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Cirque du Soleil Inc.

File:Cirque-du-soleil-brand.png
Company type	Private
Industry	Entertainment
Founded	1984
Founder	Guy Laliberté
Headquarters	Montreal, Quebec
Area served	Template:Country data Earth
Key people	Daniel Lamarre, President and CEO
Number of employees	3,800
Divisions	Cirque du Soleil Images, Cirque du Soleil's Merchandising
Subsidiaries	Cirque du Soleil Musique
Website	www.cirquedusoleil.com

Cirque du Soleil (French for "Circus of the Sun," in English Template:PronEng) is an entertainment company. Based in Montréal, Québec, Canada and located in the inner-city area of Saint-Michel, it was founded in Baie-Saint-Paul in 1984 by two former street performers, Guy Laliberté and Daniel Gauthier.

Initially named Les Échassiers, they toured Quebec in 1980 as a performing troupe and encountered financial hardship that was relieved by a government grant in 1983 as part of the 450th anniversary celebrations of Jacques Cartier's discovery of Canada. Le Grand Tour du Cirque du Soleil was a success in 1984, and after securing a second year of funding, Laliberté hired Guy Caron from the National Circus School to re-create it as a "proper circus". No ring and no animals helped make Cirque du Soleil the modern circus ("Cirque Nouveau"/New Circus) that it is today.

Each show is a synthesis of circus styles from around the world, with its own central theme and storyline. They draw the audience into the performance through continuous live music, with performers rather than stagehands changing the props, and by having no curtains. After critical and financial successes (Los Angeles Arts Festival) and failures in the late 1980s, Nouvelle Expérience was created – with the direction of Franco Dragone – which not only made Cirque profitable by 1990, but allowed it to create new shows.

Cirque expanded rapidly through the 1990s and 2000s, going from one show with 73 employees in 1984 to approximately 3,500 employees from over 40 countries producing 15 shows over every continent, with an estimated annual revenue exceeding US$600 million. The multiple permanent Las Vegas shows alone play to more than 9,000 people a night—5% of the city's visitors—adding to the 70+ million people who have experienced Cirque. In 2000, Laliberté bought out Gauthier, and with 95% ownership, has continued to expand the brand. Several more shows are in development around the world, along with a television deal, women's clothing line and the possible venture into other mediums such as spas, restaurants and nightclubs.

Cirque's creations have been awarded numerous prizes and distinctions, including Bambi, Rose d'Or, three Gemini Awards and four Primetime Emmy Awards. In 2004, Interbrand's poll of brand names with the highest global impact ranked Cirque du Soleil as number 22.

Company history

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Madame Enterprise with a little girl at The Mirage in Las Vegas.

Seeking a career in the performing arts, Cirque du Soleil founder Guy Laliberté toured Europe as a folk musician and busker after quitting college. By the time he returned back home to Canada in 1979, he had learned the art of fire breathing. Although he became "employed" at a hydroelectric power plant in James Bay, his job ended after only three days due to a labour strike. He decided not to look for another job, instead supporting himself on his unemployment insurance. He helped organize a summer fair in Baie-Saint-Paul with the help of a pair of friends named Daniel Gauthier and Gilles Ste-Croix.

Gauthier and Ste-Croix were managing a youth hostel for performing artists named Le Balcon Vert at that time. By the summer of 1979, Ste-Croix had been developing the idea of turning the Balcon Vert, and the talented performers who lived there, into an organized performing troupe. Although the talent was plentiful, they lacked the funding to make their idea a reality. As part of a publicity stunt to convince the Quebec government to help fund his production, Ste-Croix walked the 56 miles from Baie-Saint-Paul to Quebec City on stilts. The ploy worked, giving the three men the money to create Les Échassiers de Baie-Saint-Paul. Employing many of the people who would later make up Cirque, Les Échassiers toured Quebec during the summer of 1980.

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A young girl gets her face painted at Cirque's Fēte Foraine.

Although well-received by audiences and critics alike, Les Échassiers was a financial failure. Laliberté spent that winter in Hawaii plying his trade while Ste-Croix stayed in Quebec to set up a nonprofit holding company named "The High-Heeled Club" to mitigate the losses of the previous summer. In 1981, they met with better results. By that fall, Les Échassiers de Baie-Saint-Paul had broken even. The success inspired Laliberté and Ste-Croix to organize a summer fair in their hometown of Baie-Saint-Paul.

