TheChapiteau Fascination! Magazine - Issue 4

A Cirque du Soleil Fanzine

THECHAPITEAU FASCINATION!

Behind the Curtain: The Faces of Cirque du Soleil

ISSUE

4

January 2015

CONTENTS

CIRQUE BUZZ NEWS, RUMORS & SIGHTINGS ITINÉRAIRE TOUR/SHOW INFORMATION TCF! FEATURES "EVOLUTION: THE TRANSFER OF VAREKAI FROM BIG TOP TO ARENA (AS EXPLAINED BY FABRICE LEMIRE, VAREKAI ARTISTIC DIRECTOR)" - PARTS 1 & 2 BY: KEITH JOHNSON - SEATTLE, WASHINGTON (USA)

"BEHIND THE CURTAIN: THE FACES OF CIRQUE DU SOLEIL” BY: THE LAS VEGAS SUN STAFF SPECIAL REPRINT FROM THE LAS VEGAS SUN COPYRIGHT & DISCLAIMER

B

onne année and welcome to the latest issue of TheChapiteau Fascination! Magazine.

A new year brings new challenges, excitement, and possibilities, but it also brings the closure of one of Cirque du Soleil’s most prolific and highly-polarizing shows: Dralion. On January 18th, Dralion will bid us adieu after touring for fifteen years throughout the world under the Grand Chapiteau and in Arenas for the final time. It’s strange to think how far Dralion has come in those fifteen years. When the show was first launched in Montreal in 1999, the internal reaction to the creation was, as Cirque has put it before, “less than generous” – this was their follow-up to Saltimbanco, Alegria, and Quidam? – But despite the internal opposition, Dralion quickly found its audience and became one of Cirque’s top-grossing touring shows in many of its markets. Even the filming of Dralion became the recipient of three Primetime

Emmy Awards! Of course, today’s Dralion bears little resemblance to the show we were first introduced to, but many fans fell in love with its East meets West mentality – its fusion of ancient Chinese acrobatic traditions with the avant-garde approach of Cirque du Soleil, and it will be missed!

The new year also marks the closure of Zumanity as we knew it, or rather this iteration of Zumanity as we’ve come to know it: “The Sensual Side of Cirque du Soleil.” Fans might remember the original Zumanity, when it debuted in 2003, was not well received by fans and press alike. In fact, the story of its conception (if you’ll pardon the pun) is quite the read with a number of direction changes occurring even before the show was presented to the public.

And after? Well, it seemed at first Cirque would have its first bona-fide flop on its hands, but of course we all know different. This “Other Side of Cirque du

Soleil” was re-tooled not long after its debut, which helped bring Zumanity out of the shadows and into the spotlight. Artists would come and go (we still mourn the loss of Joey Arias), and new marketing campaigns would help bring new sensual visions to the show, but it looks as if all that is about to end. We’re not sure whether Zumanity will keep its “Sensual Side” moniker or not after it re-debuts on January 20th, nor do we know (at this time) what we’re in for once the show returns, but we can’t wait to get a peek!

Next up for changes is THE BEATLES LOVE show at The Mirage, which we have previously discussed could bring about a few new pieces of music to the show.

Current information on this suggests the new changes won’t be ready by the end of 2015, but everyone is working hard to have a re-vamped version of LOVE to present for its 10th Anniversary, which consequently is June 2016.

But while we mourn the passing of yet another Cirque du Soleil show, let us also not forget about those who have achieved great heights in not only longevity but also in performances. I’m talking about Mystere of course, which on December 27th not only celebrated its 21st birthday, but more importantly its 10,000th performance! That’s phenomenal! This is the first Cirque du Soleil show in history to reach such a milestone and we celebrate its accomplishment whole-heartedly!

What’s even more amazing is that Mystere’s guitarist – Bruce Rickerd – is also celebrating a momentous occasion: he’s celebrating his 10,000th show with Mystere too. That’s right; he’s never missed a show in all those years! We hope both Bruce and Mystere continue to delight us for many years and many more performances to come!

For a little history, Mystere celebrated it’s…

2,000th performance on Sunday, March 15, 1998 3,000th performance on Thursday, April 27, 2000 4,000th performance on Friday, May 24, 2002 4,500th performance on Monday, June 16, 2003 5,000th performance on Sunday, June 27, 2004 6,000th performance on Sunday, August 6, 2006 7,000th performance on Monday, September 15, 2008 8,000th performance on Monday, October 18, 2010 9,000th performance on Tuesday, November 27, 2012 Much ado was made about the return of the Battle Scene in KA through-out the month of December – and rightfully so; it’s a welcome return if bitter-sweet homecoming for the awe-inspiring finale to Cirque du Soleil’s spectacle KA at MGM Grand in Las Vegas. The scene was removed following the accident which claimed Sarah Guillot-Guyard’s young life. During the month, the press in Las Vegas spoke with Jerry Nadal and Calum Pearson, senior Cirque officers in Las Vegas, with regards to the re-addition of the epic scene. Inside you’ll find a link to a video the cast and crew of KA filmed as they worked together to bring back the show’s epic Battle scene, and other conversations revolving around the return of the Battle Scene.

The press also spoke with Guy Laliberte, Cirque du Soleil’s Creative Guide and Founder on a couple of occasions as well, as he attempts to right the Cirque

Ship and, as the Wall Street Journal put it: to “rebalance the business”. In their interview (which can be found up first within), Mr. Laliberte discusses Cirque’s recent operational issues, bleak financial outlook, what brought them to this moment, and how – through partnering with new investors – the Cirque intends to remain creative well into the future. Pat Donnelly of the Montreal Gazette also spent a few mintues with Mr. Laliberte discussing Cirque du Soleil’s future fortunes, in which he felt quite optimisitc about the creative company’s future. Indeed, coming on the heels of the THEME PARK announcements, Cirque du Soleil and PortAventura signed a five-year partnership deal and the company has been linked (if slightly) to a re-development deal at a Meadowlands property in New Jersey. And Cirque has been actively recruiting acrobats for its AVATAR-themed show (think blue aliens rather than air-bending, although to be honest I would much rather see that!), set to debut in arenas in December 2015.

If the business side of Cirque du Soleil is getting you down, there are also a couple of great reviews of Cirque’s latest endeavors: JOYA at Riviera Maya and of the 30th Anniversary Concert in Montreal! Neither of these come from any of us here at TheChapiteauFascination! (Sadly, we couldn’t make either journey), but the reviews seem very positive indeed! (Next month we’ll have a few thoughts about the concert’s television broadcast, which is stream-able to residents of Canada online here.

But probably the best and most exciting item from December is the release of the KURIOS soundtrack (on December 9th). We absolutely fell in love with this show at premiere and waited with bated breath for this release, hoping the music heard on the CD would closely-match that heard performed live at premiere.

And it does! KURIOS – CABINET DES CURIOSITES (CDSMC-10051, UPC: 8-43277-88465-5, Composed by Raphael Beau and Bob & Bill) brings a whole new sound to Cirque du Soleil with one of the most organic recordings the company has ever made. Imagine 1930s jazz-era musicians hopping into a time machine to jam out their songs with DJs eager to manipulate traditional music. The result is a modern vintage vibe that blends these two words into a balanced live “old school” feel free to present jazz and swing in a whole new light!

01. 11h11: (4:37) – Opening 02. Steampunk Telegram: (6:53) – Opening / Aerial Bike 03. Bella Donna Twist: (4:16) – Chaos Synchro 04. Gravity Levitas: (4:44) – Russian Cradle 05. Monde Inversé: (4:59) – Upside-Down World (Chairs) 06. Hypnotique: (5:45) – Contortion 07. Departure: (5:39) – Hand Puppetry 08. Fearsome Flight” (4:29) – Rola Bola 09. Clouds: (4:49) – Acro Net 10. Créature De Siam: (4:35) – Aerial Straps 11. Wat U No Wen: (6:57) – Banquine 12. You Must Be Joking: (4:54) – Finale The CD runs for 62 minutes and 37 seconds, representing all the major acts of the show, with one exception: Diabolo (or Yo-Yo). This act wasn’t presented at the time the album was conceived and recorded. But that’s okay! It’s still a fantastic album. We love it! Of course, since we couldn’t get the physical CD through Cirque du Soleil’s Online Boutique, we chose to digitally download the soundtrack via Apple’s iTunes. But you can also get it digitally (and physically) via Amazon – so order your copy today… you won’t regret it! (Especially if you like the show!)

As for our features: In November, Keith had a fantastic conversation with Fabrice Lemiere, Varekai’s Artistic Director and the man in charge of the show’s conversion from Big Top to Arena, Also included is a text reprint from The Las Vegas Sun – “Behind the Curtain: The Faces of Cirque du Soleil”, a wonderful interview series featuring nine Cirque du Soleil performers in productions across Las Vegas (complete with artistically shot photos). Many thanks to Las Vegas Sun for allowing us to publish this amazing feature.

Oh, and don’t forget to pick up Issue #3 of “The Chapiteau-Fascination! Magazine” here!

So, let’s get started!

CIRQUE BUZZ

: t c A t x e s N s s e ’ l n i i e s l u o B S e u h d t e g u n q i Cir alanc Reb

NEWS, RUMORS & SIGHTINGS

The owner and managers of Cirque du Soleil, after seeing their growth prospects wane in recent years, think they have the key to renewed success: less Cirque.

For three decades, the circus giant’s business triumphs mirrored its high-flying aerial stunts, and it became a case study for business school journal articles on carving out unique markets.

But following a bleak outlook report from a consultant, a spate of poorly received shows and a decline in profits, executives at Cirque say they are now restructuring and refocusing their

PHOTO: OSA Images © Cirque du Soleil COSTUME: Marie Chantale Vaillancourt

business—shifting some of the attention away from clowns and acrobats, towards other business ventures.

Cirque also recently suffered its first death during a performance, when an acrobat tumbled 94 feet during a stunt in Las Vegas performance of the show Ka in 2013. After a hiatus of more than a year, Cirque is soon bringing a revamped version of the stunt back to the show.

The recent struggles, said Chief E x e c u t i ve D a n i e l L a m a r r e , “certainly brought a lot of humility to the organization.”

In recent interviews with The Wall Street Journal at Cirque du Soleil’s sleek headquarters here, top executives including founder and 90% owner Guy Laliberté revealed rare details of their financial status and new business plans. The company is seeking to position itself as an attractive bet as Mr. Laliberté began last month looking for investors to buy a significant portion. He plans to review proposals before the end of the year, according to officials.

Cirque du Soleil grew out of Montreal’s street performer scene in the 1980s, helped by early government funding as banks were reluctant to support the band of fire eaters, stilt walkers and clowns. The company’s reinvention of the traditional North American circus—creating theatrical spectacles drawing on Russian and Chinese influences and commedia dell’arte— proved popular on foreign tours. Revenues skyrocketed after a particularly favorable Las Vegas casino deal.

By the end of 2011, Cirque had 22 shows—seven of them in Las Vegas. It had built a 388,000 square foot headquarters in Montreal, much of the building taken up by the costume department that outfits performers in fantastical hand-painted clothes.

Near the peak of the company’s revenues, in August 2008, Mr. Laliberté agreed to sell 20% of the company to Dubai government-owned real estate companies for $545 million, pocketing around $275 million at the time, according to a person familiar with the matter.

But the rapid expansion masked deeper troubles at Cirque. The 2008 transaction valued Cirque at $2.7 billion; five years later, Mr. Laliberté took back a portion of Dubai’s stake at a price that suggested Cirque’s value had declined around 20% to $2.2 billion.

Cirque continued to expand even as the recession cut into demand.

Cirque premiered 20 shows in the 23 years from 1984 through 2006, none of which closed during that time other than its first few. Over the next six years it opened 14 more shows, five of which flopped and closed early.

The reasons for the failures differed. One show, Zarkana, couldn’t make enough money to cover its production costs playing in New York City’s 6,000seat Radio City Music Hall. Iris, in Los Angeles, played in Hollywood, a seedy neighborhood that despite heavy tourist traffic is commercially marginal. Zaia, in Macau, simply didn’t appeal to local audiences.

Perhaps more troubling, the company’s nearly perfect record of producing artistic successes began to waver. Viva Elvis and Banana Shpeel were among several Cirque shows that garnered terrible reviews. Both shows closed quickly.

“Shows like that diluted the brand,” said Patrick Leroux, a professor at Montreal’s Concordia University who has closely studied Cirque du Soleil.

