The $100 million show premiered September 25, 2011, at the Kodak Theater, and it’s the only non-traveling Cirque du Soleil show, which means that the performers not only have to love Los Angeles, but they also have to love the theater, because the entire show is built around it.
Speaking of the performers, Andrew and Kevin Atherton (the aerial straps duo) kindly answered questions after the show, which painfully included ridiculous inquiries from other journalists such as, “are you scared you might die up there?” Unfazed and classy, the brothers professed that fear is important for safety, but they “trust each other with their lives,” and they are “living a dream.”
One of most enjoyable parts of the show was the music, composed by the legendary Danny Elfman. Unlike Elfman’s familiar film medium, ‘Iris’ constantly evolved, so he was forced to change the music until all the elements were complete. Had I shut my eyes for the entirety of the show and just listened the music, I would have still been satisfied.
The second act was substantially better than the first, because it had the appropriate amount of light and shade. My favorite performance was the hand balancing, beautifully executed by Olga Pikhienko. It was understated and impressive, and it was one of the only acts where I felt personally connected to the performance.
Las Vegas has some new competition. For tourists visiting Los Angeles in need of some entertainment, this will exceed their expectations. With the combination of acrobats, costumes, and music, there’s no going wrong.
The irony of the writer’s strike is that while many writers fought for more — they ended up with less. The main issues being asked for at the time, included: a higher DVD residual rate on DVD sales; compensation for new media (such as internet streaming of television shows); and obtaining writing credit for work on reality television (at the time this was considered a “non-scripted” medium). But while the writers were fighting, Hollywood suffered, and many shows were canceled because the ratings didn’t recover from the extended hiatus. As a result, jobs were lost. David Letterman led the moral pack by paying his own writers out of pocket during the strike, and he later struck a deal with the Writers Guild, which allowed his staff to return without crossing the picket line.
It was rumored that Stewart attempted and failed to negotiate a Letterman-style deal, so he instead chose to air his show without his writers. But he was between a rock and a hard place. Had he gone dark, many non-writers working on The Daily Show at the time stood to lose their jobs. Did he make the right choice? Is it arguable? And if it is arguable, did Seth MacFarlane have a right to take a stand?
“I am truly sorry for offending anyone in any way. I never meant to. It was a poor choice of words on my part in an effort to explain a feeling,” Depp said in the statement. “I understand there is no comparison and I am very regretful. In an effort to correct my lack of judgment, please accept my heartfelt apology.”