This touring festival, called "La Fête Foraine," first took place in July 1982. La Fēte Foraine featured workshops to teach the circus arts to the public, after which those who participated could take part in a performance. Ironically, the festival was barred from its own hosting town after complaints from local citizens. Laliberté managed and produced the fair over the next couple years, nurturing it into a moderate financial success. But it was during 1983 that the government of Quebec gave him a $1.5 million grant to host a production the following year as part of Quebec's 450th anniversary celebration of the French explorer Jacques Cartier's discovery of Canada. Laliberté named his creation "Le Grand Tour du Cirque du Soleil".

Retired Big Top Touring/Arena shows

Le Grand Tour du Cirque du Soleil

On stage at the 1994 finale of Nouvelle Expérience.

Originally intended to only be a one-year project, Cirque du Soleil was scheduled to perform in 11 towns in Quebec over the course of 13 weeks running concurrent with the third La Fēte Foraine. The first shows were riddled with difficulty, starting with the collapse of the big top after the increased weight of rainwater cause the central mast to snap. Working with a borrowed tent, Laliberté then had to contend with difficulties with the European performers who were so unhappy with the Quebec circus' inexperience, that they had at one point sent a letter to the media complaining about how they were being treated.

The problems were only transient, however, and by the time 1984 had come to a close, Le Grand Tour du Cirque Du Soleil was a success. Having only $60,000 left in the bank, Laliberté went back to the Canadian government to secure funding for a second year. Unfortunately, while the Canadian federal government was enthusiastic, the Quebec provincial government was resistant to the idea. It was not until Quebec's Premier, René Lévesque intervened on their behalf that the provincial government relented.

The original big top tent that was used during the 1984 Le Grand Tour du Cirque Du Soleil tour can now be seen at Carnivàle Lune Bleue, a 1930s-style carnival that is home to the Cirque Maroc acrobats.

La Magie Continue

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The "grand chapiteau" set up in Montreal, Quebec Saint-Michel neighbourhood.

After securing funding from the Canadian government for a second year, Laliberté took steps to renovate Cirque from a group of street performers into a "proper circus". To accomplish this he hired the head of the National Circus School, Guy Caron, as Cirque Du Soleil's artistic director. The influences that Laliberté and Caron had in reshaping their circus were extensive. They wanted strong emotional music that was played from beginning to end by musicians. They wanted to emulate the Moscow Circus' method of having the acts tell a story. Performers, rather than a technical crew, move equipment and props on and off stage so that it did not disrupt the momentum of the "storyline". Most importantly, their vision was to create a circus with neither a ring nor animals. The rationale was that the lack of both of these things draws the audience more into the performance.

To help design the next major show, Laliberté and Caron hired Franco Dragone, another instructor from the National Circus School who had been working in Belgium. When he joined the troupe in 1985, he brought with him his experience in commedia dell'arte techniques, which he imparted on the performers. Although his experience would be limited in the next show due to budget restraints, he would go on to direct every show up to, but not including Dralion.

By 1986, the company was once again in serious financial trouble. During 1985 they had taken the show outside Quebec to a lukewarm response. In Toronto they performed in front of a 25% capacity crowd after not having enough money to properly market the show. Gilles Ste-Croix, dressed in a monkey suit, walked through downtown Toronto as a desperate publicity stunt. A later stop in Niagara Falls turned out to be equally problematic. Despite critical praise, both shows were a failure that put Cirque du Soleil $750,000 in debt.

Several factors prevented Cirque from going bankrupt that year. The Desjardins Group, which was Cirque du Soleil's financial institution at the time, covered about $200,000 of bad checks. Also, a financier named Daniel Lamarre, who worked for one of the largest public relations firms in Quebec, represented the company for free, knowing that they didn't have the money to pay his fee. The Quebec government itself also came through again, granting Laliberté enough money to stay solvent for another year.

We Reinvent the Circus

In 1987, after Laliberté re-privatized Cirque du Soleil, it was invited to perform at the Los Angeles Arts Festival. Although they continued to be plagued by financial difficulties, Laliberté and Gauthier took the gamble and went to Los Angeles, despite only having enough money to make a one-way trip. Had the show been a failure, Cirque would not have had enough money to get their performers and equipment back to Montreal.

The festival turned out to be a huge success, both critically and financially. The show attracted the attention of entertainment executives, including Columbia Pictures, which met with Laliberté and Gauthier under the pretense of wanting to make a movie about Cirque du Soleil. Laliberté was unhappy with the deal, claiming that it gave too many rights to Columbia, which was only attempting to secure all rights to the production. Laliberté pulled out of the deal before it could be concluded, and that experience stands out as a key reason why Cirque du Soleil remains independent and privately owned today.

