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Cirque du Soleil
Cirque du Soleil’s Michael Jackson: The Immortal World Tour. The world premiere of Immortal was in Montreal, the location of Cirque headquarters, on Oct. 2, 2011.
Published Saturday, Dec. 3, 2011 | 2 a.m.
Updated Saturday, Dec. 3, 2011 | 2 a.m.
More Michael Jackson
Sun Coverage
The piece of scenery looms largely over “Immortal.” It is a tree, specifically an enormous oak with muscular branches spanning wide enough to hug the stage.
What of this tree, you ask, as performers in “Michael Jackson: The Immortal World Tour” play music and dance and bound about.
“Immortal” arena tour Director Jamie King knows the tree, and its history. He’s seen the real thing, and he tells its story.
“When I went to Neverland Ranch, Michael’s sanctuary, I was in his bedroom,” says King, who is also expected to direct the resident show when Cirque du Soleil moves “Immortal” to Mandalay Bay Theatre in early 2013. “You looked out and you could see a giant oak tree. What I remembered about young Michael was, he loved to climb trees … He loved it so much that he would sometimes sleep up in the tree, he would write in that tree — he wrote the ‘Dangerous’ album in that tree. He wrote a lot of poetry there, he painted there and did drawings in that tree as well.
“It was really the source of his inspiration. When I saw it, I knew I had to make it a central point in this show.”
Jackson named it “The Giving Tree.” In many ways, the tree reflects the show’s production partner, Cirque du Soleil, and its history in Las Vegas.
Nourished by millions of visitors annually to the Strip, the giving tree that is Cirque has given and given. The seeds were planted by Steve Wynn in the Mirage parking lot in November 1993 with the tent show “Nouvelle Experience.” It blossomed beautifully, over time, with “Mystere” at Treasure Island, “O” at Bellagio, “Zumanity” at New York-New York, “Ka” at MGM Grand and “Love” at Mirage. It needed some brushing up with “Believe,” which continues to sell well after a barrage of negative reviews when it opened at Luxor in 2008.
But how much more can the Cirque tree give? One of its biggest branches is falling, a first for Cirque in Vegas, as “Viva Elvis” is closing at the end of 2012.
The soil around that show has dried up even as the city braces for nearly a month of Cirque du Michael.
The “Immortal” arena tour production begins its Vegas run tonight at the 8,000-capacity Mandalay Bay Events Center. The show runs through Dec. 27, likely the most ambitious arena residency the city has seen. The cost of the production surpassed $60 million. Forty-eight trucks, more than were used by U2 during its most recent world tour, have been hauling the staging and instruments across the country. At the end of this rainbow, in late winter or early spring 2013, a new tree will take root at Mandalay Bay.
That will make it eight shows for Cirque in Las Vegas, with the Jackson show exposed to additional pressure as the company could not make its most recent partnership with the estate of a deceased and beloved entertainment icon (Elvis Presley) succeed at Aria at CityCenter.
No longer undefeated in Vegas and showing some fissures in its trunk, has the bloom left Cirque? Its top executive in Las Vegas says to put away the hatchets.
“I don’t know of anything that went wrong (with “Viva Elvis”). It was just a perfect storm, the worst possible time to open,” Cirque Senior Vice President Jerry Nadal says. “MGM got the property open, thankfully, and we opened the show right along with the property, but I just think that the news wasn’t necessarily about Elvis. The reviews, for the most part, were excellent. You look at our marketing activities and everything we put into the show, and I don’t know what hasn’t caught on. It’s done decent numbers, but it just hasn’t done what the rest of our shows usually do.”
Which is why MGM Resorts International, which made no formal announcement of its plans to clip “Viva Elvis” limbs, informed Cirque that the partnership was not working.
“I think, with eight shows in the city, that’s enough. Like the TV show ‘Eight Is Enough,’ which dates me,” Nadal says, laughing. “But I think MGM (Resorts) is out of theaters. You never say never, but with that many shows in the city, and given an economy that nobody anticipated would take so long to turn around, we will be content.”
Could it be that the Cirque business model, even in economically stable times, has become outdated? Cirque shows need to be near-capacity to succeed, and their ticket prices have for years been among the highest in the city. Reports of “Viva Elvis” playing to half-full theaters mask the fact that the show was still playing to nightly audiences of about 900. Decent, as Nadal says, except …
“I think that when people come here and see a Cirque show, they expect a big spectacle-type show,” he says, “and when you put on a big show, there is a ticket price and a certain amount of revenue that has to go with that. The Cirque name brings certain expectations with it before anybody even walks in the door. We set a pretty high bar for ourselves.”
Some longtime Vegas entertainers and entertainment officials have decried the dominance of Cirque on the Strip, saying the acrobatic and whimsical productions have robbed the city of some of its traditional star-driven shows. Gradually, a sense of Cirque backlash has grown over the past several years as the company has grown from humble beginnings.