One problem, say Cirque executives, is that audiences didn’t understand the differences among various shows carrying the Cirque brand. As a result many people would dismiss the opportunity to see, for instance, the show Totem thinking they had already seen something similar in the older Varekai. Another problem was that some newer shows weren’t focused on the acrobatic feats that fans had come to expect from Cirque.

Debate swirled over whether Cirque should return to its roots or aim for constant reinvention.

At the end of 2011, Bain & Co., contracted by Cirque, reported that its market had hit saturation and the company needed to be careful with how many new Cirque shows it added. Bain suggested Cirque seek growth through new products, such as movies, according to a person familiar with the matter.

“Guy [Laliberté] always said we are a rarity—but the rarity was gone,” said Marc Gagnon, a former top executive in charge of operations for Cirque du Soleil who left in 2012.

For the first time in its recent history, Cirque didn’t turn a profit in 2012.

By August 2012, Mr. Laliberté had become concerned and convened a five-day summit for executives at his estate outside Montreal. There, he and others drew up plans to lay off hundreds of executives and performers and pare the number of big new touring circus shows Cirque produced.

The cuts began soon after and continued through 2013 and amounted to around $100 million of savings, according to Mr. Laliberté. They included everything from giving out fewer suede anniversary jackets for employees to cutting out child performers and tutors.

Mr. Laliberté also reexamined core production costs. The payroll for Cirque’s show O, in Las Vegas, for instance, had ballooned thanks to a surge in contortionists.

“I said, ‘Why do we need six contortionists?’” Mr. Laliberté, 55, recalled while chain smoking inside his office.

In addition to the layoffs, Cirque also suffered a blow to morale when acrobat Sarah GuyardGuillot was killed last year during a performance.

The company overhauled the show’s finale, a “battle” staged on a vertical wall, with performers suspended from motorized wire harnesses. Since the performer’s death, Cirque has continued to stage the show, replacing the live finale with a videotape of the scene from a past performance.

The new version, set to debut soon at the MGM Grand casino, will involve fewer

SOURCE: The Wall Street Journal PHOTO: Owen Carey © Cirque du Soleil COSTUME: Marie Chantale Vaillancourt

performers and additional safety measures including a system to automatically slow performers as they rise toward an overhead catwalk, which Ms. Guyard-Guillot is believed to have slammed into before falling to her death.

“That was a sad moment,” Mr. Laliberté said of the accident.

Mr. Laliberté’s executive team also came up with a business restructuring plan to address the shortfalls that included the creation of discrete business units under a central corporate entity to try to beef up the non-circus side of the business.

New Cirque subsidiaries include a musical-theater production arm based in New York City and a special-events producer that is beginning to operate under the name 45Degrees Events.

Executives say that currently the company’s biggest growth area isn’t a show at all—it’s an expanding deal to provide ticketing services to the arena company AEG. Other new areas that Cirque is venturing into include small cabaret shows at hotels, children’s television programs and theme parks.

Revenues dropped to $850 million in 2013 from $1 billion in 2012 yet the company netted a profit again due to the cost controls, Mr. Laliberté said.

Mr. Lamarre said the company is aiming to derive 60% of its revenue from Cirque-branded shows in five to 10 years, down from 85% now. Already the special events unit has increased revenue to $37 million from $15 million, said Mr. Laliberté.

Yet circus experts say Cirque is walking a fine line as it seeks to expand into new ventures without damaging its central brand as a creative entity.

“Are they just a machine to print money?” said Jan Rok Achard, a circus consultant and former director of Montreal’s National Circus School. “If you’re not capable to maintain and refresh desire, why are you there?”

For Mr. Laliberté, the stakes are high. He is seeking to sell 20% to 30% of the company to outside investors by emphasizing the more disciplined company structure and growth plan.

He is hoping to find a strategic investor that will help Cirque expand into new markets such as China and India, where it has struggled so far, or provide other advantages. If that doesn’t work out, a public stock offering could be the next step.

He says he is hoping for an investment that would value the company anywhere from $1.5 billion to $2.5 billion.

“We’ll be more about intelligent analysis of each project,” Mr. Laliberté said. “That is where we got confused.”

PortAventura and Cirque Sign 5 Year Partnership Deal PortAventura Resort and Cirque du Soleil have signed a five year partnership deal to create a summer touring base Cirque du Soleil’s big top in the resort.

The first new Cirque du Soleil touring show will be “Amaluna” which will debut in summer 2015 to be part of PortAventura Resort’s 20th Anniversary celebrations.

PortAventura Resort was the first European resort to host a Cirque du Soleil touring show with “Kooza” in July and August 2014 which was seen by over 100,000 visitors.

This new agreement is in line with PortAventura Resort’s internationalization strategy which has seen an investment of over €125 million since 2010.

Commenting on the announcement, Charles Décarie, Chief Operating Officer (COO) at Cirque du Soleil, said, “Cirque du Soleil is very pleased to confirm a 5 year agreement with Portaventura Resort, and reinforces that Spain, its local public and Spanish fans remain central for our company’s future.”

Fernando Aldecoa, General Manager of Operations and Finance at PortAventura Resort, explains, “This partnership represents another step in our international strategy to position the resort as the best family destination in Europe, a model like Sentosa Island (Singapore) and Orlando (USA).”

SOURCE: PortAventura PHOTO: © Cirque du Soleil COSTUME: Mérédith Caron

Cirque at the Meadowlands?

FAO Schwarz will leave its iconic Manhattan location for the Meadowlands, Saks Fifth Avenue and Lord & Taylor department stores will anchor a collection of luxury boutiques, and Cirque du Soleil will establish a permanent theater for Las Vegas-style shows at the American Dream project, according to information the developer of the long-delayed project is circulating as it holds meetings this week to woo retail tenants.

Triple Five, the developer of the project, is telling prospective tenants that more than 50 major retailers, including such mall mainstays as Victoria’s Secret and Gap, have committed to renting space at American Dream, which is scheduled to open in the fall of 2016. More than a dozen restaurants and a permanent Cirque du Soleil theater are also committed, according to a 67-page leasing brochure and the project’s monthly status update for November.

While a developer’s promotional materials about prospective tenants should be viewed skeptically until the project’s opening day, the list of tenants Triple Five has lined up shows that parts of the American Dream will compete directly with North Jersey’s existing malls for tenants.

American Dream, with its planned indoor water and amusement parks, aquarium and other entertainment components, will be unlike any other North Jersey mall, but it is looking to fill its retail wings with many of the retailers that already have stores at North Jersey shopping centers. The project could succeed in luring retailers entering the market for the first time away from Westfield Garden State Plaza and other Paramus malls.

SOURCE: NorthNewJersey.com

Backstage

CIRQUE DU SOLEIL 30th Anniversary Book Regular Version As Cirque du Soleil celebrates its thirtieth anniversary, it opens the doors to a world usually reserved for the initiated. Backstage Cirque du Soleil is the fruit of a collaboration between Cirque du Soleil and the photographer Véronique Vial, who through her unique lens has examined the world behind the curtains for more than twenty years. With touching humanity, Vial’s photographs invite the reader into an intimate universe distilled to its most essential element: Behind each character there is an artist. This luxurious volume features a preface by Cirque du Soleil founder Guy Laliberte. Preface by Guy Laliberte, photography by Véronique Vial.

Hardcover: 232 pages Publisher: Assouline Publishing (December 2, 2014) Language: English ISBN-10: 1614282978 ISBN-13: 978-1614282976 Product Dimensions: 9.8x1.4x12.7 inches

Get the general release of the book here from Amazon for only $50.00 USD.

SOURCE: Assouline | Amazon

Kurios DVD To Be Filmed “Soon” After a recent interview with a KURIOS artist (to be released at a later date), TheChapiteau we had the opportunity to speak to Amelie Robitaille, KURIOS’s publicist, who was kind enough to answer one of our most pressing questions: whether or not KURIOS would follow Amaluna’s steps and see a DVD released in the near future?

“We will, in the future. I can’t guarantee when. All I know so far is we are not filming the DVD in San Francisco as we are too busy. So yes, there will be a DVD release eventually. Because we are such a popular show right now, we are a victim of our success, so we have 10 shows per week. We are so busy that we don’t have time to actually get involved in the filming of the DVD, but it will be happening soon.”

SOURCE: TheChapiteau PHOTO: © Cirque du Solei

Review: Inside Cirque & Grupo Vidanta’s JOYÀ Cirque du Soleil has been astounding audiences around the world for years with their larger than life theatrical productions.

Now for the first time, they have established a resident show in Latin America. It’s called JOYÀ, and Cirque has partnered with luxury resort brand Grupo Vidanta to create a one-of-akind, completely immersive experience in Mexico’s Riviera Maya.

We had the opportunity to join Cirque for the world premiere of JOYÀ just before Thanksgiving, and now we can give you the dish – both literally and figuratively – on this combination of entertainment, food, and culture that will leave you wanting more.

C i r q u e d u S o l e i l ’s 3 6 t h production and its first permanent show in Latin America, JOYÀ tells the story of its title character, a spirited teenager who is pulled into the fantastic through her grandfather, an aging naturalist who is eager to pass his wisdom on to his granddaughter. The production contains everything a young child or teenager would consider fantastic: there’s a boat full of pirates, characters who somewhat resemble ninjas, and at one point, a rampaging Tyrannosaurus Rex. All of this serves as the story against which the typical Cirque elements are set: there are musicians, clowns, and of course acrobats, with performers descending from the rafters,

rising up from beneath the stage, and occasionally making their way into the audience.

JOYÀ may surprise theatregoers who are used to the massive productions of the troupe’s shows in Las Vegas. It is one of Cirque’s shorter productions at an hour and ten minutes long, and much lighter in tone than the likes of anything you’d find on the Strip. The acrobatics, too, are considerably toned down. This is a different Cirque du Soleil, one that is more playful and scaled back.

While that might sound like a bad thing, in actuality it’s perfectly tailored for the environment in which the production is set. JOYÀ doesn’t take place in a massive Las Vegas venue; instead, it is housed in a much more intimate theater designed specifically for Cirque du Soleil by Grupo Vidanta architect Arturo Hernandez, which seats just 600 people.

This means that the stunts must therefore be smaller, but it also makes for a much more intimate experience, where from any vantage point in the house you can see just about all of the action. For example, we were seated in the third tier and able to see the full stage plus everything that was going on up in the rafters. By having a smaller theater, Cirque and Vidanta have ensured that the audience does not feel removed from the show.

It’s quite the opposite: aside from the showroom itself, going to the theater is an experience. It’s not simply one building, but an entire mini-property that does t h e j o b o f s e p a ra t i n g t h e audience from the outside world and bringing them into the Cirque experience. Guests don’t just walk in and sit down; they t ra v e l t h ro u g h a n o n - s i t e restaurant and numerous long walkways with picturesque views, culminating in their arrival at the theater.

And JOYÀ’s tone is perfect for the expected clientele. The theater is located just minutes from Vidanta’s massive Riviera Maya resort property, which welcomes guests from all over the world on their vacations. People who are coming to relax may not be in the mood for a long, dark production; this is something they can appreciate and then go on to enjoy everything else that Vidanta has to offer.

The most major selling point for JOYÀ is that it’s not just a new locale for Cirque, but it’s also a new creative direction. The brainchild of a whopping eleven creative directors, the production mixes in all kinds of references and tributes to Mexican culture.

And for the first time, Cirque is combining one of their shows with a culinary experience.

Grupo Vidanta’s world-class culinary team has prepared a three-course menu that perfectly compliments the story that unfolds in JOYÀ.

Guests can still simply purchase a ticket to the show (starting at $72), but there are now two additional options: a “champagne and show” package which is just that, and then a “dinner and show” tier (starting at $182) that invites audience members to sit down an hour before showtime and take this culinary trip into wonder. It may sound pricey, but if you’re going to make the trek to Riviera Maya, it’s worth the upgrade.

The dinner consists of an appetizer tray, one of two entree options, and a dessert course.

The quality of the food is such that this would stand on its own as fine dining in any restaurant; we had the short rib entree and it was the best short rib we’ve ever experienced, while the desserts are so good that you’ll want seconds and possibly thirds.

Even the menu is edible.

Yet the folks at Vidanta have clearly taken pains to make dining as much of an experience as watching the show. The presentation of the food is just a little different than what you’d expect, leading up to the fact that the dessert is contained in a box made to look like a book right off the naturalist’s shelf, including a faux periodic table printed on the inside. Both in quality and presentation, the dinner is so good that one wishes there was more time to savor it before the production begins.

