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Cirque Du Soleil. INNOVATION IS MORE CULTURE THAN JUST A PROCESS
Article · December 2019
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Journal of Case Research and Inquiry, Vol. 5, 2019 219 |
CIRQUE DU SOLEIL:
INNOVATION IS MORE CULTURE THAN PROCESS
ISSAM GHAZZAWI
University of La Verne
“From their employees, artists, technicians, and managers around the world,
great expectations, magnificent dreams, and creative products have emerged.
They have learned to surrender to their senses, trust their instincts, take risks,
and meet new challenges in an artistic and nurturing environment.”
Guy Laliberté Founder and Past CEO, Cirque du Soleil1
Cirque du Soleil (French for Circus of the Sun) had evolved as one of the most famous live
spectacles and success stories in the history of the entertainment industry. While Cirque du
Soleil’s various performances had transformed over the years, its traditional elements of
imagination, artistic entertainment, spectacle, theatrical storytelling, visual extravaganza, and
incredible physical skill had remained at the core of this entertainment giant.
As Cirque turned thirty-six years old, most of its artists and employees had heard stories of its
past. They learned about Guy Laliberté’s struggles with work as a youth and his supporting
himself on unemployment insurance. They were told about Cirque’s beginning as a group of
street performers in the picturesque village of Fête Foraine de Baie-Saint-Paul near the St.
Lawrence River just outside of Quebec City, and very importantly its financial hardship at its
beginning in the 1980s (DeLong & Vijayaraghavan 2002; Ghazzawi, Martinelli-Lee & Palladini
2014).
1
A forward by Guy Laliberté for the book by Heward, L. & Bacon, J. (2006). The Spark: Igniting the Creative Fire
that Lives Within Us All. Doubleday Canada.
The author developed the case for class discussion rather than to illustrate either effective or ineffective handling of the situation. The case and
its accompanying instructor's manual were anonymously peer reviewed and accepted by the Journal of Case Research and Inquiry, Vol. 5,
2019, a publication of the Western Casewriters Association. The author and the Journal of Case Research and Inquiry grant state and nonprofit
institutions the right to access and reproduce this manuscript for educational purposes. For all other purposes, all rights are reserved to the
author. Copyright © 2019 by Issam Ghazzawi. Contact: Issam Ghazzawi University of La Verne 1950 3rd St, La Verne, CA 91750
[email protected]
A turning-point for the company happened in 1987, when it embarked on its first tour in the
U.S. It started with an invitation to perform at the Los Angeles Arts Festival; Cirque took a big
risk in going to LA as it only had enough money to travel one way and counted on its ability to
raise funds to get back to Montreal. What happened in Los Angeles - positive media reviews
and audience support - led Cirque to tour other cities in California. Its success in the U.S. helped
solidify its reputation and prestige at home (Leslie & Rantisi 2011).
For over three decades, Cirque held shows around the globe. Customers lined up to buy its
expensive tickets, and money was easily made. At the end of the day, the Cirque entertainment
phenomenon had permanency. Together with its sustainable culture of innovation, strong
communication, and ethical behavior in its worldwide operations, Cirque maintained relational
trust among all stakeholders while living and functioning as one company (Ghazzawi, et al.
2014). With an estimated $845 million in revenue in 2014 (CBC.CA 2015), Cirque du Soleil
expanded rapidly through the 1990s and 2000s, going from one show to 19 shows
simultaneously in over 200 cities on five continents around the world. The company’s various
shows attracted close to 90 million spectators (Cirque du Soleil-c).
Cirque’s culture, according to one of Cirque producers, was “very open and accepting of people
and open to doing things in different ways. You can invite problems or you can offer solutions”
(Ricotta 2013). The working environment was good-natured, with considerable freedom given
to employees and artistic directors. The behavioral norms and values resulted in affirmation of
family, or at the very least community (Ghazzawi et al. 2014).
The company’s continued success was driven by its continual innovation and creative culture.
