storyteller Wade Davis: MEET MICHEL LAPRISE Michel Laprise is the Creative Guide at Cirque du Soleil and the host of the brand-new podcast Cirque du Sound. Q. Could you please introduce yourself in a few words? I am the creative guide of Cirque du Soleil. I'm also a director, so, I oversee questions related to the creative vision. I assign the directors and the creative teams their mandates, while also accompanying them on their beautiful journey to create amazing shows. I will give my expert advice on other artistic expressions (that some people call products) we have in the company, and represent the voice of creators, I like to say, at the level of the executive committee. Q. If you had to pick your favorite Cirque du Soleil show, which one would it be? My favorite show is the one I am creating at the moment. Always. I love creation and "favorite" makes it sound like the other shows are not as important. They're all very important – not just the ones I'm working on, all our shows are. I was presented some projects last week to give feedback on and they're just so unique. Our objective is always to make sure that each creation is distinctive from everything else we do. I am as passionate about the show I saw on set last Thursday, the one I saw in rehearsal on Friday and the one I worked on 10 years ago! Q. Can you tell us a bit about what sparked your interest in creation and what lead you to become the Creative Guide at Cirque du Soleil? What sparked my interest in creation is my childhood because I was bored! I wanted to see things with a different outlook, combining things or putting them in relationships in different ways. That way, they would be more interesting or reveal themselves to my consciousness, my eyes, my senses. I also wanted to disobey, get out of the norm, and just explore because it's fun. I like the spirit of adventure. Later on, I got interested in the creative processes of the shows I was seeing at international festivals. Loving to hear about how people create shows, it was natural for me to find my own way to contribute and create at Cirque du Soleil. It really started when I was working in casting and got interested in the artist's evolution process, which became a bit more creative. I developed the audition process to be more like workshops. That led me to expand that to events and then to core shows. Q. By now, you must be used to being on the creative side of your job. How did you feel about stepping into a new pair of shoes as the host of Cirque du Sound? Taking on the role of host was a privilege, a new perspective and different point of view to meet these amazing guests. I'm learning a lot: I love to say that at Cirque du Soleil, it's a constant human school. We learn about life, we learn about art, about society and about humans. This was all a big learning experience. I really enjoyed that. Q. In the live entertainment industry, it's easy to pinpoint where creativity is applied. In a broader sense, what does creativity mean to you? Creativity, to me, is a mindset. It's a way to look at things, a way to listen. It's constant, it's nonstop. Creativity is when I wake up, only to really look at things. I see the trees, see how people behave with each other, their body language, the things they do that makes sense and the things they do that don't make sense. There's poetry everywhere. I'm a strong believer that we are in a paradise, we just need to see it again. Sometimes it might be tough, but you have to remember that we're really fortunate. We have to keep in mind that art is there to celebrate the beauty of humans and nature. When there's a hardship, there's beauty in that. When a human is experiencing a problem, there's beauty because it reveals the human courage. Creativity is not only for the creative people. We can all be creative. Like when you step out of your comfort zone, not to take a risk, but to access a balance. The way to find this balance is sometimes to reach out to the people around you. They might help you to find what you're looking for. In a way, this search balance makes you connect with other people. It encourages you to collaborate, and that's very good. I used to say it's a "group thing". It's a collective effort, and that's why it's so much fun. Q. What kind of surprises can the audience expect in Cirque du Sound? We tried to be very spontaneous. There are scripted questions, but I tried – in my learning process of being the host of a podcast – to stay alert at all times to catch the moments that would be gold. Sometimes (or maybe often!), I will go off script, and I'll jump on the opportunity to ask the guest to expand on what they're expressing. The great thing with Cirque du Sound is that we would always go over time during recording, because our fabulous guests had so many great things to share with us. I can't wait for everybody to listen to it. # # # MEET JOHN AUGUST John August is a screenwriter and director, and a guest on the brand- new podcast Cirque du Sound. Q. Could you please introduce yourself in a few words? My name