Which leads us to the Vidanta portion of the JOYÀ experience. If you’re reading this review,

chances are you’re not simply going to fly down to Cancun just for an hour-long show; you’ll make a vacation out of it. And Cirque has picked the perfect partner in Vidanta, because while they may not have pirates and dinosaurs rampaging across their properties, staying at one of the Vidanta resorts is as eyeopening as watching a performance by Cirque du Soleil.

All of Vidanta’s properties are interconnected in one complex, and the JOYÀ theater is located closest to their mid-level resort, The Grand Mayan. It might be the third tier of the Vidanta hierarchy, but it will probably make you never look at a standard hotel room the same way again. Our hotel suite featured an expansive bedroom, a separate living room with dining area, a full kitchen, and a private balcony with its own individual pool.

And because all the properties are connected, once you leave you can easily walk to any of the nearby restaurants, multiple pools, or golf courses – but if you don’t want to, there’s a shuttle service, too. Speaking of the food, the quality extends past JOYÀ to all of the many options that Vidanta offers; it’s better dining than we’ve had at some highly rated American properties. You could spend a whole day here just eating, and then you can walk it off after.

Yet the biggest reason to make Cirque and Vidanta part of your next travel plans is that backbone of all travel experiences: the people. The

service we experienced at The Grand Mayan would make Anthony Melchiorri from Hotel Impossible proud. The folks at these hotels do the big things and the little things right, and then some things you wouldn’t even expect.

To name just a few: when we arrived, the bellman took the time to show us our in-room property map and help us figure out how to get to the restaurant we wanted to dine at. The room service staff don’t just deliver your food, but they’ll bring it into the room and set the whole table for you, and then ask how your day was. And the one afternoon we spent simply relaxing in our h o t e l s u i t e , h o u s e ke e p i n g actually called up to confirm that we didn’t need them to come by.

At The Grand Mayan, there is a tremendous attention to detail, and an obvious commitment to making guests feel welcome.

That is ultimately what makes this partnership between Cirque du Soleil and Grupo Vidanta a worthwhile adventure. These two major brands have come together to create a unique fusion of entertainment and food that you won’t find anywhere else – but they’ve also extended it beyond that to create an entire experience, from a uniquely designed theater to a resort that goes above and beyond expectations. You’re not simply seeing a show; you’re stepping into an entirely different world.

And that is what Cirque du Soleil is all about.

SOURCE: Star Pulse PHOTO: © Cirque du Soleil

“ENTHRALLING!”

Previews of Cirque’s 30th Anniversary Concert The final phase of Cirque du Soleil’s year-long 30th anniversary celebrations began Thursday with a preview performance of a series of spectacular concerts officially opening Saturday at St-Jean-Baptiste Church.

This limited-run, only-in-Montreal event ends Dec. 28.

For once, Cirque fans from around the world will have to travel to Montreal or miss out on a new creation.

Granted, this is a concert, not a circus.

The central problem with Cirque’s musical archives: they contain only one genuine earworm song, Alegria, composed by René Dupéré with lyrics by Franco Dragone, Claude Amesse and Manuel Tadros.

Understandably, this song was saved for the finale (with a bit of Saltimbanco’s Kumbalawé to top it off).

Dupéré was the Cirque’s in-house composer during the early days when Franco Dragone reigned as stage director. His flowing, often melancholic music, which could be loosely classified as new age (with a dash of jazz and world beat), was written to enhance acrobatic performances. This was also true of the music of Benoît Jutras, and other composers who followed, such as Violane Corradi (Varekai) and the team of Bob and Bill (Totem, Amaluna).

Adding a 70-voice choir and 30 musicians (split into orchestra and house band) within a wonderfully ornate nouveau baroque church certainly enhances the mystical side of the music.

Musical directors Gregory Charles and Alain Vinet brought the rich voices of eight veteran Cirque soloists (Francine Poitras, Roxanne Potvin, Paul Bisson, Audrey Brisson-Jutras, Dominic Dagenais, Estelle Esse, Mathieu Lavoie and Anna Liani) to the fore.

The staging of the concert (for which no single person is credited) makes innovative use of the architectural features of the church, including its magnificent organ.

The first 40 minutes of this 75-minute show had me completely enthralled thanks to the special effects as much as the music. It all begins like Quidam, with a waif-like young girl and her big red balloon.

Layers of laser light beams, fog machines and projections are brilliantly employed throughout. When the organ and choir are suddenly bathed in scarlet light at the back of the church, everyone turns to see. Then they swing back as images of acrobatic bodies appear like apparitions on the ceiling.

At one point, flocks of ghostly white birds swarm above.

It’s like the Sistine Chapel gone cinematic via technology beyond Michaelangelo’s wildest dreams.

For the first 40 minutes, I was enthralled. After that it began to feel like a concert. One that served as a reminder of the limitations of invented-language lyrics.

Then conductor Frederic Chiasson began to lead the soloists in an a cappella version of the Beatles song Because from the show Love in Las Vegas. This is pure magic – as well a reminder of Cirque’s pop music stage when it teamed up with the Beatles, then Elvis and finally Michael Jackson.

Later, Love Me Tender, sung by the duet of Anna Liani and Dominic Dagenais (on acoustic guitar), served as a welcome break from the stream of mellifluous music and wordless warbling. Michael Jackson’s Earth Song, however, slipped by, as did several other lovely pieces, so soothing and similar.

This all served to increase anticipation for the big Alegria number we all knew was coming. It did not disappoint.

Costumed acrobats from all of the shows mingled with the audience as everyone sang along.

Cirque du Soleil’s amazing sound, light and music show makes a most eloquent argument for the preservation of Montreal’s architectural treasures as it celebrates the company’s 30th anniversary.

SOURCE: Montreal Gazette PHOTO: John Mahoney © Montreal Gazette

Last night (December 10) marked the official album launch event for KURIOS-Cabinet of Curiosities, the soundtrack to Cirque du Soleil’s l a t e s t B i g To p show, currently playing in San Francisco through January 18, 2015.

This soundtrack represents a thrilling new sound for the company. In line with the show’s theme of time travel, the music of KURIOS-Cabinet Of Curiosities (composed by Raphael Beau with Bob & Bill) compels you to imagine musicians from jazz’s peak era performing alongside contemporary DJs. The blending of vintage and modern styles in the music (a theme that extends to all facets of the show) serves to present jazz and swing in a way that has universal appeal. The intriguing songs complement the show’s mission, which is to blur the lines of fantasy and reality, immersing the viewer in a mysterious and fascinating realm that disorients the senses and challenges perceptions.

One key to the successful fusion of sounds on the KURIOS-Cabinet Of Curiosities album is the unique chemistry between co-producers Rob Heaney and Alain Vinet. Each co-producer brings a different sound to the table; Vinet comes from the electronic/ DJ world, while Heaney comes from a more organic musical environment. Together, they were able to seamlessly blend two different eras of sound into one.

SOURCE: Broadway World PHOTO: © Cirque du Soleil COSTUMES: Thierry Mugler

In keeping with the theme of juxtaposing modern and vintage eras, a limited-edition vinyl version of KURIOS-Cabinet Of Curiosities will be released, featuring completely original artwork. This special vinyl version will be made available exclusively at performances of KURIOS-Cabinet Of Curiosities.

Several members of the KURIOS band participated in tutorials that spotlight their stellar musicianship in addition to giving fans a taste of some of the selections they perform in the show.

Please share and post these videos.

“The accordion player, Lidia, is truly a rock star and has revived my faith in the magic of the squeezebox. She’s insanely talented!” – Rob H e a n e y, KURIOS-Cabinet of Curiosities coproducer.

The “11:11 Clown Voodoo Band” (the KURIOS band) gave us unbelievable performances and showcased a high level of professionalism and exemplary perseverance. Without them, this result would not have existed.”-Alain Vinet, KURIOSCabinet Of Curiosities co-producer.

CIRQUE DU SOLEIL AIDS AUSTRIAN VAULTING PAIR Local heroes Lisa Wild and Evelyn Freund with Stefanie Millinger vaulted to individual female and pasde-deux victory at the FEI World Cup Vaulting third qualifier at the Salzburgarena in Austria at the weekend.

Defending FEI World Cup vaulting champion and former world number one Nicolas Andreani (FRA) also stormed to male individual victory at the venue, where a total of 17 athletes from seven countries battled it out.

Nineteen-year-old Lisa Wild, the youngest athlete in the series and the first athlete to perform a full backflip on her horse two years ago at the FEI Vaulting World Championships in Le Mans (FRA), started the competition with a dream score of 8898 in the first round on Robin, lunged by Nina Rossin.

here in Salzburg.” She credited her success to Robin, who received the best horse score. The victory secured 15 World Cup points and their spot at the FEI World Cup Vaulting Final, which will take place in Graz, Austria, on February 19 to 22.

Simone Jäiser (SUI) on Luk, lunged by her mother Rita Blieske, received the best technical and artistic score finishing second (8,853) and Wild Card competitor Regina Burgmayr (GER) finished third on Adlon lunged by Alexander Hartl (8393).

Defending champion Nicolas Andreani (FRA) repeated last year’s success in Salzburg, winning the male individual competition 766 points clear of his nearest rival Julian Wilfling (GER).

Wild then performed a fascinating final round in front of a packed arena, overwhelming spectators.

Former German national coach and FEI judge Helma Schwarzmann, who this time was watching the competition from the stands, was nearly speechless: “Lisa really inspires me with her own style. She is extremely fluent and very precise in her movements.”

Vaulting on a new horse, Ramazotti, whom he met at the Alltech FEI World Equestrian Games 2014, he scored 9055 points in the first round, finally finishing the two rounds with a combined score of 8,973. “It took a lot of emotion to be strong in Salzburg,” said Andreani. “The end of my career is very close and I had to make sure I got through to the Final at this qualifier. When I heard the French national anthem at the end, I was very, very happy!”.

“Unfortunately I was not able to compete in Salzburg for two years due to several injuries,” said Wild.

“Now I am finally back and it was an amazing feeling to do my show

Salzburg-based Evelyn Freund and Stefanie Millinger, winners of the FEI World Cup Vaulting opening qualifier in Munich (GER), left nothing to chance in preparation for

SOURCE: Horse Talk PHOTO: © Daniel Kaiser/FEI

Salzburg. After their Munich win, they travelled to Montreal (CAN) to train for two weeks with the world’s best acrobats from the Cirque du Soleil, the world’s largest theatrical producer.

This resulted in a breathtaking tworound duel between Freund and Millinger with reigning World, European and FEI World Cup Vaulting champions Jasmin Lindner and Lukas Wacha from Tyrol (AUT).

Freund and Millinger with Robin and lunger Nina Rossin finally managed to edge ahead in the second round, posting a phenomenal score of 9,127, with Lindner and Wacha on Bram lunged by Klaus Haidacher finishing on 9,057.

“In Munich we thought that it was just luck, but now we know that we can do it and that is a big surprise,” said Freund. “My girls did a fantastic job and they really earned this big triumph,” added their coach Roswitha Haigermoser.

A total of 20 vaulters, including the reigning FEI World Cup Vaulting champion Anna Cavallaro (ITA), will now head to the fourth and last qualifier of this series in Leipzig (GER) at the famous horse sport event Partner Pferd.

Cirque Du Soleil Setbacks And Success On the Las Vegas Strip After more than two decades at the center of Las Vegas entertainment, Cirque du Soleil has become synonymous with Las Vegas entertainment.

From the north end to the south end of the Las Vegas Strip, visitors can see a Cirque show. Later this month, the company’s first resident show, “Mystere”, will see its 10,000th production.

Jerry Nadal, senior vice president of Cirque du Soleil’s Resident Shows Division, told KNPR’s State of Nevada the company is constantly re-evaluating acts and scenes that are part of each show. However, with the demographics of Las Vegas visitors trending younger, the company has to take that into consideration. “You’re always looking at how you

have to change things and appeal to the demographic of the people who are here now,” Nadal said.

In the intervening years, the company has had a few setbacks, including the shuttering of “Viva Elvis” at the Aria Hotel and Casino. Nadal said they overestimated the draw of Elvis for younger audiences. He said they did not do enough market research. “We needed to do much more on our end for market research. We just took it at face value Elvis and Vegas were synonymous and let’s do a show about Elvis,” he said. The older audience loved the show but there wasn’t enough of them to sustain the show, Nadal said.

According to Nadal, the company’s “Michael Jackson One” at Mandalay Bay is a “success”, and other long-

standing shows, including “The Beatles Love” at the Mirage and “Mystere” at Treasure Island, continue to draw crowds.

But Nadal said the new frontier for the company may be smaller shows like the one it opened in Riviera Maya, Mexico. The show is in a timeshare resort and is a dinner show, which Nadal described as a cabaret-type show with just 27 performers. “You’ll probably see us cropping up in other resort areas that are not necessarily with a mega-mega show,” Nadal said.