Cirque’s creative process usually began when its president and CEO Daniel Lammare and Guy
Laliberté, its founder and artistic director, defined the theme of the next show. The theme of
any show started as a broad vision as opposed to a confined mandate, in order to give others
the opportunity to contribute to the creative process. Cirque executives did not use traditional
brainstorming techniques to arrive at the theme (Dan 2012). Cirque CEO’s belief was that “no-
Cirque du Soleil
idea-is-a-bad-idea;” acquiescence and consensus were emphasized over debate and openness
(Dan 2012).
“Cirque’s culture of innovation and creativity encourages honesty and judgment
when ideas are explored. Passionate, provocative dissention and disagreements
are not only tolerated but cultivated, to spur the best ideas and, as importantly,
to eliminate bad ones quickly. While a consensus seeking approach may lead to a
few incremental innovations, he (Lammare) says, a bit of tension, even friction
during creative ideation, is likely to lead to innovation breakthrough” (Dan 2012:
Para. 3).
See Exhibit 1 for selected images of Cirque shows.
Exhibit 1. Selected Images from Cirque Du Soleil Shows

Source: https://www.cirquedusoleil.com/press
Title: Cadre from "O". Title: Hand Balancing from “Mystère”

Picture credit: Tomasz Rossa Picture credit: Richard Termine
Costume credit: Dominique Lemieux. Costume credit: Dominique Lemieux
It was Cirque’s practice that once a theme had been selected, Lammare and Laliberté would
step back and let the creative director take over and develop the concept over the 2-3 years
that it took to put the show together (Dan 2012).
In addition to its world-renowned shows, Cirque had extended its creative approach to a variety
of other entertainment forms, including multimedia productions, immersive experiences,
theme parks, and special events. The company went beyond its creative activities by making a
Cirque du Soleil
positive impact on people, communities, and the planet - all through Cirque’s valuable tools of
creativity and art.
In 2015, ninety percent of Cirque was acquired. President and CEO Daniel Lammare and
Founder and Artistic Director Guy Laliberté were revisiting the challenges of balancing the
company’s need to maintain high creative standards with an appeal to larger audiences, while
meeting their new partners’ financial expectations and remaining loyal to Cirque’s values.
The Creation of a Powerful Entertainment Company
Guy Laliberté left home at the young age of 14. He left behind a note to his anguished parents
explaining the reasons for his bold act and quoting the philosopher Kahlil Gibran: "Your children
are not your children. They are the sons and daughters of life's call to life" (in Denton, 1988:
Para. 7). Guy described himself as a "dreamer, fascinated by the cultures of the world." For him,
the best way to see the world was to perform on the streets. He performed for a while as a
musician, playing traditional Canadian music on an accordion while he told stories and collected
money in a hat from passersby. Feeling confident in his street performance skills, Laliberté
decided to travel to Europe when he was eighteen (Browse Biography 2011).
As he was attracted to the busker’s2 lifestyle from a young age, he travelled to Paris in 1978 and
learned the art of fire-breathing. After coming back to Québec in 1979, he began stilt-walking
alongside his friend Gilles Ste-Croix while the two were organizing activities for the Baie-Saint-
Paul youth hostel in the Charlevoix region of Québec3 (Zarov 2014). See Exhibit 2 for images of
Charlevoix, Canada.
2
Busking and street performing is the art of street theatre. It is a style of performance unlike any other. A musician
playing in the open air - tap dancers hoofing on a side walk. Source: http://www.buskercentral.com/defined.php
3
Charlevoix is a beautiful region of the province of Quebec, Canada. Famous for its idyllic topography of rolling hills
and mountains along the St. Lawrence River, the region is very attractive to visitors because of its agricultural
tourism and regional farm-to-table cuisine, arts and culture, and scenic driving routes (McLean 2019).
Cirque du Soleil
Guy did not have enough money to sustain his life in Europe, so eventually he returned to
Quebec to accept a full time work at a hydro-electric power plant. After three days, the plant
workers went on strike and Guy was fired (Bass 2013).
