Saturday, June 27, 2015|2 a.m.
Le Reve– The Dream
Robin Leach at Le Reve
For 10 years, the remarkable athletic entertainers of the aquatic incredible “Le Reve– The Dream” at Wynn Las Vegas have actually delighted audiences from around the globe with their daring dives, synchronized swimming and incredible feats of skill in, out of and under the water.
On Friday as the cast returned from a two-week holiday, they continued their celebration of 10 winning years in the Home entertainment Capital of the World. Our special interview with them, which began Friday morning, continues today and Sunday.
Exactly what was the most magical minute in the 10 years for you? Fulfilling somebody, a dive that was harder than typical, a response from the audience, a member of your household concerned see you? Think about magical moments over the 10 years.
Amelie Major: On opening night, when our little girl came to see the show. She was with us in Belgium, and she got to see a little of what we were doing there. However when we arrived in Las Vegas, she couldn’t see rehearsals due to the fact that the theater was still under remodel.
When she came on opening night, her eyes were so huge she couldn’t think anything. For her at 4 years of age, she was truly “in the dream.” It was beautiful to see how pleased and how wide-eyed she was.
Did she recognize that this is what Mommy did for work every day?
In our household, it’s not actually work. It’s more of an interest. It’s something that we enjoy to do.
She’s 14 now. Is she going to follow in your footprints? Does she still come see the program with her eyes broad open?
She comes and watches the program due to the fact that she knows everybody. She recognizes us onstage and knows exactly what is brand-new. She goes, “This has actually altered. I like this better.” She wishes to be a performer. It’s her interest, and she trains in your home. She’s in dance classes and goes to an arts high school right here in Las Vegas. She ‘d enjoy to do this expertly.
Natalie Kourpa: My enchanting memory originates from the creation period. Production teemed with numerous emotions that I cannot put one word on it. I remember our very first big workshop with (creator) Franco (Dragone) in this theater. Franco asked the guys to place on matches and the females to put on outfits. He put on this music, I think it was from the movie “Chocolat,” and asked us to just dance all over the stage.
He called my name and put me in the middle of the stage, and I danced continuously for exactly what I believe was five or six hours. For me, it was the most remarkable thing to be acknowledged by Franco Dragone. My experience was slightly different because I felt like I was constantly trying to press myself. I wasn’t a gymnast, so I seemed like I was always trying to take on all these gymnasts and swimmers. That was a real moment, believing, “Yeah, I should be here.”
Kelly Shaylor: Getting the call that I got the job, that was my enchanting moment. I never ever believed I sufficed to do something of this quality. I went to acting school in London; I was pursuing an acting profession. My gymnastics profession had actually been over for about One Decade, and I hadn’t done anything acrobatic. I bear in mind, I was in a grocery store in Belgium. I was in the cereal aisle when I received the phone, I dropped the cereal on the floor.
All these people were around me, and I was jumping up and down and shouting on the phone. Then realized what I was doing which I had to be expert. The most enchanting minute was getting it. However every enchanting moment for me is when my household comes from England because they’re so far away. They never got to see development. Whenever they do come, the show does develop, so it’s different.
For how long does it take you all to adapt to a new number, modification or cast member?
K.S.: It doesn’t take that long. Everything is doinged this tactically. We have such an excellent group– from lighting and rigging to creative direction and scuba down below. When something is incorporated, it does not take that long. They have the tendency to prepare it prior to the entertainers show up onstage to work with what is brand-new.
Didier Antoine: It likewise depends upon which act. Some acts need a lot of training because it’s very technical.
It’s never ever simply the actor, is it? It’s the computers, it’s the lighting, it’s the music cues, it’s the water.
N.K.: The water has a mind of its own. Didier has an excellent example; he says it’s like an iceberg.
D.A.: When you see an act, you’re simply seeing the idea of the iceberg above the water. But when you see all the work you have to do to simply see what you see above the water. So nine-tenths of what we do is hidden.
Undersea at Le Reve
When you say the water has a mind of its own, exactly what does that indicate?
N.K.: In my viewpoint, how we react to it is various all the time. A breeze can alter the instructions of a fountain; cold water can change your feeling onstage; or you observe a present that had not been there prior to.
K.S.: In the last act, Piece Montee, there are a bunch of water shooters on a tiered-cake structure. If there is one that is somewhat off, there can be one spraying you in the face, and you resemble, “I need to remain still despite the fact that there is water hitting me in the face.”