In 1988, Guy Caron left the company due to artistic differences over what to do with the money generated by Cirque du Soleil's first financially successful tour. Laliberté wanted to use it to expand and start a second show while Caron wanted the money to be saved, with a portion going back to the National Circus School. An agreement was never met and Caron, along with a large number of artists loyal to him, departed. This stalled plans that year to start a new touring show.

Laliberté sought out Gilles Ste-Croix as replacement for the artistic director position. Ste-Croix, who had been away from Cirque since 1985, agreed to return. The company went through more internal troubles, including a failed attempt to add Normand Latourelle as a third man to the partnership. This triumvirate lasted only six months before internal disagreements prompted Gauthier and Laliberté to buy out Latourelle. By the end of 1989, Cirque du Soleil was once again in a deficit.

Nouvelle Expérience

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An acrobat performs in the contortion act of Nouvelle Expérience.

Main article: Nouvelle Expérience

In that same year, Cirque attempted to revive one of its previous shows, Le Cirque Réinventé. The attempt was abandoned after a weak critical reception. Laliberté and Ste-Croix instead created a new show based on the plans that had originally been drawn up by Caron before his departure. Originally intended to be called Eclipse, they renamed the show Nouvelle Expérience.

Franco Dragone agreed to return—albeit reluctantly—but only if he had full creative control of the show's environment. One of the first things he did was to remove the curtain that separated the artist from the audience, so that they would both feel part of a larger show. Whereas in a traditional circus the artist could go past the curtain and drop his role, Dragone had created an environment where the artist had to remain in character for the full length of the production.

Although Dragone was given full control over the show, Laliberté oversaw the entire production. He was in favor of Dragone's new ideas. Inspired by Jules Verne's "La Chasse au Météore", Dragone's concept for the show was that each of the performers were playing the parts of jewels spread around the Earth.

Nouvelle Expérience turned out to be Cirque du Soleil's most popular show up to that point and would continue running until 1993. It spent one of those years at The Mirage Resort and Hotel on the Las Vegas Strip. By the end of 1990, Cirque was profitable again and was prepared to start a new show.

Saltimbanco (Big Top Version)

Main article: Saltimbanco

Inside Cirque du Soleil's "grand chapiteau" at Saltimbanco.

Created in 1992, Saltimbanco (big top version) was the first show in which Cirque du Soleil would narrow its focus to tell a very specific and themed story. Dragone was inspired by the way multiculturalism shaped the nature and direction of Cirque du Soleil and wanted the theme of this new show to be one of "cosmopolitan urbanism". Laliberté stated that, "For me, Saltimbanco is a message of peace. In the 1990s, immigration was an issue, the mixing of cultures in cities, and Saltimbanco reflects that mix, with all of its personalities and colours. It's the challenge we have in today's world: respecting each other, living and working together, despite our differences."

Idealistic or not, Saltimbanco, which comes from the Italian saltare in banco, meaning literally "to jump on a bench," was well-received. Featuring 47 artists, the cast has been assembled from the citizens of 15 different countries. This is, to date, the longest-running show that Cirque du Soleil has ever produced. It has run for 15 years and has toured North and South America, Europe, Japan and the Pacific Rim.

With Saltimbanco finished and touring in the United States and Canada, Cirque du Soleil toured Japan in the summer of 1992 at the behest of the Fuji Television Network. Taking acts from Nouvelle Expérience and Cirque Réinventé they created a show for this tour entitled "Fascination". Although Fascination was never seen outside of Japan, it represented the first time that Cirque had produced a show that took place in an arena rather than a big top. It was also the first that Cirque du Soleil performed outside of North America.

On 1 February 1997, Saltimbanco played its final show at London's Royal Albert Hall. However, the show was restaged and started the following year for a new three-year tour throughout Asia and the Pacific.

Delirium (Arena show)

Main article: Delirium (Cirque du Soleil)

Delirium is a Cirque du Soleil live music event created in conjunction with Live Nation. Instead of being a standard touring show, it is a multimedia/theatrical production that features remixes of existing Cirque music and reinterpretations of performances. This show was coreographed by So You Think You Can Dance's Mia Michaels.

The show retired on 19 April 2008.

Big Top Touring shows

Alegría

Main article: Alegría

Alegría was a departure from the bright circus atmosphere seen previously in productions like Saltimbanco. Created for Cirque du Soleil's tenth anniversary, the concept for the show came to life over a dinner conversation between Franco Dragone, show choreographer Juan Isidro Casilla and Guy Laliberté. Dragone wanted this show to be dark and heavy. "At one point," Dragone said "I was with Guy Laliberté at a restaurant in one of the Las Vegas casinos, and I told him the next show would be sad, heavy, really hard: ' Alegría! Alegría! Alegría!' It's Spanish for 'Joy! Joy! Joy!' Where I come from, it's what you say when you're in pain. It means life goes on."