is John August. I'm screenwriter who's also worked on Broadway. Some of my credits include Big Fish, Charlie's Angels, and Aladdin. Q. If you had to pick your favorite Cirque du Soleil show, which one would it be? While O wasn't my first Cirque show, it was the first one where I remember just going slack-jawed in disbelief. I've now been backstage —both below the water and high in the catwalks. It's astonishing from every perspective. Q. Can you tell us a bit about what sparked your interest in writing and what motivated you to pursue screenwriting? I've always written. In college, I was pursuing a journalism degree until I found out that writing for movies was an actual job. I moved to Los Angeles, read hundreds of scripts, and got started. Q. Once-in-a-lifetime transformative experiences are often part of your movies – did you have one yourself that has shaped your view of the world? It's helpful to think of ourselves as heroes undergoing an epic journey, but we should remember the transformation keeps happening. I've stayed curious and open, which has led to lots of great opportunities and challenges. Q. It takes a village to make a movie; how do you navigate creative differences and maintain a cohesive vision when working with directors and producers? At the start of a project, I try to make a note to myself about what the movie means to me, and why I'm writing it. Through all the ups and downs, that note becomes the touchstone. Anything can and will change, but that initial vision persists. Q. Writing can be a powerful tool for social change. Do you ever feel a moral obligation to address certain issues through your work, and if so, how did you navigate that process? As a gay Boy Scout growing up in 1970s Colorado, I was constantly scanning movies and TV for people like me. I feel a responsibility to represent people, settings and ideas that don't often show up on the big screen. Q. What do you hope your legacy will be in terms of the emotions and ideas your work has conveyed? Life can be a struggle, and my movies don't shy away from showing the hard bits. But I believe the greatest gift you can give someone is hope. # # # MEET LUIS ALBERTO URREA Luis Alberto Urrea is an award-winning Mexican-American author and journalist, and a guest on the brand-new podcast Cirque du Sound. Q. Could you please introduce yourself in a few words? I am Luis Alberto Urrea and I am an author, a speaker, a university professor, activist, husband, dad and grandpa. I was born in Tijuana to a Mexican father and an American mother. It has made me feel like a citizen of the world and set my agenda in my writing career. Q. If you had to pick your favorite Cirque du Soleil show, which one would it be? I LOVED Kurios. The illusions were amazing, the music had to be downloaded, the overall talent next level. The steampunk ethos caught me in all the right places. That show was a wonder. I am also a great fan of Luzia because it captured my Mexican soul and expressed the emotions and wonder I feel every time I go back there. Q. Can you tell us a bit about what sparked your interest in writing and what motivated you to pursue this creative avenue? I was saved by story, no other way to explain this. I was rescued as a child from dire straits by books. How fortunate to be in a family that worshipped books. And, though we had little money, my mother knew the priceless value of a library card. I did not believe that someone from my station in life and cultural roots would ever be an author. But when that muse touches you, you can't help but practice what you love. Such shamans as Leonard Cohen and Ursula K. LeGuin set fire to my love of words. When you surround yourself with magicians like that, you can't help but want to learn – and practice – the magic yourself. Q. Your works often blend various cultural and literary influences. Could you discuss how your dual heritage has shaped your creative style? I don't believe any of us come from hermetically sealed culture. My personal heritage is made up of my mother's English roots in early America with a strand of Hungarian and my father's Mexican side that includes a strong dose of Irish and Basque migrants and Indigenous Mexican culture. All of this was present in our small apartment – which was in a blue-collar barrio, itself a mix of various migrant cultures. All of these strands – including the music I listened to and the books I read – make up my ethnicity as well as my creative impulses. Because I was always listening and paying attention, I could not help but be influenced by all the colors and cultures surrounding me in glorious explosions of creativity. Q. Your writing is known for its vivid descriptions and emotional resonance. How do you approach the task of evoking sensory experiences and deep emotions in your readers? I need to establish an emotional intimacy with my readers to have any hope of connection. That means I have to be vulnerable and as honest and open as possible. I often tell my writing students that they need to fill their pens with love or don't