Either it worked or it broke. Yes, on September 3, 1987, Cirque du Soleil took the biggest risk of its young existence by betting its meager resources on a show for the performing elite of the West Coast of the United States.
Before we get to this pivotal summer, let’s go back in time a bit to learn more about the origins of Cirque du Soleil.
BAIE SAINT PAUL
In the late 1970s, Baie-Saint-Paul attracted a community of young nomads. The location of the Le Balcon vert hostel becomes the meeting point of these beautiful young people in search of freedom.
In the spring of 1979, Gilles Ste-Croix was hired as manager of the inn. Among other things, he is asked to program activities for the summer season. To assist him in his mission, he hired a presenter, a young fire-eater, Guy Laliberté, who had just returned from Baie-James.
Before Guy Laliberté arrived at Balcon vert in Baie-Saint-Paul, he worked in Baie-James. He moved north to make as much money as possible to study nuclear engineering. His plans change when the strike paralyzes work on his construction site. Laliberté then goes to Baie-Saint-Paul and becomes an unpaid host in exchange for free accommodation. [email protected]
Among these young people, Guy Laliberté shines. He is a real acrobat: he can breathe fire, sing, dance and play the harmonica and even the accordion. It’s quite an act! He attracted media attention and made his hostel partners laugh in the 1980 federal election when he ran for the sarcastic Rhinoceros Party under the name Guy Pantoufle Laliberté. The creative candidate proposes, among other things, to build a macrame bridge between the Île aux Coudres and Saint-Joseph-de-la-Rive if elected.
The duo Ste-Croix/Laliberté and their companions first founded the traveling show troupe “Échassiers de Baie-Saint-Paul” and then the High Heels Club. In summer they exhibit themselves in public places. They then present impressive theater performances in which we are carried away by roller skate dancers, stilt walkers, funny jugglers and striking fire eaters.
In 1982, the High Heels Club officially received its first real contract when the municipality of Baie-Saint-Paul commissioned it to organize its fair. The duo joins forces with Daniel Gauthier to ensure the troupe’s financial management. He will complete this winning trio that will soon give birth to the reinvented circus.
The 1983 fair was a resounding success during its three years of operation (from 1982 to 1984). [email protected]
ON THE WAY TO QUEBEC 84
Funding culture has always been an important issue in Quebec. The difficult financial journey of this young squad is obviously no exception to this rule. Imagine Gilles Ste-Croix, who in 1980 undertook to walk nearly 90 km on stilts from Baie-Saint-Paul to Quebec to attract media attention and money. To raise as much money as possible, Ste-Croix sells hiking miles for 25 cents to $1. The 22-hour performance allowed him to raise $60,000.
However, the most lucrative approach to financing the creation of the circus was undoubtedly that of Guy Laliberté. The Fire Eater comes up with the idea of using the organization of celebrations surrounding the 450th anniversary of Jacques Cartier’s arrival in Canada to convince the Quebec government to hire its troupe of public entertainers. Determined like no other, Laliberté traveled to Quebec, met then Prime Minister René Lévesque and asked him to grant him a grant to organize the 450th anniversary celebrations. Guy promises the Prime Minister a show that no one has ever seen, a circus show without animals.
He received a $1.6 million grant to put on a series of shows to entertain Quebecers throughout the summer. We can say that this moment confirms the birth of Cirque du Soleil.
Photo provided by Martin Landry
THE BIG TOUR
Inspired by their production of the Baie-Saint-Paul fair, the troupe created “Le Grand Tour du Cirque du Soleil”. In the summer of 1984, around forty artists took part in the exhibition in eleven cities in the province of La Belle. The first banner called CIRQUE DU SOLEIL was hung for the first time in Gaspé in June.
The Grand Tour experiences magical moments, but also small grievances associated with the tour. The modest circus’s performers and technicians must juggle a storm-damaged circus tent, troop exhaustion from the miles accumulated on long truck rides, and the inconvenience of accommodations. And it has to be said: Even though these 450th birthday celebrations in 1984 were almost a fiasco, they still gave the troupe visibility and credibility, which enabled the young Cirque du Soleil to receive loans and aid. Additional financial support from the government to continue its work creation.
The first banner called CIRQUE DU SOLEIL was hung for the first time in Gaspé in June 1984. Photo provided by Martin Landry
FROM BAIE-SAINT-PAUL TO LOS ANGELES
Upon their return to Charlevoix, the Ste-Croix/Laliberté/Gauthier trio and their followers encountered Baie-Saint-Paul’s refusal to hold La Fête foraine in 1986. Obviously, like many artistic creations, the business model is precarious. The troupe needs subsidies because Quebec’s climate does not allow outdoor performances for more than four to five months a year. At that moment, Guy decided to export Cirque du Soleil to the United States.
He multiplies his efforts, goes to the West Coast and convinces the organizers of the Los Angeles festival to view the creations of the artists of his newly invented circus troupe. The show looks good. We then managed to get a spot at the prestigious Los Angeles Festival in 1987. But there’s a catch! The festival has no money to pay them. It has to be said that it costs a fortune to transport a circus troupe and their equipment over 5,000 km. Regardless, Laliberté convinces his accomplices that this flagship event is their only chance of survival and that Cirque du Soleil is doomed to die slowly if it stays in Quebec. In return for a central venue in Los Angeles, the circus covers all financial costs and agrees to present its show free of charge. The acrobats from Baie-Saint-Paul set off for California in caravans, probably not having enough money to finance the return trip to the country after the performance.
For a whole week, the streets of Baie-Saint-Paul welcome a new generation of circus performers from Quebec, but also from the rest of North America and even Europe. [email protected]
In Los Angeles, Cirque du Soleil presents its brand new show, Le Cirque reinventé. The troupe knows that it stands out for its scenography, its 360-degree stage that allows the audience to sit all around it, and the numerous physical interactions between artists and audience.
The entire American artistic elite is gathered in the room to watch the performance of these Quebec acrobats. Guy Laliberté is feverish and stressed and knows that he is risking a lot. Cirque du Soleil’s survival depends on this performance on September 3, 1987. Whether it succeeds or not!
Sigh of relief and cheers
Success in Los Angeles was immediate. Media and audiences are amazed by Cirque du Soleil’s innovative performances. The success of the September 3 performance enabled him to sign a contract for a major American tour, performing to sold-out audiences in San Diego and Santa Monica. This success continued over the next four years. Cirque du Soleil quickly developed into a profitable cultural enterprise, with 97% of its funding based on government aid and only 4% of its existence remaining. And this will be just the beginning of the adventure!