Costing more than $3 million to produce, the show's main theme is about the abuse of power and the subsequent struggle for freedom. Alegría makes use of darker lighting and music than previous Cirque productions. The stage and the props use gothic arches and harsh angular designs to attempt to invoke a feeling of oppressiveness.

Alegría has toured around the world, including a year in residence at the Beau Rivage resort in Biloxi, Mississippi. Francesca Gagnon, who played the most famous "The White Singer" character, has twice been invited to reprise the Alegría title song at the Montreal Jazz Festival. The music of Alegría has proven extremely popular and the show's soundtrack remains the best-selling Cirque du Soleil album to date.

• Alegria Website

Quidam

Main article: Quidam

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"Quidam" by Cirque du Soleil

Premiering in 1996, Quidam adhered to the trend of bringing darker shows to the big top, previously established by Alegría the year before. Derived from the Latin word for "a nameless passerby," Quidam was Cirque du Soleil's ninth production and premiered in Montreal on 23 April 1996. Dragone's concept for this show is the imagination of a young, jaded girl named Zoe. Drawing heavily from surrealistic artwork, the performers in the show are the manifestations of her own magical daydreams.

Show designers Michel Crête and Franco Dragone wanted to find a new way to incorporate acrobatic equipment onstage. One of the ways they did this in Quidam was to design an overhead rigging system that would allow the performers to enter and exit from above and across the stage. The system also allowed the ability to safely suspend cast members in the air using harnesses for extended periods of time.

The show premiered in Montreal as Cirque du Soleil's new head office and training center was being inaugurated. Initial reviews were critical of Quidam, some suggesting that it "did not feel like Cirque du Soleil". Still, the production scheduled a three-year tour of North America. By the time the 1000-performance tour was finished, Denver, Houston and Dallas were added to the schedule and more than 2.5 million people watched Quidam. After touring Mexico for five months (November 2007 - March 2008), Quidam went back to Europe, to start its second European tour in Lisbon, Portugal. With scheduled dates in Spain, Belgium and the U.K.

• Quidam Website

Dralion

Main article: Dralion

The years of work had taken their toll on Cirque du Soleil's creative team. After La Nouba, Franco Dragone and Michel Crête parted ways from the company. To fill the void they left for the creation of the next show, Guy Laliberté turned to his former artistic director, Guy Caron, who had remained friends with Laliberté after his departure in 1988. Caron was persuaded to leave the National Circus School to return to work with Cirque du Soleil on a new Eastern-themed show.

Rather than attempt to mimic Dragone's style, Caron decided to revisit the themes of Le Cirque réinventé. "I like a show that's full of energy, without gaps, that's full of strong acts, funny, with a big punch at the end," Caron explained. One of his obstacles was working with a team of performers who were almost entirely new to Cirque du Soleil, including a new set designer named Stéphane Roy who had worked with Laliberté and Gauthier back in Baie-Saint-Paul at the Balcon Vert youth hostel. Despite the new team, many within the company were unenthused about Dralion, alarmed at how much the atmosphere and style differed from Dragone's productions.

Despite any misgivings, Dralion went on to be Cirque du Soleil's top-grossing touring show. The television filming of the show received a Primetime Emmy Award.

• Dralion Website

Varekai

Main article: Varekai

The entrance to Cirque du Soleil's Grand Chapiteau at Varekai.

In 2002, Cirque du Soleil premiered Varekai, its first touring show in three years. Laliberté brought in fresh talent to direct this new show: a theater director named Dominic Champagne. Much like Caron directing Dralion three years earlier, Champagne found himself working with a fresh group of performers who had never worked for him before. Unlike the intuitive approach to writing productions of Dragone and Caron, Champagne scripted Varekai from start to finish.

Varekai, which is a word from the Romany language which means "wherever," was conceptualized on the basis of mythology like many of the previous productions. The story is about the Greek myth of Icarus. The story picks up where the myth leaves off, telling the story of what happened to Icarus after he fell from the sky. He lands in the middle of a jungle at the base of a volcano where he must learn to fly again.

• Varekai Website

Corteo

Main article: Corteo

Cortéo is a Cirque du Soleil touring production that premiered in North America in 2005. Cortéo—"a celebratory procession" in Italian—is a show about a clown who watches his own funeral taking place in a carnival-like atmosphere. Inspired by "The Grand Parade: Portrait of the Artist as Clown" on display at the National Gallery of Canada, in many ways Cortéo is a throwback to the older and more lighthearted Cirque productions like Saltimbanco.

