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CRISS ANGEL Believe

Criss Angel presenteert samen met Cirque du Soleil de spectaculaire illusionismeshow CRISS ANGEL Believe in het Luxor Hotel & Casino in Las Vegas. Criss Angel is onlangs als 'goochelaar van de eeuw' onderscheiden en brengt zijn gasten nu in een staat van verwondering en fascinatie met zijn arsenaal aan toverkunsten. Deze voorstelling van 90 minuten bevat enkele van de meest verbijsterende illusies die ooit op een podium te zien zijn geweest, van de beste trucs van Harry Houdini tot verbluffende illusies die aan het brein van Criss Angel zelf zijn ontsproten.

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Vaste show in Luxor Hotel Casino, Las Vegas, NV

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CRISS ANGEL Believe - Ontwerpers

  • Guy Laliberté

    Oprichter en Creative Guide

    Guy Laliberté is in 1959 geboren in Québec. Deze accordeonist, steltloper en vuurvreter heeft met ondersteuning van een kleine groep mensen het allereerste internationaal vermaarde circus van Québec opgericht. Guy Laliberté, een dappere visionair, herkende en gebruikte de talenten van straatartiesten van het Fête foraine de Baie-Saint-Paul en richtte in 1984 Cirque du Soleil op.

    Guy Laliberté was de eerste die de mix van culturen en artistieke en acrobatische disciplines samenbracht, wat ook vandaag de dag nog kenmerkend is voor Cirque du Soleil. Sinds 1984 staat hij aan het hoofd van het creatieve team en helpt hij de medewerkers bij de ontwikkeling van elke show. Daarnaast heeft hij eraan bijgedragen dat circuskunsten tegenwoordig worden gezien als een belangrijke artistieke discipline.

    Cirque du Soleil is een internationale organisatie; zowel wat betreft de stijl en activiteiten als de invloed die het circus uitoefent. Guy Laliberté staat nu aan het hoofd van een organisatie met activiteiten die zich uitstrekken over vijf continenten.

    In oktober 2007 begon Guy Laliberté aan een tweede project: de ONE DROP Foundation, die tot doel heeft om wereldwijd armoede te bestrijden door mensen van schoon water te voorzien.  Deze nieuwe droom komt voort uit het gegeven dat het recht op water van essentieel belang is om te kunnen overleven en uit de normen en waarden die al sinds de oprichting een belangrijke rol spelen bij Cirque du Soleil:  de gedachte dat het leven alles wat iemand geeft ook weer teruggeeft en dat daarbij zelfs het kleinste gebaar een verschil maakt.

    In september 2009 werd Guy Laliberté de eerste Canadese privéruimtevaarder.  Zijn doel was om mensen bewust te maken van de waterproblemen waarmee de aarde en mensheid te maken hebben. Onder het motto Moving Stars and Earth for Water was de eerste poëtisch-sociale missie in de ruimte een feit. De bedoeling was mensen te raken vanuit een artistieke benadering: een speciale, 120 minuten durende webcast met verschillende optredens in veertien steden op vijf continenten, zelfs in het internationale ruimtestation ISS.

    Belangrijkste awards en onderscheidingen
    In 2012 werd Guy Laliberté opgenomen in de Gaming Hall of Fame van de American Gaming Association. In 2011 werd hij opgenomen in de Canadian Business Hall of Fame. In 2010 kreeg Guy zijn eigen ster op de Hollywood Walk of Fame. In hetzelfde jaar werd Guy door de regering van Québec gepromoveerd van ridder (een titel die hij zes jaar eerder kreeg) tot officier in de Ordre de la Pléiade. De Université Laval (Québec) verleende Guy Laliberté in 2008 een eredoctoraat. Het jaar ervoor won Guy Laliberté de Ernst & Young Entrepreneur of the Year-award in drie categorieën: Québec, Canada en Internationaal. In 2004 ontving hij de Order of Canada, de hoogste onderscheiding van het land, van de gouverneur-generaal van Canada. In hetzelfde jaar werd hij door Time Magazine genoemd als een van de 100 meest invloedrijke personen ter wereld. In 2003 werd hij door de Condé Nast-groep geëerd als onderdeel van het Never Follow Program, een eerbetoon aan uitvinders en innovators. In 2001 werd hij door de Académie des Grands Montréalais uitgeroepen tot 'Great Montrealer'. In 1997 ontving Guy Laliberté de Ordre National du Québec, de hoogste onderscheiding die door de regering van Québec wordt uitgereikt.


