Sunday, June 28, 2015|2 a.m.
Le Reve– The Dream
Robin Leach at Le Reve
The astounding athletic performers of the aquatic incredible “Le Reve– The Dream” at Wynn Las Vegas are commemorating a decade of thrilling global audiences with their daring dives, synchronized swimming and amazing tasks of skill on the Strip.
On Friday as the cast returned from a two-week holiday, they continued their event of 10 winning years in the Entertainment Capital of the World. Our special interview with them– which began Friday early morning and talked of the show’s production and spectacular acts and abilities and continued Saturday with remembering the most magical minutes– covers today. Since we’ve started talking about the red shoes, discuss to our readers that this is more than simply dancing upside down, it needs to be because you have to breathe underneath, you have to remain in sync so that the legs go back and forth all of you at the very same time. How do you do that? Ludivine Perrin-Stsepaniuk: It is really technical. You have to be an excellent synchronized swimmer to be able to do this. It’s a 3-minute number, and we just utilize our arms to support our legs upside down, and we need to come high from the water, thigh-high. If you attempt it, or if anyone attempts it, and they didn’t learn synchronized swimming, they might come near their ankle perhaps, however it’s a lot of work, which’s why they still have technical
tests. Our coach makes sure that we still have a great technical level like a global integrated swimmer. So beneath water, it’s the legs that are integrated? However how do you know undersea when you can’t see them that they’re in sync above the water? L.P.: We can hear the music undersea. We can hear the entire program,
and we do counts. It’s like dancing, we have counts, every activity has a count. We have patterns that we have to regard, and you understand it’s a bit hard to swim around
the swimming pool due to the fact that in synchronized swimming competitors, it’s an actual Olympic pool. It was extremely hard in the start for us in a circular pool because you just don’t know where to go, so underwater we have directional numbers. We have 12, 4 and 8 o’clock since the theater is round like a clock. We simply follow those numbers and understand where
we are. Otherwise it would be like a pilot flying upside down on the horizon. You wouldn’t understand whether you were north, east, south or west, right? What is the most hard part of the show for each of you? The most challenging for you or what you believe is the most tough for somebody else in the cast? Didier Antoine: I understand the one due to the fact that I produced it– exactly what we call the Triton act because it’s a flying trapeze. It’s a bar with two cables. Someone needs to grab this bar and swing with it and fly into the air. The issue that we have here, and you do not have
this in any other program, is bench is wet. Generally a trapeze is constantly dry, and you have a good grip. You never ever understand exactly what is going to happen. One day it can be great, one day it’s going to be slippery, one day it’s too sticky. So every day it is an obstacle. That’s why when Jon Bookout stated that when you pertain to this program, or to this act, you have to exist, yet unwinded. They all have to be so focused each night to make sure that they can respond to any problem they can find in the air. Even with all the damp, I’m thinking that Krazy glue would not work. Gorilla glue would not work. What does work in water? D.A.: A huge part of the research was to find the way to be able to hold it. So we attempted glue, we attempted a special tape. The very best up until now is tape. You cover the bar with the tape. You reverse the tape so you put the glue on the tape on the outdoors, then every day Jon needs to work to make the glue
appropriate. Then you have a special spray. It resembles a reverse Velcro theory. You can envision how many variations prior to we discovered this solution. The only way to test it was in the water. Some tape was terrific. Some glue was excellent dry. But as soon as you put it in water, it became slippery. Some were too tight, too sticky, so they could not release. It was an actually interesting difficulty over a trio of months of research study to discover the tape. Then it took virtually one year of shows to find the right tape and quantity of spray. Jon is the master of the bar. The audience, obviously, has no idea whatsoever of what’s included. In a manner, that’s the wondrous part of show company. At the same time, would the audience be more impressed if it knew all of those little keys? D.A.: I think yes. If we might explain before or compose a book and explain to them what’s
going to occur today. There’s an issue when performers are perfect, best in the air, individuals think it’s simple. However when it’s ideal, they have actually trained for a lot, so long to become so perfect. Occasionally you wish that people might understand that. You can’t just been available in and fly like they do. You need to dedicate your whole life for this. I have a fantastic adoration for you all. What do you believe is the most unsafe aspect of exactly what you do? Sebastian Zarkowski: Aside from the hazardous or challenging numbers in the program, it’s staying focused, dedicated and healthy for the 10 years or 4,000-plus shows. That is among the most challenging or tough things any among us face. There are only 19 entertainers left
from the initial cast, and we have 93 entirely. I think that being healthy and having a healthy lifestyle outside work likewise is a crucial aspect, and coming right here fresh every day, being able to put One Hundred Percent and do it securely, is the most tough thing. Jon Bookout: I believe Triton is without a doubt the most technically challenging most thing I do in
the show every day. You never know what is going to occur even when the bar is great. He could kick a little harder, you may tap wrong. I suggest I’ve probably done every version of a fly on Triton you can envision. You understand from striking the bar, falling under the water– and doing terrific stuff, too! It’s so much enjoyable, too; that’s
the important things. The payoff is so fun to do although it’s so hard. Alberto del Campo: I believe the orientation of the theater, just navigating the theater itself, is currently the most difficult. When you come here, you don’t know where you are, it’s a theater in the round, so you have to go to 12 o’clock and you look around and are like, “12 o’clock, OK, where is 12 o’clock?”And everything goes quickly. When you get made use of to it, those little moments are unsafe and challenging. You get lost in space.