Directed by Daniele Finzi Pasca, the founder of the Swiss clown troupe Teatro Sunil, Cortéo takes place on a large circular stage, consisting of separate rotating rings set inside each other. This allows for one area of the stage to move around the stationary action occurring inside the ring. Occasionally during the performance, the stage is divided by a large curtain with a painting on it called the "Cortéo Procession". There are entrance/exits at either side of the circular stage.

• Corteo Website

KOOZÅ

Like Cortéo, KOOZÅ is another show that goes back to Cirque du Soleil's older styles. Premiering in Montreal, Quebec, Canada on 19 April 2007, the show is heavily inspired by Middle Eastern culture and makes use of a large traveling tower on the stage called a "bataclan". The bataclan moves over the course of the show and reconfigures the performing space.

This show was directed by David Shiner, who had previously worked as a clown in Cirque's production of Nouvelle Expérience. He was another example of Cirque's trend of using new directors for each new performance. His past experience being a clown and working with the Swiss National Circus ("Circus Knie") are an influence on the lighthearted and whimsical nature of the KOOZÅ production.

• KOOZA Website

Resident shows

Mystère

Main article: Mystère (Cirque du Soleil)

On 25 December 1993, as Cirque was approaching its 10th anniversary, they unveiled a new show at the then-new Treasure Island Hotel and Casino on the Las Vegas Strip. Mystère was a departure from their standard format much in the way that Fascination was. A deal was made between Cirque du Soleil and Steve Wynn, Treasure Island's developer, to grant permanent residency to Cirque's new show. It posed certain difficulties for the company, such as the need to set up a permanent infrastructure to meet the needs of its employees working in the Las Vegas area.

Dragone's concept for Mystère was an exploration of the origins of life in our universe. The themes for the show are a conglomerate of multiple mythologies from multiple cultures. The music was quite different from Cirque's previously traditional style as well, relying on more "ethnic" music of Spanish, African and east European inspiration.

The show represented Cirque's first attempt at moving from the big top into a theater setting. It was also the first time that Laliberté and Gauthier were forced to contend with a major business partner, Treasure Island. The partnership led to difficulties and Steve Wynn was not initially optimistic about the show's chances for success, saying "You guys have made a German opera here." Franco Dragone took Wynn's sarcasm as a compliment. Wynn remained unhappy with the dark and moody feel of Mystère and had even threatened to delay the opening of the show unless changes were made. Nevertheless, Mystère was successful and has remained at the hotel ever since.

• Mystère Website

"O"

Main article: O (Cirque du Soleil)

At the Bellagio Hotel and Casino on the Las Vegas Strip, Cirque created its tenth production and second resident show. Once again working with hotel entrepreneur Steve Wynn, Cirque du Soleil and Wynn financed a $100 million theater within the hotel. As the company was getting more comfortable with theater productions, they wanted to create a show performed in the water, a concept not tried in a theater before. "O", which is derived from the phonetic spelling of the French word for water, took more than 400,000 man-hours of production and pre-production work to assemble.

Many past practices could not be used in the production of "O". The costumes used by the performers were nearly $10,000 each and needed to be made of material that resisted the effects of the chlorine and bromide in the water. The makeup that had been used in past shows was also unsuitable for the performers being submerged, requiring a new waterproof formulation before the show could be started.

The 1,800-seat theater itself was centered around a 1.5 million-gallon tank of water for the performers to work in and around. It was built using a water pumping system that is as noiseless as possible to prevent any mechanical noise from detracting from the quality of the show itself. Twelve underwater speakers allow the performers in the water to hear and react to audio cues even when they are submerged.

To support the needs of the performers who would be getting in and out of the water, a directed HVAC system was created for this theater to control the heat and humidity generated by the approximately 84-degree water. Blowers were built into the stage to keep warm air circulating on the stage while a silent air movement system carried air at 55 degrees Fahrenheit underneath every seat in the theater. The combined systems keep both the performers and the audience at a comfortable temperature.

• O Website

La Nouba

Main article: La Nouba

Later that same year in Orlando, Florida, Cirque's third resident show was inaugurated at the Downtown Disney section of the Walt Disney World Resort. In a partnership with Disney's former CEO Michael Eisner, Cirque created its first permanent freestanding theater to hold 1,671 attendees. 160 feet (49 m) high and designed to resemble a white tower with metal turrets on the outside, the 70,000-square-foot (6,500 m²) interior is made to project the appearance and atmosphere of a travelling show's "Grand Chapiteau".

