The circus is a thrill, a locus of nostalgia for individuals who bear in mind summers with members of the family underneath colourful tents, a beloved amalgam of the athletic and the absurd, the uncommon place the place jugglers and acrobats and fireplace breathers can fly free, fodder for numerous films and a Dr. Seuss ebook — and, to not be a downer, a business.
The circus has to earn cash to maintain its clowns clowning.
Coming out of the pandemic, Cirque du Soleil was in bother. The firm had staked almost all its income in stay exhibits, with their dizzying shows of balletic grace and gravity-defying gymnastics. After submitting for chapter safety in 2020, Cirque determined it needed to be greater than only a circus. It needed to be a model, one thing that might promote perfumes, sun shades, tote baggage and video video games. So over the previous 12 months the circus introduced in consultants, which yielded months of conferences peppered with phrases like these.
“I think there’s a real opportunity to elevate the art of clowning.”
“Don’t focus on the Cirque, focus on the Soleil.”
“We want to think of Soleil as the building blocks of vibe.”
“We’ve thrown a lot at you.”
“Lots of Soleil!”
“So much Soleil.”
Cirque du Soleil employed a “cultural analysts” agency, known as Cultique, to reply an age-old query: Is it potential to hack recognition?
Cultique argues that it’s. Analysts there are within the business of promoting cool. And their work with the circus this 12 months has supplied a glimpse into what it takes to vary a business’s fame, to do a model makeover at a time when social media has made branding each extra vital than ever and extra fraught.
Cirque’s leaders felt assured that their firm embodied all the things Gen Z loves: campy outfits, kitschy make-up, feats of athletic daring. Sequins, spandex, being further. Yet few of that era — individuals born from 1997 to 2012, who now have $360 billion in shopper energy — appeared within the circus. Cirque’s greater than 40 exhibits promote 10 million tickets a 12 months all over the world, with a deal with its American residence in Las Vegas, however largely to a middle-age (or very younger) viewers. The common Cirque attendee is 42, in keeping with the corporate. More than two-thirds have kids underneath 18.
Cirque du Soleil turned to Cultique to develop into related. And Cultique promised, improbably, that even at a second when tradition appears to maneuver on the velocity of (sorry) a flying trapeze, it’s potential for a savvy outdated business to catch up.
“We literally help people get ahead of the curve,” stated Linda Ong, Cultique’s co-founder and chief govt, later including, “The secret sauce to our business is we help brands anticipate what’s going to change before it’s widely acknowledged.”
It’s not precisely apparent the way to outline tradition. It’s all the things we put on (crochet, sheer); take heed to (Dua Lipa, Doja Cat); watch (“Real Housewives,” “Barbie”). Ms. Ong makes use of water-based metaphors to explain it. Culture is a wave. You can journey it or get pulled underneath.
Seemingly invincible manufacturers have proven what it’s wish to really feel the tradition wave crash. Pepsi ended up pulling a 2017 commercial that confirmed Kendall Jenner handing a soda can to a police officer. Bud Light misplaced its standing as America’s top-selling beer after it confronted backlash for a video from a transgender influencer selling the beer this spring. If tradition is water, the floor is murky.
Enter Ms. Ong and her business associate, Sarah Unger, who promise to assist corporations devise business methods, advertising campaigns and merchandise that attraction to cultural sensibilities — earlier than these sensibilities are even absolutely shaped. Cultique doesn’t rely a lot on knowledge. Ms. Ong and Ms. Unger consider that when tendencies present up in surveys, it’s too late. It’s greatest to establish cultural obsessions earlier than they’re on TikTookay, earlier than younger individuals are speaking about them, proper earlier than anybody acknowledges they’re actual.
“There are two kinds of people,” Ms. Ong, 60, stated. “People who get turned on by culture and people who don’t understand it.”
The notion that anybody — not to mention a 60-year-old and 37-year-old company duo Zooming from Los Angeles — can describe cultural fixations earlier than they manifest sounds doubtful. Popular tradition, in spite of everything, shouldn’t be all that completely different from different cultures, like cheese, yogurt or kombucha. It’s alive. It’s natural. It isn’t designed by some all-knowing authority. It simply occurs.