    Andere awards en onderscheidingen

    2009
    Lifetime Achievement Award, uitgereikt door de Canadian Marketing Association

    2002
    Vereeuwiging in de Canadese Walk of Fame

    1998
    Visionary Award, uitgereikt door het American Craft Museum (nu het Museum of Arts and Design in New York)

    1996
    Vision nouvelle-award, uitgereikt op het 43e Gala du Commerce (Québec)

    1988
    Personality of the Year, Gala Excellence La Presse (Québec)

    1988
    Entrepreneur of the Year, Les Affaires magazine (Québec)

     

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  • Gilles Ste-Croix

    Artistiek leider

    Toen Gilles Ste-Croix zijn ouders vertelde dat hij de showbusiness in wilde zeiden ze “Alles behalve dat!”. Ste-Croix groeide op op het platteland van Quebec, maar hij was vastbesloten om daar niet te blijven. Hij werd een hippie en een nomade, leefde in communes en maakte in de jaren zestig de verplichte pelgrimstocht naar de Westkust. Daar leefde hij in communes en volgde een paar dramalessen.

    Ste-Croix probeerde zich wel aan te passen en werkte zelfs een tijdje op een architectenkantoor, maar hij wist diep van binnen dat hij niet gemaakt was voor een gewone carrière in het bedrijfsleven. Tegelijkertijd was zijn zoektocht naar een baan absoluut niet doelloos of vaag. Hij zegt dat hij als tiener al een sterke drang had om te slagen en een evenzo sterke drang om te vermaken. Zijn entree in de showbusiness gebeurde op een zeer ongewone en onvoorspelbare manier.

    Eind jaren zeventig woonde Gilles Ste-Croix in een commune in Victoriaville, Quebec. Hij plukte appels om de kost te verdienen. Op een dag bedacht hij dat het werk een stuk makkelijker zou zijn wanneer hij de ladder aan zijn benen kon vastmaken en zo ontwierp hij zijn eerste stelten.

    Een vriend noemde toevallig het Bread and Puppet Theater in het nabijgelegen Vermont, dat steltlopen als basis gebruikte voor veel van haar voorstellingen. Ste-Croix ging langs bij het gezelschap en realiseerde zich dat zijn appelpluk- vaardigheden wel eens gewild zouden kunnen zijn in de grotere wereld van entertainment.

    In 1980 richtten Gilles Ste-Croix en een groep straatartiesten de Échassiers de Baie-Saint-Paul op en organiseerden een straattheaterfestival genaamd het Fête foraine de Baie-Saint-Paul. Dit zou uiteindelijk leiden tot de oprichting in 1984 van Cirque du Soleil met Guy Laliberté.

    In 1984 en 1985 bedacht Gilles Ste-Croix vele steltnummers voor Cirque du Soleil en voerde hij ze uit. In 1988 werd hij Artistiek Directeur van Cirque, evenals coördinator voor een talentenjacht die zich verspreide over de vier hoeken van de wereld. Hij was van 1990 tot 2000 Director of Creation [creatief directeur] voor alle Cirque du Soleil producties: Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam, La Nouba, "O", en Dralion. In 1992 regisseerde hij Fascination, de eerste show van Cirque du Soleil die in theaters in Japan werd getoond. In 1997 regisseerde hij ook de baanbrekende diner/cabaretshow Pomp Duck and Circumstance in Duitsland.

    Terwijl hij in 2000 nog steeds als werkte adviseur voor Cirque du Soleil, besloot Gilles Ste-Croix om een van zijn grootste dromen waar te maken: Gedreven door zijn gepassioneerde interesse voor paarden, richtte hij zijn eigen bedrijf op om de voorstelling Cheval-Théâtre uit 2003 te produceren. Hierin schitterden 30 paarden en acrobaten in een tent en ze reisden langs tien steden in Noord Amerika.

    In december 2002 keerde Gilles St-Croix terug naar Cirque du Soleil als Vice-President of Creation, New Project Development [Ontwikkeling Nieuwe Projecten]. In juli 2006 werd hij benoemd tot Senior Vice-President of Creative Content and New Project Development [creatieve inhoud en ontwikkeling nieuwe projecten]. Op dit moment richt Gilles zich op zijn rol als Creative Guide [creatief leider], naast Guy Laliberté.

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  • Criss Angel

    Star, Writer and Director

    Criss Angel has single-handedly brought about a major resurgence of magic in popular culture. Today, Criss is recognized as one of the most provocative artists in the world. He first became interested in the art at the age of seven. As an adolescent he studied mysticism, music, martial arts and dance and two of his biggest influences were Aldo Richiardi and especially Harry Houdini.

    Criss emphasizes the importance of establishing an intimate relationship with the audience. "Houdini was a pioneer in a lot of ways," he says. "When he performed his straitjacket escape in front of enormous crowds, people identified with him. They felt that if he could escape from a straitjacket maybe they too could escape from their constraints and achieve their dreams. Like Houdini, I like to create moments of wonder. Magic is an art that should provoke and touch people."

    In 1994 Criss made his prime-time television debut in the ABC special Secrets. In 1998 Criss Angel: World of Illusion headlined Madison Square Garden's annual Halloween spectacle. The sold-out 12-day run attracted an audience of over 80,000. His next major project, 600 performances of his critically acclaimed Criss Angel Mindfreak brought a new kind of entertainment to Broadway.

    In October 2002 the television special Criss Angel Mindfreak debuted on ABC Family channel, in which Criss submerged himself – chained and shackled – in a 220-gallon water torture cell. His third one-hour television special, Supernatural, aired on the Sci Fi Channel.