Nadal said only Las Vegas can really sustain Las Vegas-style Cirque du Soleil show.

SOURCE: KNPR News

Cirque Dominates Las Vegas Ticket Market This Week With the National Finals Rodeo coming to an end and Christmas right around the corner, this is a slower time in Las Vegas than usual. In fact, the week or two preceding New Year’s Day tend to be among the slowest weeks in the year when it comes to visiting Vegas. Naturally, major touring acts do not stop in Sin City during these weeks, eschewing the week leading up to Christmas in favor of the New Year’s parties during the following week. As such, the resident Vegas acts are pretty much the only show in town this week.

currently atop the secondary market at an average price of $259.52. With the least expensive tickets on the market still carrying a price tag of $184, it is also the most expensive show of the week to get in to. The show’s secondary market average remains unchanged from last week, and there are currently 68 tickets available on the secondary market.

making it the hardest ticket to come by on the secondary market of any top show this week. These tickets are currently listed at an average of $241, with a get-in price of $182. While it is only the fourth most expensive ticket on average, it is only $2 behind The Beatles: Love as far as the most expensive shows to get into.

Of course, Vegas never stops ticking, and a slow week out on the strip still hosts many tourists. Given that the resident shows have a higher market share than usual this week, ticket prices are actually up above where they usually are for many of them. As is typically the case, Cirque du Soleil is dominating the Vegas show ticket market.

Also taking place on Saturday night, Cirque du Soleil’s Zarkana is the second most expensive Vegas show ticket of the week. With only 32 tickets available on the secondary market, the current average price of $258.91 reflects an increase of 7% over last week.

Interestingly enough however, while Zarkana outpaces O by a few cents when it comes to average price (O checks in at $258.43), O actually holds a higher get-in price despite the larger quantity of 118 available tickets on the secondary market. Still, to get into either show it will cost no less than $151.

The highest priced show of the week is none other than Cirque du Soleil’s The Beatles: Love. Always one of the most sought after Cirque du Soleil tickets and among the highest priced resident shows of any given week, Saturday, December 20th’s showing is

Next up on the list of top Vegas tickets of the week is the only non Cirque du Soleil show to crack the top five, and that would be the Blue Man Group’s resident show at the Monte Carlo Theatre. There are currently only 24 tickets available on the secondary market,

Rounding out the top events of the week in Vegas is Cirque du Soleil’s Criss Angel Believe. A resident show of the Luxor Theater at the Luxor Hotel since the fall of 2008, it has undergone many improvements over the year to where it is now a legitimate draw for the hotel. In this slower week where shows are scarce, the 103 Criss Angel tickets currently available on the secondary market are up 31% over last week.

With an average price of $223.58, Criss Angel Believe is the fourth most expensive Cirque du Soleil ticket of the week, and fifth most expensive Vegas show overall. Out of all the shows on our top events of the week in Vegas list, it is the cheapest to get into, with tickets currently listed as low as $115.

SOURCE: Forbes

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The occasion was the Cirque du Soleil’s 30th-anniversary concert at St-JeanBaptiste Church in Montreal. After settling into a pew for the show, I was offered a rare chance to chat with Laliberté.

Having recently read a rather gloomy article on the fortunes of Cirque in the Wall Street Journal, I blurted out something about a funereal aspect to the concert. Laliberté took it in stride.

“The burial of Cirque?” he replied with irony, followed by philosophy. “Actually, true burial is always rebirth — that’s not what I believe, but depending on what you believe spiritually.”

And then, an answer: “No, that is absolutely not the case. This is a moment of celebration. This is the last event of our 30th-anniversary celebration. And for me it’s a special moment because it’s the first time in 30 years that I didn’t get at all involved in the show. So this a birthday gift that I give to myself.”

Laliberté turned 55 on Sept. 2.

According to The Wall Street Journal story, “following a bleak outlook report from a consultant, a spate of poorly received shows and a decline in profits,” the Cirque was now in restructuring mode, refocusing its business away from circus shows toward other ventures.

It also said the company’s net worth had apparently fallen from $2.7 billion in 2008 to about $2.2 billion in 2013.

Last spring, the 2014 numbers, as reported by La Presse, had dropped to “between $1.5 billion and $2 billion.”

I was among those summoned to Cirque headquarters in January 2013 for the announcement of 400 layoffs. According to Radio-Canada, another 52 Cirque employees lost their jobs last month.

Obviously, these are not boom years.

Laliberté agreed that the tale told by the WSJ story was gloomy. But he shrugged it off.

“You know me, I don’t pay attention to that. We know what we’re doing. Life is

full of adventure. There’s no such thing as a clear pathway.”

Yes, Laliberté is willing to sell a chunk of the business (up to 30 per cent). But this is nothing new. He once sold 20 per cent, then bought half of it back.

“We already announced this (sale) in the springtime,” he said. “It’s part of what I believe is good for the Cirque in the future. I had made a decision that I will not put the pressure on the shoulders of my kids to carry on with Cirque. So I have to find people who will carry on.

“I’m 55 years old. I want to enjoy time with my family. I want to enjoy time in life. I believe that a great partner will be the best thing for the Cirque du Soleil in the future.”

However, “no decision has been made yet,” he said. “I still have all my options open. I’m just flirting and testing the market.”

Flirting is something this sworn bachelor has practised for many years.

Two baby mamas notwithstanding (the first with three children, the second with two), he remains legally single.

“All my life I’ve been flirting,” he admitted, with a smile. “I’m no different.

I still carry on the same way.”

And he’s not giving up on his mania for company expansion either. There’s the already announced Cirque theme park, to be located in Nuevo Vallarta, Mexico.

“Actually, we’ve been developing a lot of new projects,” he said. “The creative brand of Cirque du Soleil is creativity.

We’ve been talking about it (the theme park) for a year. Finally, we found the right partner, the right opportunity.”

That partner is Grupo Vidanta, a Mexican company that also partnered with Cirque for its recently opened dinner theatre show Joya in Riviera Maya.

Laliberté talked about trusting the creative forces of a new generation.

“You know we’re 30 years old,” he said.

“We have to challenge ourselves, to explore new fields.”

When the Cirque began, he said, it had little competition. Now, after years of nurturing new troupes, they’re no longer the only fish in the circus sea. Plus they’ve been hit by international

economic crises, and in the case of Zed, in Japan, by an actual tsunami. (In fact, Cirque has had only one genuine artistic and economic flop, Banana Shpeel, not a “spate” of them as per the WSJ.) So will the company continue to produce circuses?

“It’s the core business,” he replied. “You can’t deviate from that. And I don’t see anyone, neither me nor anybody else, who will take over Cirque, going in a direction other than that.”

Asked if he had a deadline to decide on new partners, he stated firmly: “There is no emergency. This is just a process I’m looking into. I have so many things to think about, on the Cirque side, and on my family side. I will try to make the best decisions for both sides.”

While speaking of family, I asked if Cirque was taking care of the family of Ka acrobat Sarah Guyard-Guillot, who died in a fall while performing in Las Vegas in July 2013.

“Totally,” he assured me, “totally.”

Her two children have remained in Las Vegas because the father is still working for Cirque in Ka. Along with Cirque, MGM Grand pays for things like the children’s education and travel expenses for their grandmother.

(Guyard-Guillot was from France.)

An emotional time for the Cirque family “This event we went through was very emotional in the family of Cirque,” Laliberté said.

The battle scene act during which she was killed has just been reinstated after a long hiatus. Everyone wanted to bring it back, but it had to be done at the right time, in a “very methodical, very safe way,” which cost about $500,000 for new equipment.

Meanwhile, the next Cirque du Soleil arena show, based on the film Avatar, is already in the works. Co-produced by the film’s director, James Cameron, it’s slated to open at the Bell Centre next December, to coincide with the release of the first of three Avatar film sequels.

“Montreal is our hometown,” Laliberté said, comparing his team to the Habs and adding, “They didn’t win the Stanley Cup every year.”

“We have to challenge ourselves, to explore new fields.”

It was a novel experience: interviewing Cirque du Soleil co-founder and owner Guy Laliberté, noted party animal and high-stakes poker player, in a church.

B r u c e Rickerd B r e a k s Guinness W o r l d Record

Bruce Rickerd, a former Montrealer who was born in Ottawa, broke the world record of most theatrical performances by a male musician on Saturday in Las Vegas.

Anyone looking for a secret to Rickerd's longevity, including his ability to avoid catching a bug requiring a sick day, or a routine that was a motivational key, won't get one.

It's easy to miss Rickerd during Cirque du Soleil's Mystère show at the Treasure Island casino, especially when there's a man balancing upside-down on the foot of another, or a giant inflatable snail emerging from the massive moving stage or the gasp-inducing drops from acrobats above.

There's no secret, no routine.

Unless you count his regularity to arrive at work and attend the sound check, eat and get his costume on before the show. And he didn't plan to do anything differently in the days leading up to his record-breaking appearance.

But he's there — up high on the right or rather, stage left — playing guitar in just about the same place he's been for every one of the 10,000 shows come Saturday in the 21-year history of Mystère as he and the rest of the band tie the music and sound effects to action on stage.

How does he do it then?

That's right. He's never missed a day of work.

There was that one time, though, when his usual 20-minute commute turned into two-and-ahalf hours, and he got to the theatre with 10 minutes to spare, throwing on his costume without buttoning the buttons.

It never occurred to the 62-yearold musician to do otherwise.

"This is not work for me," he said days before he would be feted Saturday with confetti canons and an onstage finale bow where a Guinness Book of World Records judge announced Rickerd had broken the record for most theatrical performances by a male musician.

Granted, it was for having performed in 9,958 shows, still the most, as the record-keeping body continues to pore through timesheets and employee records that might back up Rickerd's involvement in the remaining 42 shows.

Copious stage manager notes from each performance over the years helped to confirm quite a bit, with Rickerd's name never listed on the "out" list.

The musician is down to earth about his accolade. A member of the show joked that he's got Cal Ripken Jr., who played a record 2,632 consecutive baseball games for the Baltimore Orioles, beat.

Rickerd said he knows being an athlete or an acrobat on stage each night carries a higher risk of injury.

"It's very simple. You show up," he said.

When he discovered he had a herniated disc a couple of weeks before the production went dark in January one year, he showed up.

Rickerd's work ethic might be traced to his time spent as a band leader in Canada. If he didn't show, the whole band wouldn't work, he said.

The husband and father of two grown children got his start playing guitar at the age of 13.

Born in the Ottawa area, Rickerd said he spent most of his Canadian life in Montreal. While a band leader there, he hired a keyboardist, Benoit Jutrus, who would go on to compose the music for some of Cirque's shows including Mystère. Jutrus called one day, several years after leaving the band, to tell Rickerd that Cirque was doing a permanent show in Las Vegas — its first — and asked if he wanted to play. It would be a fiveyear gig, he said Jutras told him.

As of Saturday, Mystère and Rickerd remain, 21 years later, to celebrate 10,000 shows for both.

"And then lights out, we're out of there," he said, but just until he returns for the next show.

SOURCE: Associated Press PHOTOS: AP Photo/John Locher

How Cirque’s performers transform in pictures

Cirque performer Cirque Hires injured During Goldman Sachs to Monday night's Look for Partner Canadian performance company Cirque Performance of du Soleil has hired investment bank Goldman Sachs Group Inc to help in its The Beatles LOVE Las Vegas, NV (KTNV) — A performer with Cirque Du Soleil’s “The Beatles LOVE” show at The Mirage was injured during a performance on Monday night.

The performer received minor injuries and is expected to recover. An official statement about the incident has not been released, however, Cirque spokeswoman Kala Peterson confirmed the injury Tuesday.

Four faces transform under sponges and brushes in a swirl of glitter and colour. Performers from Cirque du Soleil’s Totem meticulously apply their make-up before a show to embody different stages of human evolution.

Backstage, Yann Arnaud, a softly spoken Frenchman who is a former competitive gymnast, turns into a macho beach boy – complete with green eyeshadow – to perform a modern mating ritual in the show, which is running under the big top at Fox Studios. “You do it every day just to give the audience some magic to forget their lives for two hours,” he says.

Shandien Larance, a native American from New Mexico, has gone from performing the ancestral hoop dance for her family to performing it globally.

Representing indigenous people around the world is an important part of why she performs. “People think we’re a dying tribe or a dying people and that we don’t exist anymore, so it’s nice to show that we still do exist,” she says.

