Cirque du SoleilTodo comenzó en Baie-Saint-Paul, un pequeño pueblo cerca de Quebec (Canadá). Allí, a comienzos de la década de los ochenta, un grupo de personajes llenos de color deambulaban por las calles subidos en zancas, haciendo malabares, bailando, lanzando fuego por la boca y tocando música. Se trataba de Les Échassiers de Baie-Saint-Paul (los zancudos de Baie-Saint-Paul), un grupo de teatro callejero fundado por Gilles Ste-Croix. Los habitantes del pueblo quedaron impresionados por los jóvenes artistas y, entre ellos, se encontraba Guy Laliberté, que posteriormente fundaría y se convertiría en director general del Cirque du Soleil.
Acrobatic Performance Designer
Early in his acrobatics career Boris Verkhovsky discovered he was more interested in coaching than competing. Following his graduation from the Institute of Physical and Sports Culture in Minsk, Belarus with a degree in Physical Education and Sports, he rose through the ranks to become a coach of the national acrobatics team of the former Soviet Union.
Boris emigrated to Canada in 1978 and quickly had to adapt his coaching style to the Canadian amateur sport environment. He eventually became Head Coach of the Canadian national trampoline and tumbling team, and was approached by Cirque du Soleil in 1993 to consult on a proposed tumbling act for the Las Vegas resident show Mystère.
He was subsequently named Head Coach of Acrobatic Training at Cirque du Soleil and is currently Director of Performance Design and Development – Creation.
Although IRIS is Boris’s first “hands-on” Cirque du Soleil show as Acrobatic Performance Designer since the creation of Corteo, he has been deeply involved in the development and creation of every Cirque production since he joined the company – a process he likens to a balancing act made up of many interlocking skills and talents.
“To keep people on the edge of their seats, we wanted the acrobatics in IRIS to mirror the drama and excitement of film,” says Boris Verkhovsky. “To help achieve that, we’ve integrated the live action on stage closely with the projections on screen so the audience might from time to time forget whether they’re watching a live performance or a movie.”
Boris Verkhovsky was born in Vitebsk, Belarus.