But you are not just dancing and swimming through water, you’re also jumping through fire and other obstacles never made use of on a regular stage?
Benoit Beaufils: The last huge modification that we put in the program is called the Denouement They installed more than 140 jets to the phase. It premiered in December. That took the longest due to the fact that of all the technicalities that were included. It’s a lot of work to put all this together. It took six months prior to they even began integrating entertainers. Every modification takes a lot of work, and it’s constantly based upon the security of the entertainers.
Le Reve Denouement.
Let’s go back to the magical memories.
Genevieve Garneau: There are many wonderful minutes. I satisfied my hubby. That was amazing. Alberto (del Campo) and I have two little children. One night, they came and saw the program from the front row. In the Beam number, the ladies are in a harness, and the guys are in the red skirts like an aerial ballet. At the end of the act, we fly out toward the audience and reach towards them. I got to reach for my children. My youngest one was like, “Mother!” It was charming. It was the cutest thing ever.
Ludivine Perrin-Stsepaniuk: My enchanting minute was in creation. The first time we had a workshop, a dance workshop, with Giuliano Peparini, who was choreographing the whole program with Franco. They mixed everybody– the generalists and the swimmers. I was just 20 years old at the time, and it was the very first time that I actually danced with a guy. He just asked us to hold each other’s hands and aim to feel each other.
We did not actually have to dance or do something technical. He wanted us to feel each other very first. That was so enchanting to me. Especially simply likewise to feel a man since I’ve only swam with females before. It was amazing to see that and to see what other individuals did– the acrobats and the gymnasts. I had actually never seen that before.
Did that set up the trust?
I think so. It helped us a lot. After that day, we began simply joking around and all became buddies and then family.
B.B.: I was lucky adequate to perform in the majority of the big marketing occasions that we did with “Le Reve” like “The Ellen DeGeneres Show,” “The Tonight Show,” Latin Grammy Awards 4 years in a row. Among my favorites was doing a music video for Brandon Flowers that we got to shoot right here in the theater. I am a huge fan of his, so for me that was the most remarkable thing worldwide.
As far as the program goes, it was the first day I flew onstage throughout the Beam of Light number where we are attached by a hand loop. That’s the very first time I got to feel the power of the winches that make us literally fly in no time. I keep in mind thinking this is the feeling of flying and this is going to be my life forever.
Alberto del Campo: Satisfying my now-wife was a gorgeous moment, and the very same when my children came. It’s extraordinary. However I think maybe choosing one would be the opening night. Nine months of training was so crazy and so many feelings. Like it or not, when we opened, some individuals have their own viewpoints, but we finally had an item after that last actually tough 9 months.
Nine hours training, 12 hours training every day, then go home and keep training because you don’t know the choreography. You return the next day and they alter it, and you’re like, “Oh, begun! I simply discovered it.” So I think opening night was enchanting. Actually enchanting.
Jon Bookout: Production, as everyone has said, was just remarkable, and I actually enjoyed all the open experience of trying brand-new things all the time– different innovative processes, classes and interaction. I enjoyed it, and I couldn’t get enough of it.
However then they stuck me in a chair and they resembled, “Attempt this thing.” And I happened to be sort of proficient at it, so I continued attempting it and did it, and it eventually became my solo, which became the Cage act in the winter scene. When I first performed, I was like, “Wow, a solo is kind of a huge deal,” and I didn’t understand if I had it in me to do it. However it was rewarding to be able to perform that and to create it, actually. Co-create it.
Sebastian Zarkowski: I believe my enchanting moment was when my mama pertained to see the show from Poland. She saw the show only once, and I remember it precisely. She was sitting right there in the third row in June 2009, and I’m a huge person but I seemed like a small child again. I had such an unusual and various energy from other night that I couldn’t even remember the program.
She was able to see the show just as soon as. I was always returning the home of explain to her exactly what the show had to do with, what I do, but it never did the justice of seeing the program live. After the program, I saw her weeping, which was wonderful. I originate from a little village, we had a farm, 60 homes, you understand. So that was a huge shock for her and for me when I came here.
D.A.: My most wonderful moment was before all of this, before even production in Belgium, since to develop this show, we had two centers. One in Belgium and one in Las Vegas, so I was in charge of the research for the area in Las Vegas. I was alone with 10 performers, and we had the very best playground. We could ask anything we wanted, to produce all the concepts we desired. It was a privilege due to the fact that Franco provided me a lot self-confidence, and every day we had to research and find originalities, every day.