But Cultique’s founders swear that cultural relevance, like every ingredient of business, will be studied and managed. Last 12 months, that work introduced in $3.8 million in income for Cultique, which has simply two full-time staff and sometimes a dozen or so contractors. Skeptical, I made a decision to observe them as they took on the duty of reworking Cirque du Soleil.
‘How Do We Become the Theme at the Met Gala?’
Everyone at Cirque du Soleil was astounded to listen to I’d by no means been to Cirque du Soleil.
“It’s your first Cirque?” stated the corporate’s senior tour director, Michael Veilleux, throughout intermission at a Cirque present known as Corteo (theme: funeral meets carnival) in Newark. “You don’t meet many people who it’s their first Cirque.”
He actually doesn’t. That’s partly the issue.
Cirque’s exhibits, as I witnessed, have pole dancers, upside-down footwear with out toes and clowns dressed up like horse butts. They have audiences of oldsters trying harried and youngsters chucking popcorn on the ground. What they don’t appear to have is an expansive base of younger grownup followers.
It was Covid that prompted Cirque du Soleil’s existential disaster, and resolution to chase a brand new cultural picture. After Cirque’s executives tended to all their fast March 2020 calls for — sending performers residence, storing hoops and silks away in warehouses — the Montreal-based firm furloughed 95 p.c of its 5,000-person employees. Only roughly 150 remained. After vaccines, because the circus started to rehire these staff, executives swore they’d pandemic-proof their business. Cirque couldn’t be fully reliant on its performances.
Today, about 80 p.c of its income comes from stay exhibits. The firm’s chief development officer, Nickole Tara, can envision a time when performances will account for simply 20 p.c of the income stream.
Executives at Cirque are experimenting with something a teen curious concerning the circus may purchase. A online game known as Cirque du Soleil Tycoon set for launch on July 28, with the gaming firm Roblox, wherein gamers can construct their very own circus world. A signature perfume (for the clown lover in your life) and a line of residence items (suppose maximalist rugs and psychedelic curtains). Corporate partnerships with corporations like Motorola, which launched its new flip telephone in an occasion in June produced with Cirque.
Cirque is engaged on a tv documentary sequence, prone to be known as “Down to Clown.” It is planning a conference styled after Comic-Con, the fantasy occasions that draw tens of 1000’s of individuals yearly, which it hopes to launch this 12 months.
“We are going to try so many new things,” stated the circus’s head of development, Ms. Tara, 39, who final 12 months left the music competition world for a newly created management place at Cirque. “We have to embrace the Cirque of the modern era.”
Some manufacturers ooze the sort of cachet that folks need to put on. Supreme sneakers. Kylie cosmetics. Others should suppose somewhat more durable concerning the model of themselves that they may commodify — like the way to flip a zany outdated circus right into a model individuals take into account related.
On this query, Cultique has been filled with concepts, particularly throughout a gathering in early March, when a handful of Cirque executives joined its cultural analysts to debate what success would appear like for his or her partnership.
“How do we become the theme at the Met Gala?” Ms. Tara mused.
“It’s not a crazy idea,” Ms. Ong responded. “How do you make your events the Met Gala equivalent?”
The assembled group — which included Cirque’s head of worldwide branding and social media, Chris Bower, and the Cultique analyst Rajiv Menon — agreed that it needed Cirque to be ubiquitous. They needed individuals to surprise why in all places they appeared there was Cirque du Soleil. Roaming Art Basel. Holding court docket at New York Fashion Week. Spotted with Jenna Ortega. Partnering with Versace.
“‘Oh my God, everywhere I turn Cirque is doing cool things with cool people,’” Ms. Ong stated, imagining the social gathering chatter she desires to generate.