Dipping her brush in glitter, Chinese unicyclist He Xuedi says she ran away from her small village in the mountains to see the world. Whenever she returns home, she is the star of the village.

Born into a renowned circus family, Russian-American acrobat Nikita Moiseev is no stranger to the stage.

“You have to be a bit crazy to work in the circus,” he says.

SOURCE: The Syndey Morning Herald

Peterson says the performer was injured during Monday’s show and transported to a local hospital where the artist was later released in good condition. Peterson offered no other information about what happened or when the performer was released from the hospital. She says the performer was taken to the hospital as part of the entertainment company’s protocol for handling injuries.

SOURCE: KTNV

Dralion wins IQ’s prestigious award: "Best in Show!"

Congratulations to Dralion for winning IQ’s prestigious Best in Show award for 2014!

Read all about this honor in IQ’s Issue #57. IQ is the essential magazine for the international live music business. A natural extension of the ILMC, it presents news, features, information and analysis to conference delegates and the wider industry at large. While the ILMC provides an annual platform for vital discussion and debate, IQ provides a year-round focus on emerging trends and crucial business news.

Read the issue online at ISSUU. SOURCE: IQ

previously disclosed effort to find a strategic partner, a spokeswoman for the company said on Friday.

Sources familiar with the matter, who asked not to be identified discussing private deliberations, said the company is exploring all of its options, including the sale of a majority stake, although it has not yet decided what path to take.

Founder Guy Laliberté owns 90 percent of the Montreal-based company, which is known for its acrobatic spectacles.

Laliberté, 55, told the Wall Street Journal earlier this month he was seeking to sell 20 percent to 30 percent of the company, and was aiming for a deal that would value the whole company at $1.5 billion to $2.5 billion.

He said that Cirque du Soleil’s revenue dropped to $850 million in 2013 from $1 billion year earlier.

Cirque du Soleil will appeal to both private equity firms and large media companies that are looking to increase their exposure to live events, one of the fastest growing areas in media and entertainment, the sources said.

Founded by street performers in Quebec in 1984, Cirque du Soleil has become one of Canada’s most famous exports. Its shows featuring acrobats and whimsical plots tour all over the world and its stage shows are performed nightly in Las Vegas and other resorts. It has roughly 4,000 employees and it employs 1,300 performing artists in 50 countries, according to its website.

While the company generates the majority of its revenue from ticket sales, it also organizes private events, sells retail goods based on its shows and licenses its brand to the hospitality and fashion industries. It has a joint venture with BCE Inc’s Bell Media to create television programming, movies and games.

SOURCE: Las Vegas Review-Journal

VIDEOS

iiiiiiiiiiiiiii iiiiiiiiiiiiii Witness the strength of family as the cast and crew of KĂ€ work together to bring back the show's epic Battle scene.

iiiiiiiiiiiiiii iiiiiiiiiiiiii Video documentary of Quidam by Cirque du Soleil in Portugal, with the support of Everything is New and Cirque du Soleil.

iiiiiiiiiiiiiii iiiiiiiiiiiiii DHL Presents the Cirque du Soleil Trickster

ITINÉRAIRE TOUR/SHOW INFORMATION

BIGTOP Under the Grand Chapiteau

Miami, FL Dec 11, 2014 to Jan 25, 2015

Houston, TX Feb 12, 2015 to Mar 22, 2015

Madrid, ES May 6, 2015 to Jun 21, 2015

San Jose, CR Jan 22, 2015 to Feb 15, 2015

London, UK Jan 7, 2015 to Feb 19, 2015

Bogota, CO Mar 19, 2015 to Apr 12, 2015

Bern, CH Mar 1, 2015 to Mar 29, 2015

Melbourne, AU Jan 21, 2015 to Mar 15, 2015

Seattle, WA Jan 29, 2015 to Mar 22, 2015

Brisbane, AU Apr 10, 2015 to May 17, 2015

Calgary, AB Apr 9, 2015 to May 3, 2015

Adelaide, AU Jun 11, 2015 to Jul 5, 2015

Denver, CO Jun 11, 2015 to Jul 5, 2015

Perth, AU Jul 31, 2015 to Aug 16, 2015

Chicago, IL Aug 6, 2015 to Sep 20, 2015

Brussels, BE Sep 10, 2015 to Oct 25, 2015

Nagoya, JP Nov 20, 2014 to Feb 1, 2015 Fukuoka, JP Feb 21, 2015 to Apr 5, 2015 Sendai, JP Apr 23, 2015 to Jun 7, 2015

ARENA

In Stadium-Like Venues Bucharest, RO - Jan 29 to Feb 1, 2015 Bratislava, SK - Feb 5 to Feb 8, 2015 Budapest, HU - Feb 13 to Feb 15, 2015 Copenhagen, DK - Feb 18 to Feb 22, 2015 Rotterdam, NL - Feb 27 to Mar 7, 2015 Oslo, NO - Mar 5 to Mar 7, 2015 Helsinki, FI - Mar 11 to Mar 15, 2015 Vilnius, LT - Mar 19 to Mar 21, 2015 Minsk, BY - Mar 26 to Mar 29, 2015 Moscow, RU - Apr 16 to Apr 26, 2015 St. Petersburg, RU - April 29 to May 4, 2015 Tallinn, EE - May 27 to May 30, 2015 Tel Aviv, IL - Jul 2 to Jul 16, 2015

Tulsa, OK - Jan 21 to Jan 25, 2015 Oklahoma City, OK - Jan 28 to Feb 1, 2015 San Antonio, TX - Feb 4 to Feb 8, 2015 Phoenix, AZ - Feb 18 to Feb 22, 2015 San Diego, CA - Feb 25 to Mar 1, 2015 El Paso, TX - Mar 18 to Mar 22, 2015 Fresno, CA - Mar 25 to Mar 29, 2015 Bakersfield, CA - Apr 1 to April 5, 2015 Sacramento, CA - Apr 9 to Apr 12, 2015 Stockton, CA - Apr 15 to April 9, 2015 West Valley City, UT - Apr 22 to April 26, 2015 Spokane, WA - Apr 29 to May 3, 2015

Berlin, DE - Oct 8 to Oct 11, 2015 Leipzig, DE - Oct 14 to Oct 18, 2015 Stuttgart, DE - Oct 21 to Oct 25, 2015 Mannheim, DE - Oct 28 to Nov 1, 2015 Vienna, AT - Nov 4 to Nov 8, 2015 Dortmund, DE - Nov 11 to Nov 15, 2015 Cologne, DE - Nov 19 to Nov 22, 2015 Innsbruck, AT - Nov 25 to Nov 29, 2015 Munich, DE - Dec 2 to Dec 6, 2015 Hamburg, DE - Feb 10 to Feb 14, 2016 Luxembourg, LU - Feb 17 to Feb 21, 2016 Hanover, DE - Feb 24 to Feb 28, 2016

Dralion performed its final show on January 18, 2015 in Anchorage, AK.

Au Revoir, Dralion!

RESIDENT en Le Théâtre

Location: Treasure Island, Las Vegas Location: Bellagio, Las Vegas Performs: Saturday through Wednesday Performs: Wednesday through Sunday Dark: Thursday/Friday Dark: Monday/Tuesday 2015 Dark Dates: Jan 8-23, Feb 1, Mar 25-27, Two Shows Nightly - 7:30pm & 10:30pm May 14-22, Jul 15, Sep 10-18, Nov 11 2015 Dark Dates: Feb 1, Mar 8 and 20, Apr 13-21, Two Shows Nightly - 7:00pm & 9:30pm Jun 14, Aug 3-11, Oct 11, Nov 30-Dec 15 Added performances in 2015: April 2, Added performances in 2014/2015: Dec 29, Mar December 31 (Only 7 pm performance) 17 & 31, Dec 29

Location: MGM Grand, Las Vegas Performs: Tuesday through Saturday Dark: Sunday/Monday Two Shows Nightly - 7:00pm & 9:30pm (Only 7pm performances on May 9, 16 & Jun 21) 2015 Dark Dates: Jan 5, Feb 1-2, Mar 15-21, May 28, Jul 28-Aug 5, Sep 15-17, Oct 20-22, Dec 1-16 Added performances in 2015: Jan 1-2, Apr 3

Location: Mandalay Bay, Las Vegas Performs: Saturday through Wednesday Dark: Thursday/Friday Two Shows Nightly - 7:00pm & 10:0pm 2015 Dark Dates: Jan 28-Feb 5, Apr 14-16, Jun 3-18, Aug 11, Oct 14-22, Dec 15 Added performances in 2015: Jan 1, Mar 26, Aug 19, Nov 25, Dec 30

Location: MGM Grand, Las Vegas Performs: Thursday through Monday Dark: Tuesday/Wednesday Two Shows Nightly - 7:00pm & 9:30pm 2015 Dark Dates: Jan 5, Feb 1-2, Mar 15-21, May 28, Jul 28-Aug 5, Sep 15-17, Oct 20-22, Dec 1-16 Added performances in 2015: December 30

Location: Riviera Maya, Mexico Performs: Tuesday through Saturday Dark: Sunday/Monday One/Two Shows Nightly - 9:00pm (Weekdays), 7:00pm & 10:15 pm (Fri, Sat & Holidays) Added performances in 2014: December 26

Location: Walt Disney World, Orlando Performs: Tuesday through Saturday Dark: Sunday/Monday Two Shows Nightly - 6:00pm & 9:00pm Added performances in 2014: December 29

Location: Luxor, Las Vegas Performs: Friday through Tuesday Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm & 10:00pm 2015 Dark Dates: Jan 1, Jan 12-27, Feb 1-3, Mar 20, Apr 13-21, May 25-Jun 2, Jun 22-30, Aug 31-Sep 8, Nov 9-17, Dec 14-22 Added Performances in 2015: Dec 29

Location: New York-New York, Las Vegas Performs: Friday through Tuesday Dark: Wednesday/Thursday Two Shows Nightly - 7:30pm & 10:00pm (Only 7pm on the following days in 2015: Jan 20, May 8, 15, 19, 20, Dec 31) 2015 Dark Dates: Jan 4-19, Mar 7 & 20, Apr 12-20, Jun 16, Aug 16-31, Oct 31, Dec 6-14 Added performance in 2015: Dec 27

Location: Aria, Las Vegas Performs: Friday through Tuesday Dark: Wednesday/Thursday Two Shows Nightly - 7:00pm & 9:30pm 2015 Dark Dates: Jan 6, Jan 18-Feb 2, Mar 7, May 10-18, Jul 14, Sep 6-14, Nov 10 Added performances in 2015: Mar 30, Dec 28

NOTE: Children under the age of 12 must be accompanied by an adult.

Children under the age of five are not permitted into the theater.

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, we do 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.

TCF! FEATURES

Evolution: TheTransfer ofVarekai fromBigTop toArena

As explained by Fabrice Lemire, Varekai Artistic Director By: Keith Johnson Seattle, WA (USA)

Adapting a product for use in a different venue or product is a cost-effective way to get additional value out of development costs.

Thought of in an extreme case an example might be local police with equipment originally designed for the battlefield. Or filming a show to be able to sell to cable TV, video-on-demand, or on DVD/BluRay. It’s not like you’re creating a sequel – it’s not a new product or show created with some of the same parts, characters or artists. It’s more like making Arena Football from NFL football; the player types desired, goals, and many of the rules are the same, merely adapted to fit a different venue.

Cirque du Soleil has brilliantly opened many lucrative new markets to its shows worldwide by adapting shows that have played in Grand Chapiteau (with all the infrastructure that entails)

to now play in Arenas. While there are many places you might be able to set a Big Top, there are many, many more that have basketball/hockey rink-sized Arenas. You can’t always set up a Big Top where you might like, especially in Europe.

But nearly every city of some size has an Arena.

In order to reach those smaller markets, Cirque thought smaller and quicker. Playing in arenas means no Grand Chapiteau to set up and tear down, and reduces the number of trucks needed from 60 containers to around 18 trucks. Nor do they need their power supply and environmental units. And Arena shows can play profitably for one week in a town, unlike Grand Chapiteau shows which need 4-6 weeks in a city to make money.

But you just can’t take a show and insert it, unchanged, into an arena. It’s much more involved than that.

And that is where Fabrice Lemire comes in.

FIRST EXPLORATIONS We first explored the process of adapting a show from Grand Chapiteau to Arena (what Cirque calls a “transfer”) in a conversation with Mark Ward (Quidam’s “John”) in Issue 89-July, 2011 of Fascination!

Newsletter. But we wanted to go deeper. When a show very close to my and my wife’s hearts, Varekai, made the leap we got the opportunity to speak with the man who headed the transfer.