Saxe's shot at Cirque
No one has been more vocal (and inventive, having recorded four commercials deriding the Montreal-based company) in his criticism of Cirque than show producer David Saxe, owner of V Theater and Saxe Theater at Miracle Mile Shops. Saxe is a native Las Vegan whose entire family has been immersed in Vegas entertainment — his father, Richard, was a bandleader in the Rat Pack’s heyday on the Strip, his mother danced in “Folies Bergère,” and his sister, Melinda First Lady of Magic, is making a return in “V — The Ultimate Variety Show.”
“Obviously I respect the quality of what Cirque puts onstage, and I know from my shows the effort it takes just to get one little prop done. It takes an army, and what they achieve is impressive,” Saxe says. “But I look at everything from the audience’s point of view. I think they like Cirque shows for the money, but what did they really think? A lot of people I’ve talked to are like, ‘Eh, it was OK.’ I think it’s boring, a lot of it.”
Saxe didn’t care for “Love,” even with the peerless Beatles soundscape. He compares “O” to “Waterworld Live.” He dozed off during “Ka,” and of “Viva Elvis” says, “Only Cirque could screw up Elvis in Vegas.”
The counter argument, of course, is that in terms of production value, what Cirque stages on the Strip on a nightly basis — the human-costumed, dancing sand crab in “Ka” and the silk drape covering the audience in “Love” being two random but pertinent examples — far surpasses anything rolled out at Saxe’s Miracle Mile fortress.
Still, he says, “I’m from Vegas, and when you are from here, you watch Cirque and you feel like you’ve been raided.”
Saxe’s counterpart, SPI Entertainment founder and CEO Adam Steck (who produces “Frank Marino’s Divas Las Vegas,” “Human Nature” at Imperial Palace and “Thunder From Down Under” at Excalibur) uses a more measured tone.
“I think the city, as a whole, has seen too many shows and not enough butts to fill the seats. Cirque has not been immune to that,” he says. “We have nightclubs, dayclubs, restaurants, all competing for tourists. It’s citywide.”
Of Cirque’s high level of quality, Steck says, “Hey, Cirque won’t do anything for less than $100 million, so that’s what you’re looking at. These are some of the most unbelievably produced displays of creativity you’ll see in a lifetime. But everything goes in a cycle, and I think we’ve just had one too many Cirques. They are completely brilliant, but there are not enough (ticket buyers) to go around.”
Nadal stresses that the pruning process is a manifestation of Cirque’s standard of excellence.
“People love to build you up and tear you down. That’s part of the entertainment business,” he says. “I guess, when you’re starting out, you’re the darling. When you get too big and too successful, people will start looking for something to come after you about. Luckily, for us, we’ve had mostly hits over the 27 years we’ve been in business.”
As its Jackson spectacle takes over Mandalay Bay, Cirque du Soleil is still the champion of the Strip, firmly rooted in commercial and artistic success. To borrow a phrase, the company has it made in the shade, and that is a good place to be.
Follow John Katsilometes on Twitter at Twitter.com/JohnnyKats. Also, follow “Kats With the Dish” at Twitter.com/KatsWithTheDish.
Cirque has brought a lot of employment dollars and tax revenue to The Strip. We are thankful they came and have stayed. But, having said that, I've tired of these big over-the-top shows. The jaw-dropping presentations are accompanied by jaw-dropping prices and crowded venues. I now find myself much more comfortable at smaller more intimate venues like Absinthe at Caesars. Not only are ticket prices better, but you get a more personal show and don't feel like a number that's just being processed in and out. Try getting that close to the stage at these big Cirque shows.
Now, I don't regret seeing Cirque shows (Love and Ka were incredible) but I'm just no longer interested in seeing what is bigger and better anymore. That's why I have not been to Cirque's Elvis show - been there done that. I wonder if that's a partial reason it's failing. Maybe too many other people are burned out on these big shows too.
one or two Cirque shows is nice, but they have taken over the Las Vegas strip. They are like the Wal Mart of las vegas shows. Its a shame.
Enjoyed the article, Mr. Katsilometes. I'm glad to see you somewhat agree with me about one particular Cirque du Soleil show on the world famous Las Vegas Strip.
"It needed a pruning with 'Believe,' which continues to sell well after a barrage of negative reviews when it opened at Luxor in 2008."
Nowadays, the entirety of America is the benefactor of something called the social media network. This even pertains notably, especially for tourists, to Las Vegas and the entertainment.
Regarding Criss Angel's BeLIEve at the Luxor, there are two helpful websites about his train wreck of a show:
At tripadvisor.com, a search for this show reveals that, as of today, there are 707 reviews of this show. Out of five stars, this show rates way below average at two stars. And, as another help, this website ranks this show as 389th out of 484 total attractions in Las Vegas, WAY below even worth spending money for.