To Ms. Ong, this doesn’t appear to be an inordinately tall order, as a result of she already sees younger individuals embracing the qualities related to the circus, particularly over-the-top efficiency. They’re simply not making the connection to Cirque’s business. In her thoughts, Cirque must publicly personal the themes percolating in tradition, what she and Ms. Unger seek advice from as “the Soleil Strategy.”
“It’s like porn,” Ms. Ong stated. “Everybody knows the Cirque du Soleil vibe when they see it.”
The Zeitgeist Whisperers
You’d be forgiven for considering “cultural analysis” was required studying for a humanities seminar, or a mash-up of contemporary artwork and Freud. But for Cultique, it’s a business enterprise, which might really feel like a shock even to Ms. Ong and Ms. Unger, who’re nonetheless processing the truth that they make their residing speaking concerning the tv, artwork, style and music they love. (Their weekly Substack known as “Culture Porn.”)
Ms. Ong grew up within the Seventies in Texas, the place she was the one Chinese American in her largely white elementary college class. Once whereas taking part in dodge ball, one in every of her classmates pointed at her and yelled: “Give the ball to that Mexican girl!” Culture made Ms. Ong really feel much less lonely. She binge-consumed “Hotel California,” “Gilligan’s Island,” Reader’s Digest and “The Brady Bunch.”
Ms. Ong moved to New York after school after which bounced round promoting jobs. She helped lead branding for Bravo. She realized she had a expertise: telling company individuals what cool individuals had been speaking about.
As a longtime marketer, Ms. Ong loves metaphors. One of her favorites compares Cultique’s work to testing the ambiance in preparation for a rocket launch. Their purchasers are constructing the ship, ensuring all of the components are working. Doesn’t it make sense to make sure the ambiance is amenable to flight?
American Express Global Business Travel employed Cultique in 2021 to review how company journey is altering. Cultique’s white paper advisable that corporations appoint “chief journey officers,” making journey an even bigger a part of firm life. Cultique characteristically interspersed company phrases with zeitgeisty lingo: wellness, burnout, hybrid work.
Buttoned-up purchasers (together with Amex) like Cultique as a result of even its office insurance policies are playful. The firm has a four-day workweek. Ms. Ong and Ms. Unger did a boot camp to review their mind waves and decide which components of the day they’d be most efficient.
Both Ms. Ong and Ms. Unger repeatedly enter what they name the “cone of silence,” after they cease speaking with each other and as a substitute rabidly devour tradition, which might imply, relying on the day: “Love Is Blind” (Ms. Unger); “The Bear” (Ms. Ong); heavy metallic (Ms. Unger); World Wrestling Entertainment (Ms. Unger); going to a wolf sanctuary (Ms. Ong); getting on a motorbike (Ms. Unger).
They preserve group chats with their purchasers going all day, sending articles, songs, movies or TikToks that relate to the work, which in Cirque’s case they name “Cirquecore.”
“Has there ever been a CIRQUE Barbie?” learn one current textual content from Cultique.
“HERMES’ new fragrance is ‘the sun as perfume,’” learn one other.
“I also am interested to think of Cirque’s performance as religion,” Ms. Unger wrote to the group sooner or later. “People are more spiritual than ever, esp. Gen Z.”
Magical Mystery Tour
The phrase nostalgia got here up usually in conversations about reinventing Cirque. “Nostalgia brands are having a moment,” Mr. Menon, a Cultique cultural analyst, declared over Zoom sooner or later. What might be extra nostalgic than the circus, with its popcorn and clown noses?
Speaking of nostalgia, generally what Cirque appears to be chasing is its historical past. Before Cirque was an organization making near $1 billion per 12 months — which it’s doing once more at the moment, after bouncing again from its pandemic hunch — it was a scrappy group of acrobats and stilt walkers placing on a present for residents at a youth hostel in Quebec City. Cirque’s founder, Guy Laliberté, who stepped down as chief govt in 2004, got here up as a fire-breathing performer on the streets of Montreal. He cobbled collectively his artist buddies to create a competition.