Fabrice Lemire (fahb–REESE LEWmee-air), 44, was born in Paris, France, and received training at the Paris Opera Ballet School starting at age 3 and graduated from the Conservatoire National Supérieur de Musique et de Danse de Paris at 16.

By the time he was 19 he was a principle dancer. At 30 he decided to focus on choreography and directing and has choreographed and directed works for many different companies. He also served as Guest Teacher for Celine Dion’s “A New Day” show. It was here he was noticed by Cirque, who snatched him up to be Dance Master for ZAIA in Macau.

In summer 2010 Mr. Lemire was plucked from ZAIA and given the challenge of transferring a show.

But it wasn’t Varekai, it was Quidam, and it wasn’t why he was moved to the show originally. “This was my very first directorship for Cirque du Soleil in any position,” Mr. Lemire said. “I was going there as an assistant artistic director, but after a week on the job I was told that I was actually going to take over the show for the transfer. So what happened was pretty much the same approach that we later did for Varekai. They had me on the big top tour for almost a year so that I could really grasp the artistic element and what was going on from all aspects; all the problems we might be facing. This also allowed me some time to come up with a plan.”

But performing the show in an arena wasn’t brand new to the cast or crew, as Mr. Ward explained when we talked with him in 2001. “We had done a small arena tour in the UK [Ed. For 8 weeks in Feb-April of 2009, visiting Liverpool, Belfast, Newcastle, Birmingham, Manchester, Dublin, Sheffield and Glasgow], and performed in the Royal Albert Hall [Ed. In Jan-Feb of 2009]. So we had some experience with Quidam in arenas, but [now] it was going into arenas full-time.”

They plunged right into the transfer process immediately after drawing the curtain on Quidam’s big top life.

As Mr. Ward continued, “We really didn’t have a break because [after the final Grand Chapiteau show in Bogotá, Columbia on Nov 21, 2010] we did a six-week arena tour in Canada at the end of [2011] [Ed. From Dec 11, 2010 – Jan 16, 2011] with the cast we had for the South America tour. We played Kingston, Montréal, Québec City and Chicoutimi. Then in January we stopped because we had a 60% new cast of artists. So we went to training in Montréal for two weeks [the last half of February 2011] where we met new members of the show. Then the whole group went to Nashville and trained there for six weeks [all of February to March 8, 2011] to get everything together. We just basically [rehearsed] the full show from beginning to end for everybody – technical, artists, and everybody – to get an idea of how it runs and put things together from top to bottom.

For us it was like being in a theater built for us because they set up a stage in Nashville at Bridgestone Arena and we used that space every day for over a month.” The first Quidam show in its new Arena form played in Vancouver, BC, Canada on March 9, 2011.

“

I was going there as an assistant artistic director, but after a week on the job I was told that I was actually going to take over the show for the transfer.

”

Mark Ward as John in Quidam by Cirque du Soleil [Photo: Matt Beard © Cirque du Soleil] [Costume: Dominique Lemieux © Cirque du Soleil]

“

When I take a show over, including Quidam and Varekai, I don't research or watch any video beforehand to get my first impression of the show. I wait until I am watching the show with an audience and letting the show speak to me.

”

New CHALLENGES

Water Meteors - Retired Varekai Act [Photo: © Cirque du Soleil] [Costume: Dominique Lemieux © Cirque du Soleil]

The experience of transferring Quidam into an Arena format brought to light many of the types of challenges that would need to be addressed with future shows. This would serve Mr. Lemire well when the time came to transfer Varekai.

But before the show could be transferred it would need to be revamped to accommodate Cirque’s new lowered financial reality.

“Varekai was converted to arena because we had been through every single market in the big top and it was time for Varekai to reach out to a new demographic,” Mr. Lemire explained. “But the conversion (to arena) was different from the (budget-cutting) revamp. And this was a wonderful stepping stone for Varekai, because we started with the revamp and the transfer came right after that.”

The revamp process began with Mr. Lemire’s first viewing of the show.

“When I take a show over, including Quidam and Varekai, I don't research or watch any video beforehand to get my first impression of the show. So when I took on Quidam and Varekai I knew nothing about those shows at all. I wait until I am watching the show with an audience and letting the show speak to me. I came in, and for the first three shows I just watched and took notes; what speaks to me in a good way or bad way. And I continue like that for three or four days. And then I evaluate what I can start with.”

“That’s what allows me to make changes, [such as] when we're talking about reducing performance time. Because what spoke to me on the first day is naturally what I want to deal with first, ‘This needs to be changed, this needs to be shortened a little bit, this part needs to move a little bit faster so we can keep the focus on what's going on, etc.’ And [that’s how] we find the right rhythm.”

“When I first came to the show, to me it was 25 to 30 minutes too long, and I managed to cut 25 minutes.

But not just by cutting acts, [though] I cut two acts and actually replaced one. The triple trapeze which was in the big top with four girls is now [done] with a single trapeze girl.

And the water meteors act which was done by three young Chinese performers was cut because the arena format doesn’t allow any minors. I also created an act for a solo baton twirling girl; she's Japanese, she's phenomenal, she's one of the best backup acts a show could have. That act is easy to place, I can place it anywhere in the show without interfering with the flow too much.”

“But what I mostly did was tighten, such as with transitions. Sometimes people would look at me like I was crazy. But instead of cutting into the next act because it was too long I [had a conversation with] the musical director Brigitte (Larochelle). I said, ‘This song is a ballad, it's a slower piece. What if we played it slightly different and made it a little bit faster? Not crazy like a sped-up record, but it could [still work].’ So we tried it, and we were able to cut a good minute or so by just playing and singing faster, so it worked. In other places I just managed to cut part of the scene.”

The show today is two hours, including intermission, with each act coming in at around 41 to 42 minutes each. It was a good 2 1/2 hours long before the revamp. “Speaking just for myself and my experience with this show, I felt that the scenes themselves were telling me that the show was too long. I love when my audience leaves a show and asks for more. I'm the kind of director who doesn’t give the audience too much.

And I think this is the way Varekai is now in its current shape; you want to see more.”

Second time around It was two years later when the call to head another transfer would come from Montréal. Mr. Lemire joined Varekai in November 2012 (while the show was in Santiago, Chile) a year before the show was converted to Arena. The last Varekai show in a Grand Chapiteau was Mexico City, Mexico on November 24, 2013. 18 days later the first Varekai show in an arena was Bossier City, Louisiana on December 13, 2013.

While his experience transferring Quidam would be invaluable, the transfer of Varekai was done to a much different timetable.

“The timeframe for the transfer between the two shows was extremely different. For Quidam we had over five weeks in an empty arena with no shows, just to really do the transfer. For Varekai it was a quick turnaround of 2 1/2 weeks. On Quidam I had perhaps less [influence], since I was only speaking for the Artistic side, while on Varekai I was the only remaining director from the Grand Chapiteau version doing the transfer.”

Mr. Lemire then explained the division of responsibility inside a Cirque show. “On Cirque shows we have three directors: the Artistic Director, the Technical Director, and the Company Manager.

The Company Manager and the Technical Director from the Chapiteau did not accompany Varekai for the transfer; I was the only director in charge. So I became the link to take the ship

with me to [do the] transfer and integrate not just new artists and artistic staff but facilitate the integration of new crew members and new heads of departments, and also a new Company Manager and Technical Director who came later when the show was in transfer.”

“Knowing that I had done the Quidam transfer already, I [knew I] had to really prepare myself. For Varekai we had a lot of deadlines; the major deadline was the timeline of the transfer itself, the 2 1/2 weeks (Ed. From 11/25 to 12/12, 2013) in Bossier City in Louisiana (Ed. just across the Red River from Shreveport in the northwest corner of Louisiana, www.shreveportbossier.org). We were given an arena (CenturyLink Center) where we could take 2 1/2 weeks to restage the whole work and make all the adjustments necessary. The obstacle that we had in Bossier City was that they already had two shows planned during our stay in front of an audience (on December 13 & 14, 2013). This was actually a very tight deadline, but we knew it would be.

And right after Bossier City we took the show and presented it in its new format in Montréal. So the stress level was very high. What we had to do within the last year to six months in the big top was the maximum preparation possible technically, artistically, and everything else we could. So that when we arrived in the arena in Bossier City we were ready to face other new challenges.”

Varekai Arena Stage - Bossier City [Photo: © Cirque du Soleil]]

making adjustments While there were many technical challenges involved (more on those in a minute) his first major concern was the cast and crew turnover. Mr. Lemire needed to give his personnel time to get adjusted to the new environment within the compressed time schedule. “Remember one thing: even though there was not much of a change-over with artists (we replaced maybe five or six artists out of 50), only one person from each technical department stayed on. Everyone else was new and coming into a new show. So there was a lot of education to do.

Some of the artistic team was new, and many of the technical crew, at the same time you are educating artists. Some of [the team] had never seen the show before so they were starting from scratch. [For example] a lighting person behind the console has to anticipate a scene, he cannot just say, ‘Oh yes I'm changing to the next scene.’ It's a learning process that everybody has to quickly adjust to.”

“I think artists need [time] to understand what an arena is. In the big top they’ve had the same backstage area and tunnel entrance to the stage for many years. They have their points of reference. In an arena, even though we try to recreate the same space in different venues, it's always different. So the mental adjustment for the artists was huge. They could see the backdrop, and see where backstage is, and know we cannot have full light back there because the light will leak into the front. So they had to learn to practice, to do tricks and high acrobatics, in new lighting conditions. All of this was a major adjustment for the cast.”

“I also wanted to have my performers, the artists, understand

Varekai Clowns [Photo: Tomas Muscionico © Cirque du Soleil] [Costume: Dominique Lemieux © Cirque du Soleil]

the relationship that they have not just with the proximity of the audience, but also what do you do, how do you reach an audience member that is sitting in the very last row of the arena? Sometimes it's as simple as pushing their projection. Sometimes you don't want to do that, sometimes you want to create the illusion that the performer is right in front of you.

And the way we would do that would be with lighting. In a movie you would do a close-up on somebody and the people in the background would be a blur. The audience's mind is really looking at the in-focus image. So how do you create that in an arena? It may mean changing the intention of the artists. Sometimes it's to not add on material because it gets too busy and the eye does not have time to register what's going on due to the distance. Sometimes it's cutting to a simple message so the intention is clear to the audience.

Sometimes it's playing with lighting to create a focus, to isolate you and lead you to look at a certain scene or a certain performer on stage.”

“I felt the biggest artistic challenge was for the clowns. The clowns feed off the reaction of the audience, so they are used to listening for laughter so they know when to move on to the next joke. In an arena, even though the audience may be laughing, the distance may not give you the support you need. This was major for the clowns and they felt they were not funny, that in the beginning they were not getting the reaction that they should have. And it's a major adjustment for them to continue on with the pattern of the act while feeling that they are not being appreciated. This also was a big lesson to learn, how do you continue and motivate yourself when you don't get the feedback that supports what you do?”

it’s all new

“Like we decided to extend the forest. In the big top we had this blue backdrop in the back upon which we could create shadows. But in the arena it will be a black drape which would really cut the look of the back of the stage. So how do we give the illusion that we can go deep into the forest and have perception of depth through the space? So we added trees all the way behind the ramp to where the artists come on stage. It's a really nice feeling that you are on the border of this forest and you can walk in and keep walking and lose yourself in there.”

“So their visit was great to get everybody on board, and not find out later that the creator would come in and try and tell me that this was all wrong, that we were going in a completely wrong direction. I knew I had the support of Dominic and I could move in that direction with those ideas.”

Nearly everything about the production had to be reconsidered. Some issues were more vexing than others. “Another huge obstacle was when we found out six months prior to transfer that the catwalk where the grid is would be at a different height. In the big top there is a grid which allows us to [create a] very nice position [for] aerialists. You know, they can come in and out of the catwalk. We had to lower [the height] for the simple reason that in the tent the grid is supported by four masts. In an arena the structure needs to be supported from the arena ceiling. So they need space to be able to anchor the grid correctly and have it solid enough that it can support the whole catwalk, the staircase, the artists, the lights, the sound, all the things on it. They need lots of space on top to wire it correctly.”

“

It was important for Mr. Lemire that, at the very start of the process, he had input from the Varekai creative team. “A good year before the transfer (Show Director) Dominic Champagne and Stéphane Roy, the Set Designer, came to visit,” Mr. Lemire explained.

“So we had an opportunity to sit down and grasp what really was the intention and original idea of the show.