    The undisputed master of street magic, Criss Angel is currently the star and creator of the A&E Network series Criss Angel Mindfreak which premiered in 2005. The illusions have included walking on water, levitating above the Luxor Hotel, floating between two buildings, making a Lamborghini vanish and cutting himself in half in full view of an audience. Mindfreak is the most successful magic show in television history. With it Criss has performed more hours of primetime magic than anyone in history. Criss has received numerous awards and is the first five-time recipient of the coveted Magician of the Year Award (2001, 2004, 2005, 2007 and 2008). Criss has also recently been named "Magician of The Decade" by the International Magicians Society.

    "With CRISS ANGEL Believe, the live show experience will be unlike anything that anybody's ever seen before," says Criss. "It's an experience that truly represents the magic of emotion that members of the audience can connect with and reflect on in their own lives. The images on stage will ignite responses that cause people to reflect – and I think that's the truest form of magic. This show brings to life beyond my wildest dreams an original concept that I created over 15 years ago."

    Criss Angel was born in Long Island, New York.

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  • Serge Denoncourt

    Director

    Serge Denoncourt is known as a true man of the theatre with more than 80 productions to his credit, but he was planning to study medicine when he decided at the age of 18 to audition for the theatre program at a Montreal college called CEGEP Lionel-Groulx. He was accepted, and when he graduated in 1983 he started his career as an actor. In 1987 he demonstrated his inventiveness as a director for the first time, with the play Grand et Petit, by Botho Strauss.

    Cofounder of the Théâtre de l'Opsis in 1984, he has explored the great classics: Molière, Corneille, Gorky and the modern repertoire – Botho Strauss, Bertolt Brecht, Howard Barker – with equal interest. In the Chekhov cycle produced with Opsis in 1999, he added bits and pieces of the actors’ conversations and musings during rehearsals to the Russian author’s text of The Seagull to create the highly acclaimed Je suis une mouette (non, ce n'est pas ça), an original play that carried on a dialogue with itself and with today’s theatre.

    He breathed new life into the Théâtre du Trident in Quebec City as the company’s Artistic Director from 1994 to 1997. He directed several Quebec plays, notably Les Feluettes (2002) by Michel Marc Bouchard, which he remounted at the Espace GO 15 years after its creation.

    Serge Denoncourt is steeped in theatre tradition and known for the visual beauty of his shows, which are typically marked by heightened imagery, vivid use of color and a deep examination of subtext. A versatile artist, Serge also stages operas and even delves into the world of variety shows: He directed the Italian quick-change artist Arturo Brachetti’s show, developed the artistic and visual concept of a show by the Italian singer Eros Ramazzotti and in 2003 re-mounted the Quebec musical Pied de Poule that he first directed in 1991. The same year he was the acting coach for three episodes of the Cirque du Soleil TV series Solstrom.

    With CRISS ANGEL Believe Serge has sought to return a sense of nobility to magic. “I don’t like magic shows in general,” he says. “They lack emotion and any sense of a storyline. I took on CRISS ANGEL Believe from the position of one who doesn’t like those kinds of shows because they treat magic as an end in itself. My aim here is to take magic – and Cirque du Soleil – in a completely different direction.”

    Serge Denoncourt was born in Shawinigan, Quebec in 1962.

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  • Pierre Phaneuf

    Director of Creation

    Pierre Phaneuf seemed destined for a business career before hearing the call of communications and theatre while attending college. He began studying communications at the University of Ottawa, but switched to the theatre department a month later. Impatient to evolve in the milieu of professional theatre, he left university after two years to work as an actor, production manager, stage manager and assistant to the director for companies in Ottawa and northern Ontario. During an assignment at the National Arts Centre in Ottawa, he had a decisive encounter: he connected with the director André Brassard and decided to settle in Montreal.

    In 1986, Pierre Phaneuf earned his degree in production of the National Theatre School (NTS), which marked the beginning of a long love affair with the theatre. As a production manager or director, he worked with major companies such as the Théâtre du Nouveau Monde and the Théâtre de Quat'Sous, in Montreal. In 1990, Guy Laliberté, founder of Cirque du Soleil, offered Pierre the position of deputy director general, which he accepted. But two years later, keen to broaden his experience, he kept up with the world of theater and took in a great deal of theatre, dance and opera in Montreal and abroad. In 1994, he became the production manager of the Opéra de Montréal, and the following year, he assumed the leadership of the production program of the National Theatre School, a role he held for six years, working alongside such prominent figures in the world of Quebec theatre as André Brassard, Monique Mercure and Elizabeth Bourget.

    Pierre Phaneuf rejoined Cirque du Soleil in 2000, this time as tour director of Quidam, Varekai and Saltimbanco. Wanting to settle in Montreal, he accepted the position of senior director of tour operations, and then assistant vice president, performance quality In January 2008, he was appointed vice president, creation at Cirque du Soleil.