Conceptually, Dragone and Laliberté decided to portray La Nouba as a fairy tale. Assistant designer Michel Crête noted "We were at Disney, so we were influenced by a world of fables." The set design is built to give the perception of an old attic where the performers tell the audience a story. "La Nouba", which originates from the French phrase "faire la Nouba" which means "to party," contrasts stories through two groups of people: one colourful and the other monochromatic.

The creative design team of Cirque du Soleil admits that La Nouba was rushed together. They had been working non-stop for years on the previous shows for the past several years and La Nouba was created under near-exhaustion. They countered this by attempting to instill more youth into the show, in both the themes and the age of the performers.

• La Nouba Website

Zumanity

Main article: Zumanity

In September 2003, Cirque du Soleil unveiled Zumanity. This new production was a resident cabaret-style show at the New York-New York Hotel & Casino on the Las Vegas Strip. It is the first "adult-themed" Cirque du Soleil show, billed as "The Sensual Side of Cirque du Soleil" or "Another side of Cirque du Soleil". Created by Dominic Champagne, Zumanity is a departure from the standard Cirque format. Intended to be for mature adult audiences only, this show is centered around erotic song, dance, and acrobatics.

The inspiration to create Zumanity came from multiple sources. Laliberté had been offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences. Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy". The hotel liked the concept of a more adult Cirque du Soleil performance.

Laliberté admits that the biggest reason to produce this show was the chance to create something with riskier subject matter. He was interested in the idea of creating a show that explored human sexuality, something that was at complete odds from the other more family-oriented Cirque shows. "Our previous shows have all been family-oriented and 'politically correct, which is great," Laliberté said, "But we're human beings, we won't hide it. We're a bunch of happy campers. We like to live new experiences. Zumanity deals with some of those experiences."

• Zumanity Website

KÀ

Main article: KÀ (Cirque du Soleil)

After Steve Wynn sold his Mirage Resorts to MGM in 2000, Laliberté received a call from Terry Lanni, CEO of the MGM Mirage. Lanni had been eager to capitalize on the previous successes of Cirque du Soleil in Las Vegas and offered to fund the production of two more shows, Zumanity and KÀ.

Directed by Canadian theater veteran Robert Lepage, KÀ drew heavily on martial arts for its inspiration. The story centers around the adventures of a pair of imperial twins. Unlike most Cirque productions, the story of KÀ was more concrete and linear, more narrative and less abstract. First premiering in November 2004 at the MGM Grand, KÀ became Cirque's fourth resident show in Las Vegas. It was also the largest and most expensive production the company had created to date. By the time it had been completed, KÀ had cost more than $220 million, of which more than $30 million was in costumes and $135 million was the theater itself, the bill for which was paid entirely by the MGM Grand.

• KÀ Website

LOVE

Main article: LOVE (Cirque du Soleil)

The show is based at The Mirage, Las Vegas and consists of panoramic sound and visuals along with a cast of 60 international artists. Born from a personal friendship and mutual admiration between George Harrison and Cirque founder Guy Laliberté, LOVE brings Cirque du Soleil together with the musical legacy of The Beatles through their original recordings. Using the master tapes at Abbey Road studios, Sir George Martin and his son, Giles Martin have created a soundscape of The Beatles music for LOVE.

• The Beatles Love Website

ZAIA

Based at The Venetian Macao, Cotai Strip, this brand new 90-minute mega-production brings together 75 high-calibre artists from all four corners of the globe. The show is directed by Neilson Vignola and Gilles Maheu.

ZAIA presents a young girl's perception of the stars and planets, space and infinity, all populated by a panoply of fantastic, literally out-of-this-world creatures. The title, ZAIA, comes from a Greek name meaning "life" and is also reminiscent of Gaia, the living, self-aware, spirit of Earth.

• ZAIA Website

ZED

A resident show at the Tokyo Disney Resort. Film director François Girard creates a show surrounded by the titular character, drawn on the Tarot and its arcana that holds up a mirror to ourselves and the human condition through a variety of other characters as he unites the divisions between the people of the sky and Earth. The official Grand Opening is 1 October 2008.

• ZED Website

CRISS ANGEL BeLIEve

A new permanent show at The Luxor Resort & Casino in Las Vegas, featuring Criss Angel. Cirque du Soleil is working with Criss to fuse his signature illusions and artistry with acrobatics, dance, puppetry, music and poetry to tell a story. The Los Angeles Times and other Las Vegas entertainment websites are reporting that Cirque du Soleil is delaying the preview performances and the official grand opening due to 'technical difficulties'. Preview performances that were scheduled to begin September 1st, will now begin September 12 and the Grand Gala Opening has been rescheduled to October 31, 2008. It will run for 10-15 years

• Criss Angel BELIEVE Website

Arena Touring shows

Saltimbanco (Arena Version)

An arena version of the retired big-top show which travelled the world from April 1992-December 2006. It is currently touring in different arenas across North America, traveling to regions that have never had a Cirque du Soleil show visit, such as Idaho and Newfoundland.