At yelp.com, a search of this show reveals that, as of today, there are 199 reviews of this show. It also is below average, ranking two out of five stars. It should be noted, that yelp.com cleans up their reviews and removes them, but this show ALWAYS remains below average, even with newer reviews.
On both of these websites, there are page after page entries of reviews of how horrible this show is. These reviews are not from newspapers, but from the average tourist that comes to Las Vegas, our lifeblood that make us money.
It is confirmed that Criss Angel BeLIEve is a below any type of performance entertainment standard, leaving people howling mad they were ripped off.
Which leads me up to my point, Mr. Katsilometes.
By your significant absence of any type of praise in this article, nor criticism, of BeLIEve, this means you agree it is a complete and utter mistake for Cirque du Soleil. I get the impression even they agree, deciding rather than close it down, they want to take out their $100 million mistake out on the public to recoup that money.
Sorry, Mr. Katsilometes, but one more thing....
"Nadal stresses that the pruning process is a manifestation of Cirque's standard of excellence. 'People love to build you up and tear you down. That's part of the entertainment business,' he says. 'I guess, when you're starting out, you're the darling. When you get too big and too successful, people will start looking for something to come after you about. Luckily, for us, we've had mostly hits over the 27 years we've been in business.'"
Regarding Criss Angel BeLIEve, it is certified pruning won't help it. Even liberal use of a chain saw wouldn't do this show any good.
His whole comment regarding the entertainment business is pretty much spot on.
But in making this statement, he should have made a caveat that he wasn't referring to Criss Angel BeLIEve when talking about all of the Cirque du Soleil shows.
When a show is certified to be bad, it can't be nothing but bad. You can't gloss it over.
The truth of the matter is that Criss Angel BeLIEve, ever since its inception, and even with refurbishing, is absolutely horrible. And the problem with this show is not the stage production or anything else other than when the headliner steps on the stage and opens his mouth.
He has been certified to be a hack with no talent, no personality, unable to establish any type of rapport with a paying audience, throwing cheap tricks out there and simply cannot wow an audience to even moderately entertain them to give them their money's worth.
Every indication shows he pays way more attention to some stupid "bad boy" image and a cult-like following than he does on any aspect of his show.
I am amazed he has lasted this long. But I guess it makes sense to Cirque du Soleil to keep going with the show, using his face to draw people in, but neglecting the entertainment aspect of it.
Tourists, you've been warned. The show is beyond bad. It's a TITANIC that hasn't sunk yet, proving to be an embarassment to Las Vegas.
Criss Angel's 'Believe' is the most horrible show on the Strip. I thank goodness I got comped and didn't have to pay to see that monstrosity. On the other hand 'Viva Elvis' was great. The MGM Resorts geniuses should get rid of the crappy 'Believe' and replace it with 'Viva Elvis' so Criss Angel can finally be run out of town.
Come on people, give the poor writer a break. he is paid to write about how wonderful anything MGM or Caesars does...
If he wrote the truth about half the circus shows in town, he would be like the other 20% of the population... Unemployed...
When the gaming board allows two (debt filled) companies to run the entire town, you can't expect anything creative or imaginative to come from it.
There is a lot of talent in this town and companies outside of Las Vegas that would love a chance to show their stuff, but can't because of the circus...
David Saxe is about the only one who gives this new talent an opportunity in his shows.
At least a tribute to the king of pop and perversion is a better fit for Las Vegas than the lion king.
Not sure what the writer is talking about but all I can say about LOVE is that it's an awesome show - I've seen it 9 times and there's so much to see that each time I see something I hadn't seen the times before. As for the Elvis fiasco all I can say is you can't put out a Cirque show on a 'regular' theater type stage - it just becomes a musical composition with some acrobatic acts thrown into the mix - it's no wonder that show is failing miserably at the box office. As for Cirque taking over the strip - well I'm not sure what to say about that - I would imagine if there were any other good shows to replace Cirque shows then maybe we'd be seeing them replace the Cirque shows. Who can afford Celine Dion? I know I can't! Another good show, affordably priced, is Jersey Boys - they need to do a bit more advertising - the show is great. As for Terry Fator - I'll take a pass :( As far as any other kind of 'magic' show - those shows annoy the heck out of me simply because I can't figure out how they 'do it' and it bugs me LOL.... so to avoid being bugged I simply don't go.
I seen many Cirque shows, but they fail to blow me away. Probably this is because the acts get lost from the artistry. Too much action is far away in the staging. The clown acts are way too arty and very bizarre. My favorite shows are actually the cheaper ones. I quite enjoyed Nouba in Orlando. I enjoyed Zumanity, although with the prices paid, why are there so many solo acts? I was quite disappointed with O and Ka. The hype went beyond what I seen. Last year I saw Mystere, which turned out to be a favorite.
Cirque needs to decrease their prices. They reached the sameness of their style.