    "At Cirque du Soleil, the director of creation seeks to maintain and protect the creative spirit," says Pierre Phaneuf, “to preserve the creative process, which is organic and non-static. The degree of freedom we offer creators is enormous. We must accompany them to unknown territories, frame their approach and ‘set fires’ in controlled circumstances so they can excel.”

    CRISS ANGEL Believe is Pierre Phaneuf’s first Cirque du Soleil assignment as director of creation. "At Cirque, we are never far from our original goal to push our borders. This is also the case with CRISS ANGEL Believe. Criss Angel has a very sharp sense of adventure and risk. LUXOR marks Cirque’s first foray into the field of magic. Like the circus, magic is a source of wonder, amazement and the unexpected. We must put aside reason and surrender completely to the intensity of emotion."

    Pierre Phaneuf was born in Saint-Hyacinthe, Quebec, in 1960.

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  • Christiane Barette

    Associate Director of Creation

    Everything in Christiane Barette’s background predisposed her to a career in the arts. Born into a family that placed a premium on artistic expression, culture and the interaction of ideas, she became – at a very early age – interested in classical music, reading and theatre, and spent a lot of time exploring museums and art galleries.

    After obtaining a bachelor’s degree in translation from the Université de Montréal, Christiane studied political science at the Université du Québec à Montréal and then pursued her interest in the history of art and Italian culture.

    Christiane Barette was attracted to the circus aspects of street performance and joined the National Circus School in Montreal, where she worked as director of marketing and communications for seven years. She then moved to Holland, where she made her living researching artists on behalf of private companies.

    When Christiane came back to Montreal, Guy Caron, the director of creation for Cirque du Soleil invited her to become his assistant. She first worked on research pertaining to the creation of the show KÀ, directed by Robert Lepage. She remained as assistant to the director of creation until the delivery of KÀ in February 2005.

    Back in Montreal following the premiere of KÀ, Christiane assisted Guy Caron and Fernand Rainville, co-directors of the Cirque-produced show for the opening ceremonies of the MONTREAL 2005 - XI FINA WORLD CHAMPIONSHIPS. She then undertook research on other themes for potential shows including the project scheduled to open in Dubai in 2010.

    CRISS ANGEL Believe is Christiane Barette’s first Cirque du Soleil production as director of creation. “Creation is the driving force at Cirque,” says Christiane. “The role of the director of creation is to demystify the process, which is highly complex, to simplify it and bring it down to a human scale. The goal: to let the creators create. With CRISS ANGEL Believe we want to change the way people think of magic and present it as an art form. The show is a surreal journey into the subconscious of a character with magical powers who sets out on an out-of-this-world rollercoaster ride.”

    Christiane Barette was born in Montreal.

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  • Ray Winkler

    Set Designer

    Ray Winkler started out as a carpenter and qualified as a furniture craftsman before turning to his family’s tradition and studying for five years to obtain a master’s degree in architecture (from University College, London). He became interested in set design while doing postgraduate studies in California , drawn by its ephemeral nature as opposed to the durability and permanence of conventional buildings.

    He has been working as an entertainment architect/designer at The Mark Fisher Studio since 1997. “It was supposed to be a six-week stint,” he says. “But I'm still here!” In that time, Ray has designed sets for countless live TV shows, including MTV Icons, the MTV Movie Awards, the EMAs in Edinburgh , Rome , Lisbon and Copenhagen , the BRITS in London and the NFL Super Bowl in Detroit .

    He has also worked on tours for U2 and the Rolling Stones, and designed shows for Johnny Hallyday at the Eiffel Tower and the Olympia Theatre in Paris , and multimedia spectacles for Jean-Michel Jarre at the Great Pyramids in Giza and the Acropolis. His recent work includes the Robbie Williams Close Encounters arena and stadium tour, the worldwide design of the nine ‘Live Earth’ stages and the Take That arena tour. He recently completed a multimedia outdoor show for Universal Studios Japan, which opened in Osaka in spring 2008.

    He is also the production designer for the 2012 London Olympic Handover Ceremony at the closing ceremony of the 2008 Beijing Olympics.

    “Architecture involves the relationship between structure, space and people, all of which come to fruition with Cirque du Soleil, because it brings together many different disciplines to create a show. The challenge with CRISS ANGEL Believe is: How do you make magic truly magical in the context of a theatre? There’s been a very interesting learning curve on my part in understanding the basic techniques and requirements for magic, and discovering just how much effort it takes for Criss Angel to do things seemingly effortlessly.��

    Ray Winkler was born in 1967 in Jakarta , Indonesia.