bother picking them up. No pretention allowed because pretention is sheer ego and ego leaves no room for art. It's about love. I believe that every time I scribble in a notebook. Q. Well-written characters often grapple with moral dilemmas and ethical choices. How do you approach creating multi-dimensional characters who face these challenges authentically? Ursula K. LeGuin once told me: "Writers are the raw nerve of the universe. They need us to go feel things and then come back and remind them what it means to be human." In a real way, it is an alchemy of translation: my goal is always to remind my readers of their humanity – and more importantly to embrace the humanity of the other. Q. What do you hope your legacy will be in terms of the emotions and ideas your work has conveyed? There is no them, there is only us. That has been my mantra always. # # # MEET WADE DAVIS Wade Davis is an anthropologist and storyteller, and a guest on the brand-new podcast Cirque du Sound. Q. Could you please introduce yourself in a few words? My name is Wade Davis. I'm a writer and an anthropologist, I suppose I'm also a filmmaker and a photographer, but mainly a storyteller. Q. If you had to pick your favorite Cirque du Soleil show, which one would it be? It has to be Sép7imo Día - No Descansaré, inspired by the music of Soda Stereo. That's how I first met Michel Laprise. It was a really fun project in which he asked me to help envision what kind of universe there would be if it was all informed by the metaphors and the symbols of that band. Of course, we suggested all kinds of things, but I don't think any of it got into the show. Somehow, Michel thought it was all wonderful and we became good friends through that. I find him simply inspirational as a creative artist and as a human being. Q. Can you tell us a bit about what sparked your interest in anthropology and what motivated you to pursue this field of study? I always believed that vocation is simply a lens through which you see the world for a while, and only for a time. So, in that sense, I've had many hats in my life, from botanical explorer to hunting guide to park ranger to Whitewater guide to photographer, filmmaker, anthropologist… I think my interest in culture began during my youth. I grew up in Quebec during the time of Two Solitudes, when English and French didn't really speak to each other. I was raised in an English suburb of Montreal, Pointe Claire, which is sort of stuck like a carbuncle on the back of an old Francophone village. Cartier boulevard literally divided the two worlds. My mother would send me to get groceries or cigarettes in a little corner store owned by a wonderful old Francophone couple on the other side. I would sit on one side of Cartier boulevard, look across the road, and think: "wow, right across there, it's another religion and another language and another way of thinking and being." I wondered: why can I cross this road? – that prohibition wasn't for my family who were very kind, generous, and beloved in the community. But it was from my society itself. And I think, in a way, I've been crossing that road ever since. Q. Can you share some of the most memorable experiences that have shaped your understanding of culture and biodiversity? I had a modest and humble mother who told me, when I was 13, that Spanish was the language of the future. She worked all year as a secretary in an elementary school to earn enough money to allow me to join a small group of students the school master planned on taking to Cali, Colombia in the summer of 1968. Most North Americans had never been in an airplane. And if they did, it would take them to London or Paris. South America was a very far way away at that time and for the other lads going with me. I was the youngest at 14 and the others were around 16, even 17. Perhaps, some of them succumbed to what Colombians call "mamitis", which is homesickness. As I, by contrast, felt like I had never had. It felt as if I had finally found my home. I became very engaged and turned on by the intensity of life in Latin America, and the quiet sort of understanding of the frailty of the human spirit. Q. Cultural research can sometimes raise ethical questions, particularly regarding cultural appropriation. How do you approach these challenges, and what advice do you have for researchers working in culturally sensitive contexts? I've always thought that this term was rather patronizing in itself. We have this idea that indigenous cultures are frail and delicate, and have to somehow be protected from us. My experiences quite the opposite. I've always found these societies to be dynamic living peoples, not drifting away from history, as we would say, but in fact being driven out of existence by identifiable forces. That's actually an optimistic observation because, if human beings are the agents of cultural destruction, they can be the facilitators of cultural survival. It's my experience in the field that if any indigenous group, society or culture does not want someone around, they let that be known