• Saltimbanco Website

Seasonal resident show

WINTUK

Main article: WINTUK (Cirque du Soleil)

Performed at the WaMu Theater in New York City's Madison Square Gardens and scheduled to run for 10 weeks each winter from 2007-2011. Wintuk is a family-based and specifically themed semi-permanent residency show about a young boy living in a large, snowless city waiting for the first snowfall that never comes. With the help of four other companions in search of their place in the world, they journey to an imaginary Nordic country of Wintuk, where they experience the rich culture of the Northern peoples, and bring back snow to the city in a snowstorm.

• Wintuk Website

Future productions

• 19 October 2008: Cirque will perform a special one-night, one-time event as a closing ceremony performance for the La Francophonie Summit and part of the celebrations marking Quebec City's 400th anniversary at the Colisée Pepsi in Quebec City, Canada.

• April 2009: Cirque du Soleil has announced there will be a new touring show (working title: Cirque 2009) to be directed by renowned Brazilian choreographer/dancer Deborah Colker Tickets are now on sale for Montreal, Quebec & Toronto.

• Alegria (Arena Version): Tour is scheduled to commence soon after the end of Dubai's Engagement in 2009

• 2009 A second residency show in Macau will be launched at a yet-to-be constructed hotel-casino that according to sources is a reinvention of the variety show, created and directed by René Simard.

This show will also feature much from Latin Culture

• November 2009: The Elvis Presley Projects. CKX, Inc., the company that owns the rights to Elvis Presley's name, likeness, and music publishing has signed an agreement to have Cirque create Elvis-themed permanent shows and multimedia presentations. This production is slated for Las Vegas' Project CityCenter currently under construction. The Elvis Presley Projects will include additional touring and permanent shows, along with "Elvis Experiences" (interactive multimedia exhibits). One touring Elvis show is planned for Europe/Asia in 2008, with one "Elvis Experience" outside the United States. One new Elvis Presley Project will open each year from 2009-2015.

• 2010:
  • A new Cirque show will debut at the Kodak Theater in Los Angeles, California with a movie-themed show for the millions of tourist who flock to Hollywood Boulevard each year. The show will run for 10 years and will take a six-week break during the city's Academy Award season.
  • Cirque will co-create the Canada Pavilion in association with the Government of Canada for Expo 2010 to be held in Shanghai, China.

• 2011:
  • Cirque has signed a major partnership with key Persian Gulf real estate developer company Nakheel to create a residency show at the Atlantis, The Palm Resort currently under construction on The Palm, Jumeirah in Dubai, with an initial 15-year deal for a new and original show scheduled to perform in 2011 and directed by Guy Caron (Dralion) and Michael Curry

Other projects

Current Projects

• A Taste of Cirque du Soleil, a special 30-minute performance on the Constellation and Summit Celebrity Cruises cruise ships. Included on these ships is The Bar of the Edge of the Earth, a dream-like bar/lounge/disco.
• Cirque du Monde, a social action project designed to reach marginalized youth.
• Revolution, a lounge concept designed for The Mirage resort in Las Vegas in which the Cirque cast members perform to the music of The Beatles.
• Cirque du Soleil Collection, a ready-to-wear women's clothing line.

Past Projects

• 74th Academy Awards (24 March 2002), Cirque du Soleil created a five-minute performance for the category of special effects at the 74th Academy Awards. They spent four months creating the show, which featured 11 acts from a variety of Cirque shows. Each of the acts were choreographed and themed to their equivalent movie by re-creating the special effect scene featured in the film on stage while playing clips on a large screen behind the performances.
• Soleil de Minuit/Midnight Sun (11 July 2004), a special one-night event in Montreal celebrating the 20th anniversary of Cirque du Soleil and the 25th anniversary of the Montreal International Jazz Festival.
• Reflections in Blue (16 July 2005), a unique one-night water show in Montreal on as part of the opening ceremonies for the 2005 World Aquatics Championships.
• Pre-Game Show (4 February 2007), at Super Bowl XLI. Produced by David Saltz.
• The Awakening of the Serpent: (June-September 2008),Cirque du Soleil will have a daily parade spectacle called The Awakening of the Serpent to be performed for the duration of Expo 2008 in Zaragoza, Spain.