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  • Mérédith Caron

    Conceptrice des costumes

    Au Québec comme à l’étranger, Mérédith Caron a imprimé sa marque au théâtre, au cinéma,  à l'opéra et au cirque. Avec plus de 175 collaborations à son actif, Mérédith est l’une des figures de proue du domaine de la création de costumes au Canada. Elle a travaillé auprès de metteurs en scène émérites, dont Pierre Bernard, Serge Denoncourt, Robert Lepage, Martine Beaulne, René Richard Cyr, André Brassard, Daniele Finzi Pasca et Richard Monette au prestigieux Stratford Festival, en Ontario. Au fil de ses collaborations, Mérédith Caron accumule les prix et les distinctions au Québec, dont un Gémeau, sept Gascon-Roux et deux Masques. Depuis près de 20 ans, elle enseigne l’histoire de l’art et la conception de costumes à l’École nationale de théâtre du Canada à Montréal. En 1988, elle collabore pour la première fois avec le Cirque du Soleil en dessinant des costumes dans le cadre d’un projet en développement. Après CRISS ANGEL Believe, Mérédith participe pour la troisième fois à un projet du Cirque du Soleil.

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  • Éric Serra

    Composer, Musical Director and Arranger

    Eric Serra began to play the guitar when he was five years old. He went on to master the drums, bass, percussions and keyboards, and formed his own band at the age of 15. A year later he became a professional musician playing with such prominent artists as Didier Lockwood, Youssou N’Dour, Mory Kanté and Jacques Higelin.

    The turning point in Eric’s career came at the beginning of the 1980s when he met French film director Luc Besson, who asked him to compose the score for his first short film titled L'Avant Dernier (1981) and later, his first feature film The Last Combat (1983). Since then, he has written the music for every Besson film (Subway, The Big Blue, La Femme Nikita, Atlantis, Léon aka The Professional, The Fifth Element etc.).

    From 1980 to 1988, Eric was musical director and bass guitarist for French singer rock star Jacques Higelin and released a pop music album entitled RXRA – whose title sounds like the artist's name when pronounced as initial letters in French.

    In addition to his film work with Luc Besson, Eric has composed the music for Kamikaze (1986) directed by Didier Grousset, Rollerball (2001) by John McTiernan, Jet Lag (2002) by Danièle Thompson and Paul Hunter’s Bulletproof Monk (2003). Between 2003 and 2005, he worked on several collective projects, producing and co-composing the soundtracks for L’Art délicat de la séduction directed by Richard Berry and Wasabi directed by Gérard Krawczyk. Also, together with Phil Collins, Eric produced the French versions of Walt Disney’s Tarzan songs.

    CRISS ANGEL Believe has a distinctive look, tone and mood, and Eric Serra says his music has been written and arranged to blend with the visuals and with the personality of Criss Angel. “It’s very varied,” he adds. “There’s a lot going on and it’s all very rich. There are rock moments that reflect the Criss Angel we’re all familiar with, but other parts of the show are very classical, even symphonic in tone, and there are some ethnic, tribal passages too. The fact that the show is a kind of dream means we are inside his spirit and that gives me great freedom and an extremely broad palette.”

    Eric Serra was born in 1959 near Paris.

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  • Jeanette Farmer

    Lighting Designer

    Jeanette Farmer is a native Las Vegan. She first developed her strong interest in theatrical lighting and set design when she was still in high school. She went on to attend the University of Nevada Las Vegas under a theatre design scholarship program while also attending Clark County Community College taking classes in welding, industrial electricity, electronics and computer drafting.

    After a few years of set and lighting design and stagecraft work on The Las Vegas Strip, Jeanette became one of lighting designer Andrew Bridge’s assistants on the groundbreaking production of “Siegfried and Roy at the Mirage.”

    It was through that engagement that Jeanette was introduced to a then little-known touring company that needed help setting up their show in a tent behind the Mirage. That show was Cirque du Soleil’s Nouvelle Experience and it was Jeanette’s first opportunity to work with acclaimed lighting designer Luc Lafortune. “I met all these crazy French Canadian artists and amazing creators and fell in love!” she says. “I knew I'd found my home.”

    Jeanette has dedicated the last several years to Cirque du Soleil honing her skills as an electrical consultant, lighting director and master electrician as she contributed to every one of Cirque's growing repertoire of permanent shows in Las Vegas: She consulted on the electrical and building infrastructure and lighting for Mystère, “O”, Zumanity, KÀ and LOVE.

    Throughout her career Jeanette has volunteered in the education of young theatre technicians through her work with the Thespian Society, the Educational Theatre Association, the Lighting Dimensions Conference Advisory Board, served as a Subject Matter Expert for ESTA’s ETCP certification test and acted as a sponsor for Cirque du Soleil’s college internship program.

    “I've been challenged with the lighting design for CRISS ANGEL Believe to create something that has an old world feel,” she says. “We’ll be using all the latest modern technology to evoke a bygone era. We will challenge your senses by revealing through lighting that there is nothing up our sleeve and then take away your comfort by presenting the impossible.”

    Jeanette Farmer was born in 1964 in Las Vegas.

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  • Wade Robson

    Choreographer

    Wade Robson is just 25 and he’s already accumulated 20 years of experience under his belt as a major creative force. Recognized worldwide as an artist of truly exceptional genius and brilliance, Wade has choreographed and directed music videos, commercials, award shows and world tours for recording artists. He created, produced and starred in MTV’s hit series The Wade Robson Project and has written, choreographed and directed commercials for his own line of footwear, as well as award-winning short films.