and the person is pretty much gone by dawn. The key thing about doing fieldwork with another culture is to find a metaphor or the means through which you can break down the barrier between the people with whom you find yourself living as a guest, and those with whom you'd like to live as a friend. What allows you to do that is never bravado. It's always empathy and love, you know, the same traits that would make one welcome in any village. Q. Your advocacy for the preservation of cultural diversity has been widely recognized. How do you envision your legacy in terms of inspiring others to safeguard indigenous knowledge and traditions? Well, I don't advocate the preservation of anything except the preservation of jam! You don't preserve culture: it is, by definition, dynamic. All cultures are always in a process of change, dancing with new possibilities for life. The issue isn't to freeze people in time, like some kind of cultural specimen. It's to find ways that all people can benefit from the genius of modernity. The issue isn't the traditional versus the modern, but the rights of independent people to choose the conditions of their lives. And so, you cannot expect a young Haida boy to be like his grandfather, any more than you'd expect you to be like your grandfather. If you think of the values, for example, that your great-grandfather held in regards to women, race, gender, or sexuality, there's probably not a single one of the certitudes that that great-grandfather held, that you would normally fully agree with, but most of what he believed, you would find to be morally reprehensible today. That doesn't mean he was a bad guy. He was a product of his times and deserving of your affection and respect and love. But you are not like him any more than a young Haida of today is identical to in values and actions to his own great- grandfather. The whole question is not about preserving anything. It's asking what kind of world we want. To live in a monochromatic world of monotony or polychromatic world of diversity? The gift of indigenous people is not to suggest that they be frozen in the past but rather than the very existence of other visions of life, other ways of thinking, particularly in terms of one's relationship to the natural world, puts the lives of those of us – in our own limited cultural lineage – who insists that we cannot change, when we all know we must change the fundamental way in which we inhabit the planet. If you're raised to believe a mountain is a pile of rock ready to be mined or a forest just cellulose ready to be logged, you're going to have a very different relationship to that environment than a kid in the Andes raised to believe that a mountain is a deity that will direct his or her destiny. It's how the metaphor the lens plays out, with hugely different consequences in terms of the ecological footprint of a people. ---------------------------------------------------------- "Growing the Business with High-Flying Operations" By: SAP Software Solutions ---------------------------------------------------------- While audiences discover the extraordinary, Cirque du Soleil and SAP continue to work behind the scenes to run many of its operational processes including travel and expense management, the purchase of goods and services, and running its core financial, operational and HR systems. 49 current shows around the globe. >4,000 employees worldwide. 81 nationalities of employees. EXPLORE CIRQUE DU SOLEIL'S JOURNEY WITH SAP ------------------------------------------- "To keep amazing our audiences around the world, we knew we needed to re-imagine our whole business and its digital foundation." -- Philippe Lalumière, Vice President of Information Technology, Cirque du Soleil Entertainment Group THE CHALLENGE: RE-IMAGINING INTERNATIONAL OPERATIONS As the leading brand in live entertainment, Cirque du Soleil has to meet spectators where they are all around the world. This means shipping the big top and the entire tour, orchestrating travel for 1,300 artists, and making sure all goods and services are on site. Cirque du Soleil's staff of nearly 4,000 have a massive job to make all of the supportive operational processes look as coordinated as the artists on stage. To become a diversified global entertainment brand beyond live stage shows, Cirque du Soleil chose to undergo a complete HR transformation using SAP SuccessFactors solutions. The company needed to raise the bar and move beyond manual recordkeeping by optimizing its core HR operations in the cloud. An entertainment company as vast and as far reaching as Cirque de Soleil also requires only the most intelligent solutions to provide clarity and transparency on expense and travel management. "SAP SuccessFactors has given us a purpose to unite. It's a central place to drive processes for the entire HR team. Now we're moving forward with more automation so our users can easily understand what's happening in the business." -- Dominique Bensadoun, Senior Director of Global Compensation and HRIS, Cirque du Soleil Entertainment