And also for me to validate some of the ideas I had, because I had led a transfer on Quidam so I had a better understanding of what some of the obstacles would be. [We looked at] the reality with regard to the look of the show in the larger space. This allowed us to be on the same page to do some things.”

“Also, what I love about Cirque is that they have live musicians. And in the big top I felt the musicians were lost on the backside of the forest, so far back that you might forget that the music is played and sung live. So I asked Dominic if they would be willing to bring the musicians within the forest so we could see them better and you could look at them. And Dominic was open to the idea. So we were allowed to bring the singers and musicians onto the stage more often to really have them be part of the scene.”

Wha in th t I love the e big about t play forest, op I fe Cirque ed a so f lt th is th e a nd s a r m b u ung ack sici t they hav live that ans e . w

While most of the artists (and their custom-made costumes) can transfer directly from one version of the show to the other, the same cannot be said for the stage they stand on. Remember that Varekai was created in 2002, so their systems were 12 years old.

In fact, much of the equipment used in the Arena version is brand new – stage, lights, sound, rigging to take advantage of the latest technology. So they not only had challenges adapting to a new space, but how they would work within the space had to be learned from scratch.

”

you were e live mig m ht f lost on usici a org et t the ba ns. A hat n c the kside d mus of ic is

.

“We found out that the height of the catwalk in the arena would be different. So then comes the search.

We know that all arenas are different, they all have different ceilings. I cannot ask my performers and my technicians to adjust every single week for a different ceiling height. So we had to agree on two heights, and those two heights are actually lower than what we have had for the life of the show in the big top. So we decided on two heights, an “A” trim and a “B” trim. Which means that we have to work to recreate the same act or transpose the act for the two new heights so it's suitable for the artists and suitable for the stage. You also might need new props and sets and other parts. And it also impacts the lighting which would have to be adjusted. And the music to support the act would need to be adjusted, because an entrance which is now 6 feet or 12 feet lower would happen a lot faster.”

“So we had to re-create all of this in the big top. We cannot create the new setup in the big top, because we don't have the structure to accommodate it. So instead we did a copycat of the setting with sandbags and what we call a “doughnut.” It's a ring we use to better control the movement of the cable attached to the apparatus, and with sandbags we try to visualize what the look will be. And what we had to do six months before transfer was educate not only our artists but also those of the crew who would be with us at the transfer, and the bandleader, to [see] what it would look like. We’d play the musical backing track over the sound system in the big top and we’d evaluate – ‘Okay, the artist is touching the ground 15

seconds sooner so this music will not work.’ We had to anticipate all this but we couldn’t re-create it because we didn’t have the right structure - it's all supposition. We knew when we got to Bossier City that we were going to have two weeks to work on it.

To me this was actually one of the major obstacles.

Because we had to redesign all or part of some of the acts because how they were done in the big top was not suitable in arenas due to the new height and lowered ceiling.”

“So you can imagine the two and a half weeks in Bossier City were very intense. I can go on and on.

The adjustment was huge! We were working nonstop.

They delivered a new set and new pieces of scenery that had to be validated by the technical department and by the artists themselves. From the mats to the swings: is it hard enough, is it soft enough? For example, the very last scene, the Russian Swing act, has a platform in the middle and what we call “bavetted,” two large sail-like sheets (resembling a baby’s bib, which is what “bavette” means in French) where the artists land and slide into. The distance between the swing and the bavette was different and the distance between the swing and the center platform was different. This is major for an artist!

The inclination of the bavette is different; this is major for a flyer. All of this can sometimes take months to validate, and we didn't have that time. So I sent two flyers from Bossier City to Montréal to at least validate that it was suitable for the act. And they were the first act we put on stage to practice.”

Varekai Arena Stage [Photo: TheChapiteau]

Lights And Sound A new format meant all-new lighting and sound equipment, and more challenges. “There is a long list!

(Laughs). We brought (Lighting Designer) Nol (Van Genuchten) in to redesign the entire show while we were in Bossier City, which was another huge challenge. Nol came in with the idea that he was going to recreate the show. But this is 2013 and the technology is different now. We now have the ability to use different lights, moving lights and all that, so why not use them? But in the meantime I am [working with the] cast, most of whom have been here for maybe not since creation but for a long time and suddenly we tell them the lighting is different and they wonder, what is going on? So it's educating the entire cast about the new lighting for their acts. They would ask why it was changing. And the answer is it's the reality of the transfer to the arena. And [Nol] jumped on board because this goes back to what you had in the big top.

The ceiling height is completely different, so in two and a half weeks we had to adapt to new lighting.” “[We also started using] a new lighting system called BlackTrax. BlackTrax is a genius invention, a small sensor device that's placed on a performer and is computerized (so lights can t r a ck a n a r t i s t ’s m o v e m e n t automatically).

However with BlackTrax we are not re-creating a show or creating a new show, we are putting a new fixture on an old show.

[In our case] it was connected to a light fixture that was too heavy to track, so that when the artist would move the “brain” didn’t have the [ability] to accurately follow the action. So what we found in Bossier City was – ‘Oh my God, the artists are not lit!’ Perhaps the track was wrong and we would have to think of something else, because there might be interference with cell phones or perhaps the lights were behind the

artists. This was a huge challenge for us because Nol the Lighting Designer used BlackTrax to replace one follow spot: we had three follow spots in the big top, in the arena we went down to two plus the BlackTrax, which should have covered all [our needs].

Unfortunately we didn't realize that we were expecting BlackTrax to [accurately] track the artists. And during those two weeks in Bossier City I found myself having to adapt the performer to what BlackTrax could deliver. I was frustrated because I had to tell the artists, you cannot go to this area because the BlackTrax can't catch you, or you have to move slower across the stage so that the BlackTrax can follow you. This was highly educational. It was time-consuming and unfortunately we could not use it for the whole show. What we learned is that BlackTrax should be used on a brand new production where everything can be brand new from the start and you can create with it from day one. So we learned that BlackTrax would only be partially suitable for our transfer.” A tough lesson to learn. “(Laughs) But we still use it in the show. Not to the extent we anticipated but we use it for some scenes and it's helpful.”

It may not seem like it upon first glance (or, more appropriately, first listen) but the change in venue has a profound effect on the way the show and the music sound. “In the tent the sound is one way, with very low reverb. In the arena the sound will change every single week. When you're performing and standing on stage you may not hear things the same because of the way the sound goes in every direction. You may not hear what you expect to hear for your cue, if you can’t hear the melody you can’t understand the music. The first week [the artists] were lost, they could not recognize what was being played. They knew the songs but the sound was very different when they

were waiting in the backstage area preparing to come out on stage.”

“My bandleader had to learn a brand new computer system, which was all updated. The sound system was brand new, and most of my sound crew was brand new and had to learn the new system. For the arena we were given a new system that the bandleader had to learn from scratch; get familiarized with the system and redefine all the sounds to put into their computers. And then we needed to figure out how to meet the standards of the composer and the sound designer. Because since the show is played live we needed to recreate their intent. We support the live instruments with computerized sounds, so all this needs to be put together, and I think between her and the second keyboard player it took about nine months to reprogram all of these new aspects. Every other day they would come in for three or four hours in the Big Top in the morning to focus on learning the system and getting familiar with the new software, and then transpose every single sound, or find similar sounds to recreate the sound. Sometimes the sound evolves, so we had to anticipate (because we were still in the big top at the time) what the sound would be like in the arena.”

“We also had the views of the Composer (Violaine Corradi) and the Sound Designer (François Bergeron) in Bossier City to help us readjust and re-create and change the musical colors of the show so it better suits an arena. Which I found was magical, because with surround sound and new technology you can really isolate an instrument for a scene or moment. It's exquisite. It really changes the depth and gives more richness to the colors of the music when you go to the arena.”

AUTO- MATIC Automation was another major adjustment. “Besides the grid, there is a whole new level of technology, equipment and safety guidelines.

We learned new safety guidelines and respect for them while we were in Bossier City. For example, when we fly an artist we used to do things manually. Before they had a guy behind the joystick who used to take them up and down and it was like a partnership.

Now the show is entirely automated and the performers have to adapt to this.

Today the partnership extends to three elements: the performer, the automation that the performer must trust and get familiar with, and the technician, riggers and Calling Stage Manager who are on the other side of the computer/console.” While the decision to fly and the timing are still made by humans, the automation provides smoother and consistent pick-ups and landings for the artists.

“

“It's a huge leap for a performer.

Let's say Mark [Ward], who is John in Quidam. He’s done his act for seven or eight years with a guy who has been moving with him and going off his cues, and now you’re saying the computer is going to pick you up and set you down. The computer has a brain but it doesn’t have the ability to adjust quickly based on the daily mood of the performer. So it's a huge adaptation for every single participant involved.

I think automation is a really wonderful tool, but it needs to be learned, and that’s what we had to do. So we started automating acts while still in the big top. It was another aspect of what the aerialists had to learn in 2 1/2 weeks. Same thing for the platforms on stage and so on.”

partnership extends to three elements: the performer, the automation that the performer must trust and get familiar with, and the technician, riggers and Calling Stage Manager who are on Today the

the other side of the computer/console.

”

Varekai Arena Stage [Photo: © Cirque du Soleil]

timing is everything With all these challenges to the process, the 18 days given for the transfer was very tight. “This was a huge task that we delivered in two and a half weeks. Which, if you ask anybody - me included – we also learned that it was not enough time.”

“We worked 24-7. I worked with the artists during the day and at night I would work with the lighting designer and bandleader and the band. I found myself staying until 6am in the morning and coming back at 9am to continue our work. I even said one night that I didn't have the energy to go back to the hotel for just two hours of sleep. It was just ridiculous. But we knew we had to deliver and we pushed it, we exhausted ourselves. I wouldn't say we were burnt out, but we were on the edge of being burnt out when we came into Montréal.”

“So we learned [many lessons, such as that] BlackTrax didn't work to its full potential for our show. So I sat down in Montréal and [told management] that there was a lesson here. While I understand time frames, for the health of the entire crew who were working like maniacs, and for artists, we didn't have enough time.”

“My complete transfer was not what was presented in Montréal - it was the very beginning of the transfer. I [couldn’t work with] some artistic elements during the transfer because of all the [time devoted to the] technical changes. When I was in Montréal I closed my eyes to so many things because we had to present the show.”

“I wish I could have presented it the way it is now in Montréal rather than what I had to show six months ago. I feel like right now in Providence (Rhode Island – where the show played from June 2-6, 2014) where we’re near the end of this leg of the tour, the show is finally finding the shape it should be.

It took until now for me to be able to watch the show and say that I'm proud of my crew and artists and everybody else. But today I am proud of the show I am presenting. It took all the way until six months into its arena life to be able to find what I call the “groove” of Varekai, to have the story flow the way it should.”

We in Cirque fandom have heard of the visits the core creative team would make to the show during its run to ensure it met their original vision. And we’ve heard how, though this was done often in the past, these visits have become fewer and far between. This has led to more flexibility being given to the touring team. “The Artistic Director along with the Technical Director and the Senior Artistic Director above them have the opportunity to take a show and have it evolve, actually more today than it used to be. We were told, and I believe, that Artistic Directors of shows should have the right eye, the right intelligence, to let the show evolve, to make the best of the show. With Dominic that's the way I worked. Even though I might have my own vision of the show I will always respect the intent of the creators. I also like to sometimes consult with them on a new direction, and Dominic allowed me to do that with the show.”

“And I have amazing support from my supervisor, Denise Biggi (Senior Artistic Director) which also allows the show to breathe and go to the next level. For an Artistic Director that is magical. I'm not going to turn the whole show around. But at least I can use my knowledge and what I feel is important to influence the content.

Technology is changing; the technique of performers is changing. Look at what's available and also what is fashionable, and the show can evolve.

Dominic has the ability to not feel so attached that nothing can be moved or changed. In my case, and I can only speak for myself and not for other artistic directors, I have a strong aesthetic. It can be musical, it can be in terms of the story or plot, it could be in costumes. Like Eiko (Ishioka’s) costumes; she's not with us anymore, but there's something that is unique about her costumes. I can watch shows or movies she's been involved in and I can be influenced by that.

Because there is a signature, like Dominic has a specific signature when he creates a show. I will apply all of this to nourish the show and keep myself in the background.”

Coming Up Next We found out from Mr. Lemire that the next show to be converted to Arena format will be OVO. Even though Corteo is next in the show order, followed by Kooza. “If you look at the stage layout of Corteo,” commented Mr. Lemire, “it would be a major adjustment if they ever did decide to transfer it. It also depends on tour histories, where shows have been in the world. And if it is a good candidate to put in an arena.”