    Born in Australia, Wade made his professional début as a dancer at the age of five. He and his family then moved to America when he was nine to pursue his career in the entertainment business. Before he turned ten he had danced and acted in Michael Jackson videos, multiple commercials, films and TV shows.

    At the age of 12, Wade began teaching dance at the Millennium Dance Complex in North Hollywood, CA. This led to his first professional choreography job for MCA recording artists Immature. He began to create a dance style that was all his own, accompanied by his own original music.

    When Wade was only16 he was asked to choreograph Britney Spears’ 1999 world tour and to write, direct, remix the music, direct the video segments and co-design the sets for her appearances on the Billboard Awards, both the American and European MTV Video Music Awards and her Dream Within a Dream world tour and HBO special . These assignments led to the same job description with NSYNC. He went on to write and produce music for such recording artists as Britney Spears, NSYNC, Justin Guarini, Dream, The Backstreet Boys, James Ingram and Carly Simon, and he has also choreographed for Usher, Mya and Pink.

    Wade won an Emmy in 2007 for his groundbreaking work on Fox’s SO YOU THINK YOU CAN DANCE.

    CRISS ANGEL Believe is the first Cirque du Soleil show Wade has worked on. “A lot of the style, the emotion behind the movement, is really primal and raw,” he says. “The dance is character and story driven and that is my most favorite place to create from.”

    Wade Robson was born in Brisbane, Australia in 1982.

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  • Francis Laporte

    Images and Projections Designer

    Video Projections Designer Francis Laporte belongs to the new generation of creators who integrate digital video production and projection technology with more traditional live show forms. Since finishing university in 1992, he has worked on some 20 projects integrating video with the performing arts and theatre. One of his landmark professional assignments was the video design for a stage adaptation of Homer’s Odyssey directed by Dominic Champagne. He also does performances and installations, both alone and with other artists.

    As a projections designer, Francis Laporte can make good use of his diverse training. After studying communications and drama in college, he entered the theatre program at the Université du Québec, specializing in directing and stage design. His interest in images led him to video and multimedia production. “In drama, I looked at shows from the director’s point of view, whereas in video my approach was more theatrical. As a video designer for live shows, I’m finally working on bringing these media together,” he says.

    Francis Laporte also creates images for prestigious television broadcasts, such as the opening ceremonies of the Jeux de la Francophonie and the awards ceremony La Soirée des Jutra. In 2003-2004 he developed the visual concept for Eros Ramazzotti’s show (directed by Serge Denoncourt) and created the set design and visual concept for a performance of the Fantastic Symphony by Berlioz at the Walt Disney Concert Hall in Los Angeles. He has also taken on the stage design for live concerts, including Quebec singer-cellist Jorane and singer-songwriter Stefie Shock.

    In 1999, Francis Laporte created the multimedia overture for Dralion. But Varekai was the first Cirque du Soleil show to fully incorporate this new artistic language. He further extended his approach in LOVE, Wintuk and now in CRISS ANGEL Believe. “At Cirque du Soleil, we have the great good fortune of working in a context where everything isn’t seen in terms of constraints; instead there’s a shared determination to see how far we can push the limits,” he notes.

    "Visually, my role is to give the dimension of perspective and depth to the world of CRISS ANGEL Believe," says Francis Laporte. “The projections help to give the various environments a ‘Gothic/Victorian' flavor by blending the mysterious with the grandiose, the bizarre and the sublime. The core intention of the projections is to play with the perceptions, creating a kind of playful dialogue between the real and the virtual."

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  • Jaque Paquin

    Acrobatic Equipment and Rigging Designer

    There’s no formal training for a profession like Jaque Paquin’s. “To do it, you have to do it,” he says. Jaque studied art history (specializing in film) and electronics in school, and began his career in the arts working as a lighting technician at the age of 14. The following year, he opened a disco.

    He went on to work as a stage technician in theatre, a set painter in film, a grip in television and, finally, as a carpenter, team leader and project head in a set construction workshop for theatre and variety shows. "I've worked in nearly all of the trades plied by the people who build and operate my equipment," he says. “So I make an effort to facilitate the work of the technicians and the artists.”

    Jaque joined Cirque du Soleil in 1990 as head of the construction workshop, where he created aerial environments for such shows as Saltimbanco, Dralion, Varekai, Zumanity, KÀ and “O”. From 1991 to 1996, he was Technical Director for the North American tour of Saltimbanco, and he was the show’s Technical Director when it toured Europe and Japan. In 1995 and 1996, he was director of all installations for the Festival International de Jazz de Montréal and the FrancoFolies de Montréal.

    His imagination, artistic flair, and technical skill conjured up the fantastic boat in "O" – a piece of acrobatic equipment that brings together three techniques never before combined in the history of circus arts: the parallel bars, the Korean cradle and the flying trapeze.