Group SOLUTION: JUGGLING APPLICATIONS TO TRANSFORM A COMPLEX BUSINESS MODEL RISE with SAP has put Cirque du Soleil in the driver's seat to accelerate its transition to a cloud-first business. This provides the best possible platform for growth, innovation, and expansion. SAP Ariba and SAP Concur are at the core of this digital transformation. By integrating people and processes seamlessly, Cirque du Soleil can focus on its biggest priority: the spectator. Cirque du Soleil is moving beyond using SAP SuccessFactors simply to keep records and data. With stronger data integrity and governance, Cirque du Soleil has reduced the risk of errors and is taking advantage of automated processes and information workflows to manage its talented people. With the help of Concur Travel & Expense, Cirque du Soleil is equipped to make informed decisions to keep their business running at its best every day. With over 6,000 trips a year, 40 flights a day and thousands of room bookings a month SAP Concur solutions enable Cirque du Soleil to navigate global compliance, negotiate better rates with suppliers and simplify expense reporting for its staff and performers. SAP Ariba solutions help Cirque du Soleil manage the thousands of costumes and custom-built equipment that make the shows so special. To take audiences beyond expectations and feel the deepest emotions, Cirque de Soleil procures everything from niche make-up, stage equipment, pyrotechnics and countless never-seen-before commodities from global suppliers. Innovating even the most complex, centralized systems allows Cirque du Soleil to successfully orchestrate and deliver shows that go beyond one's wildest imagination. "With SAP Concur, our workload is now cut in half. The data flows easily and transparently through the system. We focus more on the control than the process itself. It reduces my level of stress." -- Chantale Périgny, Accounts Payable Manager Cirque du Soleil Entertainment Group THE RESULT: EXPANDING IN THE CLOUD Cirque du Soleil's intelligent enterprise strategy is helping the company gain the kind of operational efficiency it needs to drive future growth. A heightened employee experience will facilitate ambitious plans to diversify their business, with all of this happening in a financially sustainable manner. SAP SuccessFactors is enabling a centralized tool with a purpose to unite, integrate and drive processes. All users can now readily access accurate and secure data in real time to understand what's happening in the business. SAP S/4HANA Cloud now provides Cirque du Soleil an integrated platform for streamlining business functions such as finance and merchandising across its international operations. Relying on SAP Concur, as part of their overall intelligent enterprise journey; RISE with SAP, Cirque de Soleil is achieving operational excellence with a compliant and transparent spend management system at the core of their business processes. Given a high degree of complexity with their procurement and sourcing requirements, Cirque du Soleil found that SAP Ariba and SAP Business Network have the digital muscle to allow them to perform at the highest level. It is time to discover the extraordinary. "Guided Buying makes it easy. The end user selects the preferred supplier, orders what they need and receives it on time. It is up to 5x faster than our previous system and has a positive financial impact." -- Stéphanie LeRoy, Procurement Senior Director Cirque du Soleil Entertainment Group "SAP has been a trusted advisor for more than 20 years and RISE with SAP represents a critical next step in allowing us to continually evolve our business." -- Stéphane Lefebvre, President & Chief Executive Officer, Cirque du Soleil Entertainment Group SAP HELPS CIRQUE DU SOLEIL RUN BETTER ------------------------------------- Key business outcomes and benefits: o) Established a cloud-based platform with the security, flexibility, and scalability needed to support future growth o) Improved control over core business functions, such as finance and merchandising o) Increased quality and speed of purchasing decisions with near- real-time visibility into the complete purchase process o) Standardized the process for worldwide travel and expense o) A centralized HR tool with a purpose to unite, integrate, and drive process Featured solutions and services: o) RISE with SAP comprises key products and services from SAP and its partners to help customers migrate to the cloud with a leading modular cloud ERP. o) SAP S/4HANA Cloud is a comprehensive ERP system with built-in intelligent technologies, including AI, machine learning, and advanced analytics. o) SAP Ariba solutions help large and midsize companies realize o) fast time to value in the cloud. o) SAP Concur solutions connect travel, expense, and invoice management for total visibility and control. o) SAP SuccessFactors solutions offer individualized experiences and strategic software that empower employees to reach their potential. THREE TIPS FROM CIRQUE AND SAP FOR INNOVATION AND AGILITY --------------------------------------------------------- Cirque du Soleil, the world-famous international performance company, had a mammoth task to get back on the road at the end of the pandemic. Before lockdown, it had 5,000 people working across 32 shows in 60 countries. When the world restarted, it had to reboot its spectacles around the world. The Canadian-born circus group took the opportunity to transform its digital backbone with the help of long-term partner SAP, starting with an exhaustive digital audit. Along the way, the company learned some important lessons that can help other businesses embed agility and innovation into their DNA. TIP 1: USE DATA AND INSIGHTS TO DRIVE TRANSFORMATION For Cirque du Soleil, the end of the pandemic was a springboard to a new way of operating, after it made a commitment to diversify its business beyond the stage. "To do that, we had to learn who we are," says Nickole Tara, Cirque du Soleil's chief growth officer. The company undertook extensive research across 20 of its main markets and asked its fans what they wanted to see. It also explored what Cirque du Soleil meant to its fans and how to develop new products, including some with a home away from its traditional stages. "We learned that 80% of our audience wanted us to create immersive experiences," Tara says. "They wanted something they could take part in, that had elements of gaming." As a result, in 2024 Cirque du Soleil will launch its first immersive, walk-through, participatory gaming-led experience, in Montreal. The show, which will tour the world, has been designed to appeal to a new audience of young people, which was a data-led decision. Research uncovered that, while the average age of a circus audience member is 42, someone taking part in an immersive entertainment experience is on average 21.5 years old. "We're experimenting with a new audience who are uncharted territory for us," Tara says. Cirque du Soleil has also ventured onto the Roblox platform, which attracts about 60 million daily active users, with a build-your-own circus gaming experience. The game involves constructing a big top, training artists and performers and even creating a food and beverage experience. "We're extremely excited about the future and what it will bring," Tara says. TIP 2: LEAD WITH PURPOSE WHEN TRYING NEW THINGS Another insight that emerged from Cirque du Soleil's research was that fans wanted it to lead with intention and be a creative leader, even when there was risk involved. "That gives us the freedom to try new activities," Tara says. She says a unique aspect to disassembling a business and rebuilding it is the ability to be purposeful when rebuilding. "This was a silver lining of the pandemic. We could learn about ourselves and our future." For example, Cirque du Soleil was able to move to a leaner operating model, with a reduced headcount, especially at the corporate level. "It means our IT team is very focused on efficiencies," Tara says. An early adopter of SAP's cloud enterprise resource planning (ERP) software, Cirque du Soleil is already enjoying significant gains thanks to the platform, such as in the way invoices are processed. "I know our CFO is very pleased," Tara says. Peter Maier, SAP's vice-president of strategic customer engagements, says the platform gives companies the potential to access valuable data and insights to optimise the opportunities available to them. "It allows you to measure business performance and deliver true benefits for your corporation," he says. TIP 3: USE TECHNOLOGY TO ENHANCE BUSINESS AS USUAL At any one time, Cirque du Soleil has dozens of show companies moving around the world, all managing a huge number of costs across hotel, food and beverage needs and much more, all of which are expenses that require constant reconciliation. Tara says: "We use SAP Concur for bookings and to maintain a synonymous cost infrastructure around the world. It helps us rationalise costs and understand in real time how inflation impacts us. Now that we have that information, our CFO can hedge the currencies to which we're exposed, which has a significant positive impact." The data that SAP's cloud ERP offers Cirque du Soleil also allows it to more accurately manage its talent. "It helps us aggregate our workforce and achieve success from an onboarding and motivational perspective," Tara says. "It also makes a difference to our workforce plans and for maintaining company KPIs and goals. The amount of data we now have to make decisions from, and the ability it gives us to react in real time, has been exceptionally impactful." Learn more at: https://www.sap.com/about/customer-stories/cirque-du-soleil.html ======================================================================= COPYRIGHT AND DISCLAIMER ======================================================================= Fascination! Newsletter Volume 23, Number 7 (Issue #222) - September/October 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. { Oct.13.2023 } =======================================================================