Mr. Laliberté has attributed a part of the present’s success, through the years, to events he threw at his lakefront mansion: Women sang opera on gondolas, a 19-piece orchestra serenaded the crowds, the host himself breathed fireplace. These raucous gatherings have attracted celebrities to Cirque’s mission, together with George Harrison, who as soon as attended randomly whereas on the town to observe Formula 1 and was so impressed that he requested Mr. Laliberté to make a Beatles-themed present. (The first business assembly between Cirque and the band ended as Paul McCartney drew an image of Nowhere Man, handed the paper over and informed the Cirque group to “figure out what this means.”)
If the Beatles cherished Cirque’s model, why not Gen Z?
Sitting by a Cirque efficiency can also be a reminder of the options that to some audiences may appear out of step with the instances.
At the present I attended, one of many longest sequences centered on somewhat individual named Valentyna Pahlevanyan, who connected herself to balloons and floated over the sprawling area as viewers members pushed on her toes to ship her upward. The room rang out with cries of “I want to touch her!” Then she and her husband, Grigor, additionally somewhat individual, carried out a humorous model of “Romeo and Juliet” with interruptions from clowns. There had been additionally jokes about a big man leaping on one finish of a seesaw with a smaller man on the different finish.
To Cirque, this can be a testomony to the present’s inclusivity. Michel Laprise, who has directed three of Cirque’s exhibits, stated the performers assist form their very own roles. Choking up, he likened the performers’ relationship with the present to a wedding.
“I want them to be loved by the audience,” he stated. “It’s important that we have little people in our shows. It’s a way to say they exist. They’re not victims.”
“The show tells you that no matter how tall you are, how big you are, whatever your background is or what you look like, you can still work here and do the job that you’re meant to do,” stated Ms. Pahlevanyan, 60, including that she and her husband helped create their “Romeo and Juliet” sequence to seize the comedy and chaos attribute of Cirque.
Still, a part of what Cirque is searching for is a model of its model that doesn’t want the present for relevance (or for all its income).
That ambition is distilled, partly, on the corporate’s social media. On Cirque’s TikTookay there are prank concepts, health suggestions, Halloween costume inspiration, marriage ceremony proposals and Black History Month reflections. In one video, Cirque dancers do ballet to the saccharine strains of Michael Bublé. In one other, they compete in a push-up competitors.
Since beginning its TikTookay in 2021 and starting to emphasise its different social media accounts, the corporate has collected greater than eight million followers throughout platforms. Some of its TikTookay movies get three million views, and plenty of of these viewers are far youthful than the 42-year-old present attendees.
“Last month the question was raised: How do we get more of our TikTok fans to buy tickets to shows?” Ms. Tara stated. “I don’t know if that’s the point.”
Cirque had its strongest monetary 12 months in 2022. Sitting on the Ludlow Hotel throughout a go to to New York this spring, Cirque’s executives informed their cultural analysts that they’d been making a video that confirmed how Cirque’s model might be translated into style and residential items.
The video cycled by photos of acrobats, trapeze artists and clowns. Then industrial gadgets appeared on the display screen — tote baggage, sun shades, pantsuits, pottery — together with the textual content “Prime for retail expansion.” It was a imaginative and prescient of what Cirque, divorced from the circus, might be.
“This is what Cirque du Soleil — and the Soleil — can look like in a physical object someone would actually go and buy,” stated Mr. Bower, Cirque’s head of branding.
The cultural analysts had been dazzled. “We love this relationship,” Ms. Ong stated. “It’s like improv. Y’all take the ball and you’re like, ‘Great, OK, let’s do this!’”
Later that evening was Cirque’s occasion with Motorola in Brooklyn. Half-naked acrobats spun by purple, misted air. Eerie percussion music crammed the room. Dancers in extraterrestrial-looking leotards leaped throughout the stage. And because the performers did acrobatic flips, Motorola unveiled its new flip telephone, a nostalgic tackle the early 2000s accent.
“OVER THE TOP, OTHERWORLDLY, and AVANT GARDE,” Ms. Ong declared over textual content. “Totally on brand!”
Source: www.nytimes.com