We Cirque fans are a finicky bunch, aren’t we?
We want everything just so.
We follow their every move.
We complain when they stray.
What makes us so disgruntled?
When TOTEM was announced (and then the Michael Jackson collaboration) I joined in on the discussion briefly at Cirque Tribune, posting a few comments about the two concepts and about Cirque in general. On the board, most agreed that TOTEM was a departure from Cirque du Soleil’s latest offerings and looked upon the show as a “savior” of the original avant-garde concept; however, the announcement of the Michael Jackson shows created more than a platform for further disagreements, it created a whirlwind of dissent – fans of many years were preparing to “turn their backs” on Cirque du Soleil over the announcement.
Why?
The answer in short: Cirque du Soleil was no longer the perceived Cirque they remembered and enjoyed. Watching the company evolve from an avant-garde circus troupe, staging esoteric shows in mysterious worlds, into a full-fledged entertainment company where avant-garde circus was but just one aspect of their business, was just too much to bear.
The decisions of those brave few made me examine my own level of commitment and in doing so I learned a little bit about myself, my expectations of Cirque and their ever-evolving company. Although my thoughts on the subject are obvious, permit me to share these jumbled thoughts with you.
First and foremost, what we as Cirque fans, just like fans of any property or universe (such as Star Wars, Star Trek, Harry Potter, etc.), have to understand is that things constantly evolve. And that Cirque du Soleil has always been an evolving entertainment business.
Think of the many steps along the way: Nouvelle Experience, the first real transition between the ring and the theater; Saltimbanco, the change from dark to light; Mystère, the first resident show that angered many of the first few followers (how dare they discard the Grand Chapiteau?); Quidam, where Benoit Jutras took over musically; Dralion, a two-fold evolution with the departure of Dragone AND a purchase-for-play show; with Zumanity, the first “other side” of Cirque du Soleil; Delirium, the concert and arena show; LOVE, the musical; Wintuk; the seasonal; and BELIEVE, the train-wreck.
Cirque has lost fans and followers at each step.
As we’ve seen with Cirque recently, they’re pursuing different avenues of entertainment – from eroticism (Zumanity), to a moving motion picture (KÀ), to a musical extravaganza (LOVE, VIVA ELVIS, MJ), to Vaudeville/Variety (Solstrom, Banana Shpeel) while also attempting to keep the status quo (Koozå, ZED, ZAIA, Ovo, Totem). They’re branching out beyond what we as fans would consider their creative core. Strangely enough, though, they’ve been doing it for quite some time now.
One could argue they’re not doing a good job at that. I personally don’t mind Cirque branching out into unknown territory (in fact, I welcome it). Don’t churn out a show just for the sake of it – take the time to do it right. And above all, be different!
We’ve all often wondered where Cirque du Soleil was heading. Now we know – for better or worse, Cirque du Soleil has moved on from “the Dragone Era” into new forms of entertainment and there’s no stopping them.
I am probably one of the few who love Koozå (because I understand the type of show it represents) and one of the few who feels OVO and SHPEEL have a chance if-and-only-if they can pull it together. I’ll see shortly. But, yes, I too can see the difference in production value between a Quidam and an OVO, between Mystère and ZAIA, or between Saltimbanco (which still has it after all these years) and a Wintuk. And although I hold my reservations about the MJ show (I enjoy MJs music and adore LOVE so I’m curious about it and ELVIS), even I realize Cirque today is not Cirque from yesterday.
Most of what sets shows during the “Dragone era” apart from those created today is the attention to detail. Most of what you see out of Saltimbanco, Mystère, Alegría, Quidam, “O” and La Nouba are tightly wrapped shows. They’ve benefitted from the same creative team. They’ve also benefitted from one person’s vision, which is then allowed to be upgraded and spilt over from one show to the next.
If Saltimbanco is a “happy” show, then Alegría is “sad”. And if Alegría is “sad”, Quidam is “angry” and “scared” all at once. Furthermore, if Alegría shows us how refined Cirque became, Quidam shows an emotional de-evolution, wearing its emotions on its sleeve.
What we normally see out of these shows is an all encompassing theme that has great depth, a thematical element that isn’t obvious. To me that is what Cirque is missing today. Even with shows like Varekai or Corteo, which actually do better to adhere to the “Dragone” standard (IMO, Corteo over Varekai), their themes are still more recognizable.
If you’re not sure… explain what Mystère, Alegría, or Quidam are about beyond what you see on its surface… then explain what Varekai, Corteo, Koozå and OVO are about and you’ll get what I mean.
Koozå is a great show. OVO is too. But they exist only within the confines of their own production. The earlier shows had a more esoteric quality to them, existing beyond the theater or the Grand Chapiteau in a way that’s hard to explain. Perhaps it’s just personal bias.
I understand that every company, just like every person, must evolve, but I am allowed not to particularly like what it has evolved into. Just like many folks no longer care what Disney has evolved into, or Apple, or Google, or any company.
I feel saddened by the fact that I may never again experience the Cirque of old. And for some that’s too much to bear.
Maybe one day Cirque du Soleil will come to the understanding that it is over-reaching and will contract. Perhaps one day they’ll say “wouldn’t it be great if one group of creators could create all our shows”, making each one (and the next) just that much better.
Even if that wish should never come true, I’m still in it for the long haul.
I’m not planning to “turn my back” on Cirque… not just yet. Although my feelings for Cirque du Soleil and my level of involvement in the fandom change constantly – the announcement of yet another LOVE clone doesn’t help matters – I am curious about Hollywood 2011, Radio City 2011, and VIVA ELVIS (which has premiered but I‘ve not yet seen); I wonder what’s up with Dubai, Shanghai, and the Arena shows; and whether or not another touring show is on the horizon… and see what the future holds.
In the end I may find that I only like one aspect of what Cirque du Soleil has become (such as touring shows and resident shows like ZED) and perhaps that will do. For dozens of others, it’s just the last straw. Can’t say I blame them.
But if TOTEM and BANANA SHPEEL have taught me anything, it is to expect the unexpected and to just enjoy the shows for what they are, not for what you wish they would be.
