|
Set Designer Explores Magic To Make "Believe"
The buzz around Cirque du Soleil’s newest
show, “Criss Angel Believe,” which
officially opens on Halloween, has been
the magic of “Mindfreak” star Criss Angel.
Equally intriguing, though, are the many pieces
that go into creating the world in which the
illusions of Angel can be contained. One of
those crucial elements is the set. As Cirque du
Soleil’s shows tend to function in a surreal world,
the challenge for the set designer is to keep the
fluidity of these dream-like worlds. From the
ever-changing stage of water in “O” to the
floating platform that functions as a stage in
“KÀ,” each show has distinct scenic elements
that are a spectacle in themselves.
For “Believe,” the sixth Las Vegas show
from the Montreal-based theatrical
company, Ray Winkler of the Mark Fisher
Studio was called upon to create the show’s
scenic elements under the guidance of
director Serge Denoncourt.
“It started out in a meeting where
[Denoncourt] described to me the vision of the
show,” Winkler told What’s On. “He had a very
strong sense of what the scenic part of the
show should be, and it was somewhere
between decayed and dilapidated with
Victorian nuances and undertones without it
being of any era.”
In this Victorian world, Angel portrays a
nobleman who takes a path of imaginative
exploration, encountering different characters,
including two women, Kayala and Crimson,
who represent femininity, as well as four ushers
who play host to the theatrical mind of Angel.
Winkler’s design punctuates the drama,
revealing layers of inventiveness and illusion.
“We developed a large, broken up
proscenium in front of which we built a large
gilded Baroque frame to tie off the theater,”
Winkler said. “We were in favor of using the
theater in a traditional sense—not trying to
reinvent the system of flying pieces of scenery
in and out. Having a number of layers
produced a very rich tapestry of styles
throughout the show. These layers are very
rich in color and texture...working for the
mood of the show and, more importantly, the
magic in the show.”
Illusions in “Believe” do not unfold as they
would in a typical magic show, but as part of
the imagery and the storyline. For Winkler’s
design, it was crucial that the magic be
smoothly interwoven.
“Magic tricks changed all the decisions on
the set, so we had to understand what the
requirements of the magic trick were and
match that to what had been designed of the
set,” he said. “It was a learning curve on our
part. We had the benefit of some interesting
workshops in which we tested colors and
textures and lighting. By and large, there was
no point in designing it if it couldn’t support the
magic trick, so it really was the dominant force
on the design.”
And although Winkler has worked on large
scale projects, such as stadium rock concerts
and the 2012 London handover at the 2008
Olympics closing ceremonies, “Believe” was his
first time working with magic.
“I think [magicians] operate in the same
physical world that we all do, and we all know
how hard that is without having to do magic
with it,” Winkler said. “I have respect for the
skill of a magician trying to create the illusion
of magic because it’s not a simple thing to
pull off.”
And neither is creating six entirely unique
shows, combining elements of theater, circus
acts and music, which is why Winkler so admires
Cirque du Soleil.
“I’ve always appreciated Cirque du Soleil for
their ability to take an idea and twist and turn it
and make it into a product that appears to the
audience as being fresh.”
“Believe” it when you see it.
By Megan Riggs - Photo by Tomasz Rossa - Costume by Meredith Caron
|