Filmography

Cirque du Soleil Images creates original and innovative products for television, video and DVD and distributes its productions worldwide. In each of its projects, Cirque du Soleil Images aims to reflect the image and spirit of Cirque du Soleil's shows.

Its creations have been awarded numerous prizes and distinctions, including two Gemini Awards and a Primetime Emmy Award for Cirque du Soleil Fire Within (in 2003) and three Primetime Emmy Awards for Cirque du Soleil Presents Dralion (in 2001).

Year	Title	Notes
1991	Quel Cirque	A look into the creation of Nouvelle Experiénce. Out of print.
1992	Saltimbanco's Diary	A behind-the-scenes featurette on the making of Saltimbanco. Out of print.
1994	A Baroque Odyssey	A 10-year anniversary retrospective.
1994	The Truth of Illusion	Documentary about the production Alegria. Out of print.
1996	Full Circle: The Making of Quidam	A behind-the-scenes look at the making of Quidam
1998	Alegría	Film adaptation directed by Franco Dragone. This film was based loosely on the touring show.
2000	Journey of Man	A compilation of acts from various Cirque shows including Mystère and Quidam. This movie was shot in wide format and released at IMAX theaters.
2000	Inside La Nouba: From Conception to Perception	Highlights of the show and interviews with creators.
2003	Fire Within	A 13-episode inside look into the creation and production of Varekai shown on Bravo.
2003	Whatever 'Stie	A Parody of Varekai show acted by the technical crew only for the actual artists (actors) DVD.
2004	Midnight Sun	Festival International de Jazz de Montrèal on 11 July 2004, to celebrate the 25th anniversary of the Festival International de Jazz de Montrèal and Cirque du Soleil's 20th birthday.
2004	Solstrom	A 13-episode series using various acts from Cirque du Soleil and other productions shown on Bravo. Each episode has a different theme.
2005	KÀ Extreme	A documentary which explores the production of KÀ by following the show’s evolution from early rehearsals through to the first public performance.
2006	Lovesick	Filmed over two years and set in Las Vegas during the creation of the cabaret-style production, Zumanity.
2007	FLOW	A homage to the artists of "O" that provides an in-depth documentary of the Las Vegas aquatic extravaganza.
2007	The Mystery of Mystère	A documentary on Mystère, the critically acclaimed theatrical production playing at the permanent location at the Treasure Island Resort.
2007	A Thrilling Ride through KOOZA	A short documentary filmed during the creation period of Kooza.
2007	KÀ	Filmed exclusively for German national TV channel, ZDF.
2008	DELIRIUM	The last performance of DELIRIUM has been filmed in London. This film was released in movie theaters, starting on 20 August 2008. Encore performances on October 15, 2008.
2009	All Together Now	A documentary about the making of LOVE. (DVD release postponed until April 21, 2009)

Legal issues

In November 2003, a US federal discrimination complaint was filed against Cirque du Soleil by Lambda Legal Defense and Education Fund on behalf of gymnast Matthew Cusick. The allegation was that in April 2002, they fired Cusick because he tested HIV positive. Cusick had not yet performed, but had completed his training and was scheduled to begin working at Mystere just a few days after he was terminated. Even though company doctors had already cleared him as healthy enough to perform, Cirque alleged that due to the nature of Cusick's disease coupled with his job's high risk of injury, there was a significant risk of him infecting other performers, crew or audience members.

The complaint was filed at the Los Angeles office of the Equal Employment Opportunity Commission. Cusick stated that his HIV status in no way interfered with his ability to perform and he had been cleared by Cirque's own doctors twice before his termination. Cirque du Soleil in turn said that they had several HIV-positive employees, but in the case of Cusick, the risk of him spreading his infection while performing was too high to take the risk.

After learning about the complaint, an additional complaint was filed on Cusick's behalf by the San Francisco Human Rights Commission. Their complaint stemmed from the issue that the City of San Francisco bans contracts (or in this case land leases) to discriminatory employers.

Although Cirque du Soleil's position remains that this is a safety issue, not a discrimination issue, they settled with Cusick on 22 April 2004. The terms of the settlement include that the company would initiate a companywide anti-discrimination training program and alter its employment practices pertaining to HIV-positive applicants. In addition, Matthew Cusick received $60,000 in lost wages, $200,000 in front pay, $300,000 in compensatory damages and Lambda Legal received $40,000 in attorney fees.

External links

• Jean David & Cirque du Soleil
• Cirque du Soleil Official site
• Official Global Site
• Cirque du Soleil Official Boutique
• The Cirque Club
• Cirque du Soleil Casting
• One Drop Foundation