Maksim Chmerkovskiy at ‘Le Reve’Introduce slideshow” ‘Le Reve’Unveiling at Wynn Theater Launch slideshow”‘Le Reve– The Dream’ Couple Introduce slideshow”Kelly Shaylor-Straszewski: There’s an entire program below the water and above the water. Natalie Kourpa: Also, we utilized to have bell clocks, which were at 12, 4 and 8, now we just instantly understand where they are now. K.S.: It’s so hard for new performers to come in and it’s hard for us to understand because we understand
the stage like the back of our hand.
<img src="/wp-content/uploads/2015/06/1_t320.jpg" alt="Maksim Chmerkovskiy choreographs a new scene in Even if I am onstage,
Genevieve Garneau: Often you are doing something in the air, and you drop in the water. I
have a look and see where Didier is. I know if he is at 2 o’clock, then I know I have to deal with 6. It’s about orientating yourself
. D.A.: That’s why we have the characters onstage, to aid the brand-new people. This is exactly what you would call intuition. For how long does it take for you to comprehend the intuitiveness? Benoit Beaufils: 10 years and I am still learning. In some cases it gets confusing. A couple of years back, I tattooed the stage on my wrist so
I would know where it was. I had the phase from above on my wrist so I would constantly know where I am going. I used to swing in the show a lot, so every night my position would alter, and it would end up being so complicated. I would have to go to the person I was replacing. For instance, for this you come at 4 o’clock, then you go to 8 o’clock, and every time I would make them feature me to the map on the callboard and have them show me where you go. Ultimately, I was like,”Well, I am just getting this tattooed!” K.S.: When they change something in the show, even if it is a little change, it can be difficult. For example, the Chapel scene when we are all awaiting the air, if we used to leave at 12 o’clock, however they have changed it and we leave at 4 o’clock, it gets really confusing due to the fact that you get so used to a pattern of doing something. L.P.: I do not think there is a certain difficult part in the show, but we are there onstage the whole time. We can do like 8 numbers a night, so it is a long show for us. That is the only challenging thing for me. G.G: I would say for me the most tough thing would be Sphere. You have to be spot on at how you capture, where you catch. This is the number where the Sphere fluctuates. We go actually high and in some cases you have to hold the entire weight of the lady, so you have to be spot on. You need to trust each other, however for me it is the most fun part. K.S.: Difficult, but many rewarding, is when brand-new performers been available in
because we are so used to each other. When we do an act, if I get Benoit, I understand exactly where his hand is and exactly what his hand seems like. When new people come in, you have no idea them. You are beginning a new trust level and teaching them
something new. For me, that is the most hard, however it’s the most rewarding when you begin learning about them. You see how they fly in the air and grab them in the air, especially in Sphere, there is no safeguard apart from the water. You are not in a harness, so when I state,” I have you, I have you, you trust.”That’s the most challenging, but a good hard. N.K.: Mine is personal. Mine is managing my adrenaline and nerves in the show. I have the tendency to do that the very first time I go into a new act. I am so thrilled but worried that I shake. It’s only the very first time. The second time is a lot easier. Trying to breathe and stay in control and go out fresh is difficult for me.
