Cirque du Soleil

4 May 2011

Karl Jenkins’ ambition lies in the development of design as a catalyst to create performance – much the same way that Cirque du Soleil weaves extraordinary images into their work, to elicit a magical world of physical performance and dance.

Karl graduated with a Bachelor of Performing Arts Management from Toi Whakaari in 2007 and in April 2008 he
began working as a Lighting Technician and Follow Spot Operator with Cirque du Soleil. Karl is working on their touring show Varekai which will take him (and 52 trucks, and over 1000 tonnes of equipment) to Berlin, Austria, Düsseldorf and Spain this year.

Cirque du Soleil is the reason that Karl got into theatre and decided to study at Toi Whakaari, so this is a dream come true for him.  As part of Karl’s three year Bachelor of Performing Arts Management degree, he secured a secondment on the lighting team on the Adelaide leg of the Varekai tour last year – you can read about Karl’s secondment experience below….

Karl obviously made an impression as he fought off many other candidates for his new job with a company that is renowned for employing the best arts practitioners in the world. Now responsible for training local staff and calling over 150 lighting cues a night for a show that has performed to 3.5million people already, Karl is very much looking forward to the challenge ahead.

“Yes, it is a dream come true, but that’s not something I take for granted. I’ve worked very hard to make this a reality and it’s only going to get harder from here on in. The challenge excites me like nothing else and I have the backing of my education and practical training to assist with my success with this company, and for that I am truly grateful. “

Karl’s Secondment with Cirque du Soleil

Here’s a look at Karl’s report on his industry based secondment, working on Cirque du Soleil’s Varekai in Adelaide.

Since the end of 2005 (my first year of study) I have wanted to follow my dream of one day working with Cirque du Soleil. After many months of making contacts and developing a relationship with the company, if finally secured an observation position on Varekai at the beginning of 2007 in Auckland.

Upon returning to Drama School to begin my last year of study, I remained in constant communication and correspondence with Cirque du Soleil and their production department. One of the main concerns was the fact that I was going to be the first interning student the company of over 5000 employees had ever taken on.

I was able to finally confirm a place in the Lighting Department for the Adelaide leg of the Varekai tour in Australia for June 2007.

Over the course of my secondment I would:

* Work with and observe the lighting department during the set

up in Adelaide.

* Observe the dress rehearsal and premier show from the lighting booth.

* Perform as a spotlight operator for the run of shows during the city.

* Operate spotlight during all rehearsals before and after the opening performance of the show.

* Assist with all maintenance and equipment repair projects during the city.

* Assist the lighting designer Nol van Genuchten, with changes in design and concept for the European leg.

* Work with and observe the lighting department during the tear down after the shows are completed.

Arrival and Pre-Show

My first day on site with the company was extremely daunting but very, very exciting! Just arriving at the site and experiencing the pure scale of this massive environment I felt a sense of

belonging and such a wealth of knowledge and support around me.

As the day began I was allocated various tasks within my role, introduced to my work mates, and taken through the various procedures that existed within the company and its very complex logistical challenges. To my surprise by the end of the day I was delegated 10 casual workers to work under me in completing various projects over the remainder of the setup process.

One of the most developed aspects of my learning in this environment was my attention to the mechanics, systems and logistics that existed from the tent being erected, to small things like the break structure and personal management. Each city that this giant production moves to presents a whole new set of challenges to the running of the site. It was very evident that planning was the key to Cirque’s success and the smooth running of construction.

Lined up were 74 40ft shipping containers which contain Varekai

and with three days to empty them and construct a small city of tents, there was nothing without a system or strict process. I was lucky enough to spend half a day with the Tour Manager who tutored me on the touring, planning and development process which existed within the company, which was an incredible opportunity. It also reinforced much of my previous teaching at Toi Whakaari in that it developed key concepts and ideas which I had already learnt, but never had the chance to experience.

Loading in this monster posed great challenges for me and the development of my skills and learning base seemed endless after a few days of working with and handling some of the most advanced and innovative equipment used in the performing arts industry to date. The tent itself is a miracle of engineering; firstly

it pulls its own masts up using a series of pivot points. Then the huge amount of canvas which makes the roof structure of the tent is sewn together from six parts and lifted to form the roof in no time at all.

This was only the tip of the iceberg as I discovered over successive days, where I developed skills in specialised staging systems;

huge power applications and generation installs; computerised automated winch control systems; turntable control; inelegant lighting fixtures and control, to name a few.

Many of the skills I already possessed from my extensive training here at NZ Drama School I was able to put to great practical use when managing teams of crew, or operating technical equipment safely. The greatest feeling for me was that of reinforcing the key factors that bring together a successful production process, and notating those for future reference and development for myself.

Rehearsals Commence

After a week of largely manual labour, what was to come next was somewhat of a relief. It was time to learn my role as the third permanent follow spot operator for the show. I would get to rehearse each act only once before I would be put in front of a live audience of 2600 people, then the rest I would have to learn off the training DVD I was presented with at the beginning of my stay.

As it turned out I didn’t even get that! I missed out on two complete acts because there were issues with winches and safety, so it was defiantly a time for slight nervousness when I assumed my position on opening night.

The general running of the rehearsal process was something which I have never experienced in my entire life, the show was called to absolute perfection and accuracy. When dealing with people’s lives at risk, things tend to step up a notch I suppose, but all the same I gained a lot of very important and useful communication skills for application in high stress environments, where things can so easily go wrong.

One of the greatest values of this company was the meticulous attention to detail that they put into absolutely everything, not only the technicians and management staff but the performers also. This is something I have never seen in New Zealand, ever, and I valued it greatly! The performers know exactly how the technical aspect of their acts should be and the technicians know exactly how to perform the acts themselves. In many of the acts a winch control technician would basically be an extra cast member who was really a part of the performance. There was a very strong sense of community and understanding for each other’s disciplines. When I was given a task there was always someone willing to give their advice or assistance when needed, and sometimes when not needed, but this was also a great thing as it reinforced my current knowledge and process.

Show Time

Opening night seemed to roll around almost seamlessly and the week merged into one big 80hour day of training. Before the show I was introduced to all the performers and wished luck from the whole cast and crew.

I could talk all day about the incredible pre show operations, but all that really needs to be said is that the focus and attention to detail are absolutely meticulous, and there is definitely a huge vibe of “you are there to do a job and do it right”.

As I headed into the audience to assume position I felt a strong sense of pride and achievement, finally after two long years of very hard work to secure this opportunity, I was about to perform with the single biggest performing arts company in the world and alongside some of the best performers and technicians there are!

The stage of Varekai (photo Karl Jenkins)

I sat in my seat, prepped my follow spot and placed my headset on to hear something that I will never forget. “….Ten minutes to clowns, fifteen to lizard….’ei solie le followspots’….good luck for your first show with Varekai Karl…..oh and don’t %@*# up!”

Outcomes

Overall this secondment opened my eyes to a large world of possible career possibilities, the knowledge and contacts that I gained from this experience I could not have put a price on. Just merely having the chance to observe the processes of such a company and drawing from them was something completely amazing, getting the chance to work alongside them; well no words could simply describe the feeling!

Upon my return I have discovered within myself and my work practise the great bundle of potential I have gained from this experience. I consider myself extremely fortunate to be given this opportunity and to see it come to an end was almost like leaving a family after being together for 6 weeks.

I will always remember the many friends and colleagues that I gained. And most importantly the people who help make this dream a reality for me.