    Whether working on the rigging for a show or as head of research and development for Cirque du Soleil's acrobatic equipment, Jaque is constantly on the lookout for ways to give a new look to a wide variety of circus arts. However, he says, “There’s never any compromise for safety. If an artistic vision can be achieved only by lowering the safety standards, then that element of the show will be dropped.”

    For CRISS ANGEL Believe™, Jaque Paquin has designed the equipment used in the illusions as well as the rigging for all of the scenic equipment (sound, lighting and set decorations). "We’ve developed unprecedented techniques, especially for the magic numbers," he says. “I like to say that this show contains some of my best inventions that I will never be able to talk about."

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  • Jonathan Deans

    Sound Designer

    Jonathan Deans is one of the most sought-after live entertainment sound designers in the world. As a young man, he joined the Royal Shakespeare Company as an actor but had also a keen interest in sound and so began to blend with a theatrical context. Several years later, after a spell as a sound engineer in the music industry, notably at Morgan Studios where he brushed shoulders with artists such as Cat Stevens, Paul Simon and Rick Wakeman, he made his way back to the theatre via the Royal Opera House, Covent Garden, and later went on to mix the sound for the musical A Chorus Line. One success soon followed another, and he became the sound mixing engineer for dozens of London’s West End productions. Jonathan’s success as a mixing sound engineer led to him being hired as sound designer on the musical Marilyn. This was followed by work on other productions as Designer on Time, Les Misérables, Mutiny, Jean Seberg to mention a few. Over a decade later he relocated in America where he has designed systems and productions for theme parks, stadiums, arenas and Broadway productions including Ragtime, Fosse, King David, Damn Yankees, Taboo, Brooklyn, Lestat, Pirate Queen, Young Frankenstein, La Cage Aux Folles, Spiderman, and Priscilla Queen of the Desert. With Michael Jackson ONE Jonathan is creating the sound system and the audio environment of his 14th Cirque du Soleil show since Saltimbanco in 1992.

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  • André Simard

    Acrobatic Performance Designer

    André Simard werkt al sinds 1987 voor Cirque du Soleil. In dat jaar ontwikkelde hij een trapezeact voor de voorstelling Nouvelle Expérience en ontketende daarbij een ware revolutie in de luchtacrobatiek. Onder zijn leiding wisten de acrobatische hoogstandjes, die ergens tussen hemel en aarde in een schouwburg of in een circustent werden uitgevoerd, de elegantie van ballet te bereiken. Tussen 1989 en 2000 werden 13 van de acts die hij maakte voor Cirque du Soleil, de nationale circusschool en zijn eigen artiestengroep de Studio de création les gens d'R bekroond met prijzen bij festivals waaraan de beste circusartiesten uit de hele wereld meededen.

    Nieuwe circusartiesten hebben Simard te danken voor de nieuwe vorm van luchtacrobatiek in zijde, die hij in 1995 bedacht. De bootscène in ''O'' is een ander voorbeeld van technologische en choreografische innovatie, dit keer het resultaat van zijn samenwerking met Jaque Paquin, de ontwerper van acrobatiekuitrustingen. Simard heeft bovendien de meeste luchtacts ontworpen in de voorstellingen die Cirque over de hele wereld geeft.

    André Simard slaagt er al 30 jaar lang in een perfect evenwicht te vinden tussen zijn drie vakgebieden: kleinkunst, topsport en het circus. Aan het begin van de jaren 70, toen hij studeerde aan het Institut des arts graphiques de Montréal, was hij lid van het nationale gymnastiekteam van Canada. Terwijl hij hard trainde voor de Olympische Spelen van 1972 in München, hielp hij ook met de opleiding van clowns en andere entertainers aan het Centre Immaculée-Conception in Montréal, een voorloper van de nationale circusschool. Zoals hij zelf zegt: ""Ik probeer voortdurend de regels van de biomechanica, die ik toepas op atletiektraining, te combineren met de ontroerende kracht van podiumkunst."" Deze benadering heeft ook invloed gehad op zijn lessen aan de nationale circusschool in Canada, het Centre national des arts du cirque de Châlons-sur-Marne en de École nationale de Cirque de Rosny-sous-Bois in Frankrijk.

    In 1995 richtte hij de Studio de création les gens d'R op in Montréal; een artistieke uitlaatklep die hem de kans geeft emoties te uiten via luchtacrobatiek. In 2001 maakte deze groep zijn debuut met een voorstelling van Échos in Venetië. De voorstelling werd opgevoerd op verzoek van de organisatoren van het beroemde Biennale kunstfestival van Venetië.

    ""Voor CRISS ANGEL Believe heb ik een manier bedacht waardoor de dansende figuren door de lucht kunnen draaien met behulp van touwen die in hun kostuums zijn verborgen"", legt hij uit. ""Ik heb bovendien acrobatiek geïntroduceerd in de dansnummers van de steltlopers en heb een acrobatisch mechanisme met een motor bedacht voor het karakter Kayala: als ze tevoorschijn komt uit haar bloem en haar hoepelact begint, pakt ze de bloemblaadjes vast. Deze zijn in werkelijkheid gemaakt van doorzichtige, flexibele pvc-buizen die in haar kostuum zijn genaaid.""