Having done two show transfers, it would be easy to consider Mr. Lemire Cirque’s experienced transfer expert, and have a long career transferring shows for Cirque. Mr. Lemire discounts that. “I don't know if I am the “expert,” but I love helping creations transfer.”

“

“[But] what I love to do today is creation. Being assistant to the mise-en-scène, then be an assistant director, then move on to operations.

That's where I could achieve so much because it's my forte, to really adapt and work from scratch with the team. I love collaboration. I don't sit and boss people around, I love the process of working with people and sharing the excitement and joy of what comes alive when you create a show or when you transfer a show.”

I love the process of working with people and sharing the excitement and joy of what comes alive when you create a show or when you transfer a show.

” Varekai Character [Photo: © Ekabhishek]

Behind the Curtain:

The Faces of

Cirque du Soleil For 30 years, Cirque du Soleil has amazed audiences with its distinctive brand of circus performance. Its characterdriven stories, stunning costumes and death-defying stunts have been seen by almost 150 million people worldwide, a good number of them in Las Vegas.

For many performers, landing a gig with Cirque marks the pinnacle of their career. The Montreal-based company — the largest theatrical producer in the world — employs more than 4,000 people, about 1,300 who perform onstage. The artists' talents are diverse, from contortion to clowning, acting to acrobatics, singing to synchronized swimming.

The performers represent more than 50 nationalities and speak 25 languages. But among them, a few sentiments seem to be universal: They are amazed to have been selected by Cirque, they love what they do, and they hope to continue performing, in Las Vegas and beyond, for decades to come.

Published with permission from Las Vegas Sun Photos: Christopher Devargas

Niels van den Heuvel, 25

Hometown: Amsterdam, Holland Moved to Las Vegas: July 2 What is your main area of expertise? Professional dancer Describe your background and training. I started dancing in 2008. I started taking classes in Los Angeles for a few months and went on to study three years of professional dance studies back in Amsterdam. I earned my diploma from the Art and Entertainment College in Amsterdam. I continued to study dance at a variety of institutions. I have danced, choreographed and taught dance through the years.

My career highlights include: • Toured with Nike as one of the brand’s dancers • Competed in “So You Think You Can Dance” in 2012 and finished in the top 14 • Danced with Miley Cyrus and Red Foo from LMFAO at MTV’s Europe Music Awards What do you do when you aren’t performing? I like to work out and ride my motorcycle. I enjoy going out to eat with friends. My favorite spot is Umami Burger.

What is your favorite food? My favorite food is anything Italian, and randomly, I love pancakes!

What is your favorite thing about Las Vegas? My favorite part about Las Vegas is that there are so many entertainment and nightlife options at your fingertips. You can see celebrities out and about and actually get the opportunity to meet them.

What is your proudest moment? My proudest moment is becoming part of "The Beatles Love" cast. I was contacted

by Cirque du Soleil’s casting department through a private message on Facebook. I caught their attention from my videos on YouTube.

Name of the show in which you perform: "The Beatles Love" by Cirque du Soleil Name of your character: The Walrus How long have you been playing the character? Five months Tell us about your character and what you do onstage. The Walrus is the rock star of the group and keeps the party going. He is a product of Dr. Roberts. Even though the Walrus encourages everyone to have fun, he will confront people with the truth and the downside of love.

What is your most memorable experience on stage? When I made my debut in "Love"! I remember the first moment I made my entrance on the stage. When I saw the audience for the first time, it was amazing — everyone is looking at you! Very exciting.

Where do you see yourself in 10 years? I see myself as a choreographer for a large production, such as Cirque du Soleil, or creating shows for artists going on tour.

Valerie Kimani, 30

Hometown: Nairobi, Kenya Moved to Las Vegas: About two years ago What is your main area of expertise? Music, singing, acting for stage and screen Describe your background and training. At 21, I won a reality singing competition called “Project Fame.” Since then, I’ve performed in and out of Africa and had television and movie roles. In 2010, I won the New York Music Festival Award for an off-Broadway role I played in a musical called “Mo’ Faya.”

What do you do when you aren’t performing? Wrestling with my 4-year-old son, Zion What is your favorite food? Indian What is your favorite thing about Las Vegas? The lights at night What is your proudest moment? Flying on the moon everyday at "MJ One." I’m terrified of heights.

Name of the show in which you perform: "Michael Jackson One” Name of your character: Ngame, the moon goddess How long have you been playing the character? Since the show was created, from the very beginning Tell us about your character and what you do onstage. Ngame is magnificent and divine. She is an ethereal and shifting image evoking the mother and the moon — nurturing and untouchable. And she sings.

What is your most memorable experience on stage? I will never forget that feeling when Michael’s family watched the show for the first time. It gave everything we do so much meaning.

Where do you see yourself in 10 years? Still performing on some stage somewhere in the world

Marek Haczkiewicz

Hometown: Jawor, Poland Moved to Las Vegas: March 1997 What is your main area of expertise? Trampoline, tumbling, acrobatics and character work … I’m a master in Gibberish!

Describe your background and training. I competed on trampoline for the national team representing Poland in the European Championships, the World Championships and many other international events.

What do you do when you aren’t performing? Regular, daily family activities. I am married with three children.

Apart from family and work, I would golf 26 hours a day.

What is your favorite food? I love steak and everything my wife cooks!

What is your favorite thing about Las Vegas? The weather What is your proudest moment? My family Name of the show in which you perform: I performed in "Saltimbanco" and “Mystere."

Name of your character: Moha-Samedi, or the Pink Guy How long have you been playing the character? For seven years Tell us about your character and what you do onstage. He is the Ringmaster, emcee and narrator of the show. He tries to keep balance and peace during the show. Nobody listens to or respects him.

What is your most memorable experience on stage? Performing for 10 years beside my wife.

Where do you see yourself in 10 years? Hollywood! And traveling the world with my family, and my daughter playing in the LPGA.

Melissa Urbano, 26

Hometown: Melbourne, Australia Moved to Las Vegas: Sept. 1, 2013 What is your main area of expertise? Karate, freestyle martial arts, tricking Describe your background and training. I started training in martial arts at age 6. I competed at the ISKA U.S. Open World Championships numerous times, taking home multiple world titles. I have been competitive at a high level since age 16 in multiple styles such as traditional, extreme and weaponry, as well as semi- to full-contact fighting.

Before I joined "Ka," I was teaching classes and conducting workshops and seminars all over Australia. Since 2006, I have performed many choreographed martial arts demonstrations for education and entertainment. I performed in a Community Arts Festival Show in Melbourne, which involved dance choreography, gymnastics and martial arts. I also have performed as a stuntwoman in numerous short films in Australia, which involved choreographed fight scenes, action sequences, high- level stunts, firearm usage and some acting.

What do you do when you aren’t performing? I love to choreograph fight sequences, and I like to try new things, such as tumbling, straps, anything acrobatic. I do a lot of puzzles, and I love to draw.

What is your favorite food? Ice cream What are your favorite things about Las Vegas? My "Ka" family, the Colorado River, Mount Charleston What is your proudest moment? Getting married to Phillip Kismartoni. Also, every night, I take pride being on stage at "Ka." The audience applause at the end of every show makes me proud.

Name of the show in which you perform: “Ka" Names of your characters: Spearwoman and archer How long have you been playing the characters? One year, two months Tell us about your characters and what you do onstage. The archers and spearmen and spearwomen are the “bad guys.” They are martial arts experts, loyal followers and warriors, out to destroy the empire and anyone who gets in their way.

What is your most memorable experience on stage? The applause from the audience when performing my nunchuks solo Where do you see yourself in 10 years? I hope to still be performing! I also want to own my own martial arts/ gymnastics school with my husband, who also is an artist in "Ka." Someday, we would like to have kids.

Erez Kaplan, 32

Hometown: Tel Aviv, Israel Moved to Las Vegas: 2009 What is your main area of expertise? Russian swing and cerceaux, both aerial acrobatic acts Describe your background and training. I was a gymnast on the Israeli national team for a little over 11 years and competed in many international competitions for Israel, including two world championships and three European championships.

What do you do when you aren’t performing? I have two beautiful girls, so my free time belongs to the family!

What is your favorite food? Thai food, but saying my wife’s cooking is my favorite is the smart choice, so … my wife’s!

What is your favorite thing about Las Vegas? The versatility — kids activities, adult activities, great restaurants, awesome shopping options and, of course, no traffic.

What is your proudest moment? My proudest moment has to be my eldest daughter, Noa’s, first steps. That beats any one of my personal achievements in sports or onstage, for sure.

Name of the show in which you perform: “O” by Cirque du Soleil Names of the characters you play: Comet, cerceaux (aerial hoop) and Russian swing (groom) How long have you been playing the characters? Five and a half years Tell us about your characters and what you do onstage. As a Comet, I’m the theater soldier, or the aquatic world/ stage guardian, if you will. As cerceaux, I’m a biker from the sky, where I perform on an aerial hoop high above the stage with other artists. We represent the air part of our world, “O.” As Russian swing, I’m a groom, part of a big happy, crazy wedding. I control and push the heavy-duty swings that our diving artists fly off of.

What is your most memorable experience on stage? My most memorable experience onstage was my first cerceaux performance in the show. The fear, the excitement and the adrenaline rush was crazy, no doubt.

Where do you see yourself in 10 years? In 10 years, I hope to own my own business, and hopefully something that has to do with the stage that I love so much.

Mariano Di Yoro, 35

Hometown: Platanos, Buenos Aires, Argentina Moved to Las Vegas: 2008 What is your main area of expertise? Carpentry, clowning, juggling, funny guy Describe your background and training. I grew up playing guitar. Then I began teaching myself juggling and theatre performance.

What do you do when you aren’t performing? Be a dad and carpentry/woodworking What is your favorite food? Pasta and BBQ What is your favorite thing about Las Vegas? That I can have chickens in my house. And you can find anything 24 hours a day.

What is your proudest moment? Having a child and having the opportunity to do what I am passionate about Name of the show in which you perform: “Believe" Name of your character: Slim How long have you been playing the character? Six years, since creation Tell us about your character and what you do onstage. Magic assistance, funny character. In the beginning, my character was much more complicated. With changes over the years, my character is much simpler now.

What is your most memorable experience on stage? Playing Slim onstage every night.

Where do you see yourself in 10 years? Still performing and growing a woodworking business

Iurie Hlinov, 33

Hometown: Chisinau, Moldova Moved to Las Vegas: Three years ago What is your main area of expertise? Aerial duo with my wife, rolla bolla, character work and clowning Describe your background and training. I grew up in a circus family. I learned everything from my dad.

What do you do when you aren’t performing? I spend time with my wife, a performer in "Zarkana," and our 15month-old son.

What is your favorite food? I like everything!

What is your favorite thing about Las Vegas? One hour on one side, you can see snow; one hour on the other side, you can see a lake.

What is your proudest moment? The birth of my son Name of the show in which you perform: "Zarkana" (I also was in "Zed" in Tokyo and "Viva Elvis.”)

Name of your character: Chinese cook. I also do the rolla bolla act (backup act for juggling), and I’m a backup to one of the clowns.

How long have you been playing the character? Two years Tell us about your character and what you do onstage. The Chinese cook is funny and stupid and tries to be a kung fu master, but it never happens.

What is your most memorable experience on stage? Working with my wife when we did the aerial duo act in "Viva Elvis.”

Where do you see yourself in 10 years? Still on stage, improving myself artistically and improving my circus performer skills.

Araz Hamzayev, 27

Hometown: Baku, Azerbaijan Moved to Las Vegas: July 2013 What is your main area of expertise? Contortion Describe background and training. I am a second-generation circus artist in my family. My father was my first teacher, but later I continued training in gymnastics school in my country.

What do you do when you aren’t performing? I spend time with family. I also enjoy photography.

What is your favorite food? I like Italian food — all Italian food.

What is your favorite thing about Las Vegas? I love the weather in winter.

What is your proudest moment? I was so proud when I received my call from Cirque du Soleil.

Name of the show in which you perform: “Zumanity" Name of your character: The name of my act and “character” is Dislocation, a contortion number in “Zumanity."

How long have you been playing the character? I've been in "Zumanity" for 15 months now.

Tell us about your character and what you do onstage. My act is an intense contortion act, bending my body in all sorts of ways. There are some cringe-worthy moments and audience gasps!

Where do you see yourself in 10 years? Two years ago, I never thought I would get to work for Cirque du Soleil. For this reason, it’s truly hard to think 10 years ahead. But what I am sure of is that I would like to continue to perform as much as possible on a Cirque du Soleil stage.

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