Amelie Major: For me, it’s the Piece Montee act. This act is the last act of the program that looks like a wedding cake. The audience doesn’t understand this, but all the flying we do and we land in the water, it’s no deeper than 5 feet. As soon as you land in the water, you need to do a back roll in the water. That was a challenge to discover how
to scoop and not land directly, land turning. No one understands that when we do this act. Have any of you seen the show on a night off? LP: Yes, when I was pregnant, I loved to come and see my other half and group since I had absolutely nothing to do, and it was awesome! I enjoy to see all the modifications. It was amusing because when my hubby turned
on Triton, it was the first time I felt my infant kicking. They were in sync. It was terrific. Are you still including things to this show after One Decade? Do you think we will be right here in Twenty Years and look back on the 2nd decade? B.B.: Yes, it will certainly never stop altering. D.A.: We won’t ever stop from enhancing. It keeps us fresh, too. We do not see the time flying. We all have the exact same objective. Change music, outfit, technique, add acts. We hope it will certainly be like this
permanently. What hasn’t been done that’s in the back of your head that could be done? It’s a secret! It’s difficult to respond to since sometimes the concept doesn’t originate from viewing another act. It comes from seeing something outside the program. We come back and say,”What about this concept?”We can start new research study and see if it is possible. A.M.: When brand-new individuals enter the program, it brings new energy
and talent, and often they create new devices for the show that display artists ‘talent. Each brings something to the program. The show develops
technically, artistically, acrobatically
because of each performers’ presents and abilities. Maksim Chmerkovskiy from “Dancing With destiny “brought brand-new choreography and the very first actual dance number into the show. The evolvement of the show with someone
who brings in new ideas and strategies, does that change the entire program or just the part he
touches? D.A.: It alters the entire show. If you generate a new act or style, if you simply put it in the show, the new act does not fit the remainder of the program. You’re putting something on top of something that was currently set, so you need to re-create the story.
In some cases you need to change the music and dance simply to bring in the act. For five years,”Le Reve”has actually been voted Finest Program in Las Vegas by the Southern Nevada Hotel Concierge Association. It needs to be a tremendously rewarding excitement to be part of such a success story. Do you marvel at it yourselves? B.B.: We all do. I think we are all extremely happy with the show, and that is why we have actually been right here for One Decade. I believe when we get a possibility to step back and view the show, we get to realize just how huge exactly what we work for is. When the big flowering flowers were added a couple of years ago, the very first time we saw them, it was mind-blowing. I believe we are all really proud
, and especially to get that type of recognition is very satisfying. Considering that all of us live and work in Las Vegas, the Betting Capital of the World, was it a big roll of the dice for Steve Wynn and Franco Dragone? Did everybody state this is insane? The odds are against you? D.A.: Oh, yes, I think so. We couldn’t use any equipment or acts that
currently existed in the circus world. We had to develop everything new. We had no history or reference. You can not view video. You begin with nothing and say,”Whoa, now Las Vegas has numerous shows and is big competitors.” So the challenge was so huge. You pulled off the completely new. Everybody is copying you and biting at your heels. So you need to be new once more for the next decade? Group in unison: We will. Yes, we will! Delighted 10th, and see you here in another 10 years!”Le Reve– The Dream,” with its aquatic ballet and gravity-defying aerial stunts, is an in-the-round program carried out at Wynn Las Vegas twice nightly Friday during Tuesday, dark Wednesdays and Thursdays. The VIP Indulgence Experience consists of champagne, chocolate-covered strawberries and chocolate truffles and a personal video screen offering behind-the-scenes views of the production above and below the water as it is performed. Robin Leach of “Lifestyles of the
Rich & Famous”popularity has actually been a reporter for more than 50 years and has actually spent the previous 15 years providing 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 Home entertainment +Luxury Elder 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 rich and vibrant landscaping that surrounds the marvelous Forbes Five-Star rated Wynn Las Vegas is a small part of exactly 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 magnificent waterfall introducing a the three-acre lake Lake of Dreams, this resort is a standout among others on the Strip. And others will certainly agree. The resort is a AAA Five 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 houses 2,716 rooms, a 110,000-square-foot casino and the Strip’s only resort
golf course. The marital relationship of luxury and & nature at Wynn Las Vegas doesn’t end at the resort’s main level. Guests rising the 50-story hotel tower will certainly discover rooms designed with floor-to-ceiling windows framing sweeping views of the Strip
or the Wynn Golf Club or lake. Room facilities include European linens, flat-screen televisions in the living and bathroom areas, high-speed Web gain access to and more. With world-class dining, shopping, medical spas, golf and home entertainment, there’s no shortage of things to do at Wynn. The resort’s aquatic acrobatic program, “Le Reve– The
Dream,”a production by Cirque Du Soleil veteran Franco Dragone and Steve Wynn, will certainly leave visitors desiring more with its breathtaking performances that invoke an imaginary world. The Wynn Esplanade provides a special shopping experience with stores including Chanel, Manolo Blahnik, Christian Dior, Oscar de la Renta and many more. Tryst is its trademark club, providing a secluded lagoon inside the club and large dance floor. Blush, the Wynn’s ultra lounge, draws fancy party-goers. Tryst, Wynn’s trademark nightclub, is positioned along a personal lagoon under a 90-foot waterfall and plays host to some of the world’s most renown DJs. 3131 S. Las Vegas Blvd. Las Vegas, NV 89109 702-770-7000