    André Simard werd in 1945 geboren in Montréal.

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  • Michael Curry

    Props and Scenic Designer

    Puppet Designer Michael Curry works widely in both conceptual and technical development with the foremost entertainment companies such as the Metropolitan Opera, London's Royal National Theatre, Disney Theatrical Productions, LA Opera, and Universal Pictures. Michael has been the recipient of many prestigious awards from his peers, including several awards for his puppet and costume work on Broadway, Olympic ceremonies as well as his continuing innovations in the fields of visual effects and puppetry design. He has collaborated with Julie Taymor on many stage and opera productions. Among his numerous awards, he received the 1998 Drama Desk Award for Outstanding Puppet Design in recognition of his work for Taymor on The Lion King. Michael’s other credits include an opera directed by Robert Lepage at the Paris Opera, an opera at La Scala, Milan, directed by William Friedkin, and the Broadway production of Spider Man with music by Bono and Edge, directed by Julie Taymor. After KÀ, The Beatles LOVE, Wintuk and CRISS ANGEL Believe, Michael Curry collaborates with Cirque du Soleil for the fifth time with Michael Jackson THE IMMORTAL World Tour.

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  • Nathalie Gagné

    Visagiste

    Visagiste Nathalie Gagné is al sinds haar tienerjaren gefascineerd door make-up en de invloed die make-up heeft op het acteervak. Ze heeft een studie theaterproductie gedaan aan de Cégep de Saint-Hyacinthe in Québec, en was daarna een van de eersten die afstudeerde aan de afdeling van de fameuze Parijse visagieopleiding École Christian Chauveau in Montréal.

    Voordat zij aan het werk ging bij Cirque du Soleil, werkte Nathalie bij theater, film en televisie. Ze is twee keer genomineerd voor een Gémeaux-award voor beste make-up over alle categorieën. Deze onderscheiding wordt toegekend door de Academy of Canadian Cinema and Television.

    De artiesten van Cirque du Soleil moeten hun eigen make-up aanbrengen en daarom betrekt Nathalie hen bij de creatie van het uiterlijk van hun personage. "In tegenstelling tot acteurs zijn acrobaten niet gewend om hun eigen gezicht te bestuderen", licht ze toe. "Een van mijn doelen is ze nu juist dát te laten doen en ze te helpen de - zoals ik ze noem - 'krachtlijnen' in zichzelf te vinden, die de basis bieden waarop hun personage kan worden opgebouwd."

    “Make-up is een weerspiegeling van de ziel van het personage. Het is ook een magische manier om remmingen te laten verdwijnen,” zegt Nathalie, die sinds 1995 meer dan 1000 make-upontwerpen voor Cirque du Soleil heeft gemaakt en voor haar uiteindelijke concepten uit meer dan 5000 schetsen heeft gekozen.

    Nathalie moet er ook voor zorgen dat alle make-upontwerpen met haar signatuur een eenheid vormen. Omdat de artiesten zelf hun make-up moeten aanbrengen, maken workshops in make-uptechnieken nu deel uit van de algemene training die aan artiesten van Cirque du Soleil wordt gegeven. Nathalie leert artiesten eerst hoe ze hun eigen make-up moeten doen en schrijft vervolgens voor iedere artiest een stappenplan voor het aanbrengen van de make-up.

    Nathalie introduceerde nieuwe make-upconcepten voor de shows Mystère, Alegría en Saltimbanco, waarbij ze samenwerkte met regisseur Franco Dragone en kostuumontwerpster Dominique Lemieux. Na haar werk voor onder andere Quidam, “O”, La Nouba, Varekai, ZUMANITY, KÀ, Corteo, DELIRIUM, LOVE, ZAIA en CRISS ANGEL Believe is Viva ELVIS de 15e show van Cirque du Soleil waaraan Nathalie haar creatieve bijdrage levert.

    “In Viva ELVIS duiken we terug in de jaren 50 en 70 met de kostuums van Stefano Canulli", zegt Nathalie Gagné. "Bij de make-up ligt de nadruk op eyeliner en valse wimpers in alle mogelijke variaties, van reeënogen tot poppenogen. Aan de traditionele zwarte eyeliner heb ik iriserende kleuren toegevoegd om de opwinding van die periode op te roepen en om de ogen te laten glinsteren in het licht. Ik heb de kunst van de verwijderbare make-up zoals we die in ZAIA en CRISS ANGEL Believe toepasten nog verder uitgebreid. In Viva ELVIS vormt deze techniek de basis voor verschillende delen van het gezicht waarop we dan andere materialen zoals extravagante valse wimpers, kant, sieraden, kristallen en zelfs latex protheses kunnen aanbrengen. Op die manier kunnen we een gezicht, en daarmee het personage, in een paar seconden compleet veranderen, zonder dat we lijm hoeven te gebruiken."

    Nathalie Gagné is in 1963 geboren in Trois-Pistoles, in de regio Bas-Saint-Laurent, Québec.

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