Exactly what you see in this show is maybe 5 percent of everything we found of exactly what we recommended to Franco, then it was selecting what he likes. I come from trapeze, I was simply a catcher, and I was working for several years in the air, however to have this sort of a trust and power to do all this– and we were alone, we might do whatever we desire, it was an actually wonderful duration, the very best for me.
There’s a certain showbiz insane in all of this? A particular entertainment insanity where Franco and Steve Wynn stated, “You can do whatever you like, however simply make it amazing.” When you wased initially told of the idea of the show, did you take a look at individuals and state, “You’re mad. This can’t be done!”
A.M.: I remember in the very first proving ground where we investigated everything. We were researching the Resto Tableau, where we were sitting with two ladies, or a kid and a woman, and we flip around a table. And the first time they constructed the table, they hooked it to the motor, they raised up and they’re like, “OK, now rest on it.” So, we’re sitting, and I remember I was with Genevieve in front of her, and we’re attempting to not flip it– we don’t wish to fall.
And after that he resembles,’ “OK, now flip it.” ‘Uh, no! I’m like, “Give me a seat belt.” We tied ourselves down on the chair, and we start turning. That was actually crazy. You’re asking me to flip on a table. That doesn’t make sense, but take a look at us now: We simply don’t sit, we sit, we stand up, we flip around benches, and we do a lot of things. However that first moment resembled, “Are you insane? Exactly what’s wrong with you?”
What was the reaction from the synchronized swimmers when they said you’re going to go swimming in high-heeled red shoes?
L.P.: For me, I was really pleased since I don’t have an extremely quite pointe. When they said that they will conceal my feet, it was terrific because no one had actually ever done that before. We were the first to develop that. Our synchronized swimming coach, Dacha Nedorezoval, had this concept, and it was terrific.
* * *
The final Part 3 of our conversation, consisting of more talk of the red shoes and dancing upside down, concludes on Sunday.
Robin Leach of “Lifestyles of the Rich & & Famous” fame has actually been a journalist for more than 50 years and has spent the past 15 years giving readers the inside scoop on Las Vegas, the world’s premier platinum play area.
Follow Robin Leach on Twitter at Twitter.com/ Robin_Leach.
Follow Las Vegas Sun Entertainment + Luxury Senior citizen Editor Don Chareunsy on Twitter at Twitter.com/ VDLXEditorDon.
Le Reve Theater
3131 Las Vegas Boulevard S. Las Vegas, NV 89109
Wynn Las Vegas The lush and colorful landscaping that surrounds the marvelous Forbes Five-Star ranked Wynn Las Vegas is a small part of what makes it among the most luxurious and extravagant hotels on the Strip. With its man-made mountain, the flowers inside and out and the stunning waterfall leading into a the three-acre lake Lake of Dreams, this resort is a standout among others on the Strip. And others will concur. The resort is a AAA 5 Diamond winner, a Michelin Five Pavilions Award winner and the only three-time winner of the Mobil 5 Star award. Opened in 2005 by designer Steve Wynn, the Wynn residences 2,716 rooms, a 110,000-square-foot gambling establishment and the Strip’s only resort golf course. The marriage of luxury and nature at Wynn Las Vegas does not end at the resort’s primary level. Guests ascending the 50-story hotel tower will certainly discover spaces created with floor-to-ceiling windows framing sweeping views of the Strip or the Wynn Golf Club or lake. Space features consist of European linens, flat-screen televisions in the living and restroom areas, high-speed Internet access and more.
With world-class dining, shopping, medical spas, golf and home entertainment, there’s no scarcity of things to do at Wynn. The resort’s aquatic acrobatic program, “Le Reve– The Dream,” a creation by Cirque Du Soleil veteran Franco Dragone and Steve Wynn, will leave visitors wanting more with its breathtaking efficiencies that conjure an imaginary world. The Wynn Esplanade offers an unique shopping experience with stores including Chanel, Manolo Blahnik, Christian Dior, Oscar de la Renta and a lot more. Tryst is its trademark bar, offering a remote lagoon inside the club and roomy dance floor. Blush, the Wynn’s ultra lounge, draws fancy party-goers. Tryst, Wynn’s trademark nightclub, is positioned along a personal shallows under a 90-foot waterfall and plays host to a few of the world’s most renown DJs.
3131 S. Las Vegas Blvd. Las Vegas, NV 89109