In summer 1980, Laliberté joined Ste-Croix's stilt-walking theatre company Les Échassiers de
Baie-Saint-Paul (The Stilt Walkers of Baie-Saint-Paul). The following year, Ste-Croix and
Laliberté, along with stilt-walkers Serge Roy, Josée Bélanger and Carmen Ruest, founded the
non-profit Club des Talons Hauts (High Heels Club) to promote stilt-walking events (Zarov 2014).
With financial help from the government of Québec, Laliberté founded Cirque du Soleil in 1984.
The Cirque toured Québec, and its big top had a capacity of 800 seats (Zarov 2014). The tour
performers and productions were such a success that the company began to generate demand
outside of Canada.
Exhibit 2. Images of Charlevoix, Canada

Source: https://www.bing.com/images/
In 1985, the tour included stops in Ottawa, Toronto and Niagara Falls. In 1986, Cirque produced
a new show, La Magie Continue (“We Reinvent the Circus”), which toured Canada, the U.S. and
Europe. When it finally closed in 1990, the big top's capacity was 2,500 seats. Two years later,
the Cirque would be running simultaneous shows on three continents (Zarov 2014). According
Cirque du Soleil
to Tony Ricotta, Laliberté had a dream to reinvent the circus to the level of an art form. This
dream was encapsulated in the company’s mission statement: “To invoke the imagination,
provoke the senses, and evoke the emotions of people around the world” (Ricotta 2013).
Laliberté’s artistic innovation bridged the entertainment culture of the circus with the artistry
of acrobatic performance. See Exhibit 3 for an image of Cirque’s big top.
With the creation of Cirque du Soleil, the mischievous days of popcorn, peanuts, sawdust,
spangles, and calliopes were gone! Cirque was a hybrid of acrobatics and dance performance
(Berry et al. 2006). This venue was “a multi-level production without the menagerie of exotic
animals, yet was one that captured the magnificence of the human form, agility, and creativity”
(Ghazzawi et al. 2014: 26-27).
Cirque du Soleil Entertainment Group became a world leader in live entertainment with
about 4,000 people, including about 1,300 artists from nearly 50 countries who
entertained over 180 million spectators with shows in about 450 cities in 60 countries.
With Cirque’s 28 residential and touring performances around the globe, the company’s
revenue was estimated to be more than $1 billion annually (Gittleson 2013).
Exhibit 3. An Image of Cirque Du Soleil Big Top

Source: http://www.flyingkitemedia.com/galleries/Features/2013/Issue_126/totem_fp02.jpg
Cirque du Soleil
From 1984 until 1989, Cirque performed only one show at a time. Its productions were divided
into shows designated as either Resident or Touring. Resident indicated one location only,
whereas Touring indicated visits among cities. See Appendix 1 for Cirque’s comprehensive list
of resident and touring shows, Appendix 2 for important dates, and Exhibit 4 for an image of a
resident show “O” and one from a touring show “Alegria.”
With Cirque’s worldwide popularity across the world, its success was coupled with a few
challenges and organizational disputes including “artistic rebellions” and partnership clashes
(Delong et al. 2002). In 1998, Laliberté bought out Gautier’s share and retained full control of
Cirque which was valued at $800 million at the time. On March 1, 2006, Laliberté resigned and
was succeeded by Daniel Lamarre. Lamarre, who joined the Cirque executive team in 2001,
maintained the title of Founder and Guide (Ghazzawi et al. 2014).
In 2015, Cirque du Soleil was acquired for an estimated $1.4 billion. The company’s
founder, Guy Laliberté, retained a ten percent stake in Cirque, and ninety percent were
acquired by three parties: TPG Capital (Texas Pacific Group-an American investment
company), Fosun International Limited, a Chinese international investment company, and
Caisse de Dépôt et Placement du Québec (CDPQ)4, also referred to in English-language media as
the Caisse (Palmeri 2015).
4
Caisse is an institutional investor that manages several public and parapublic pension plans and insurance
programs in Quebec, Canada (CBC.CA, 2015).
Cirque du Soleil
Exhibit 4: Selected Images from Cirque Resident “Mystère” and Touring "Alegria" Shows
Title: Spermato and Spermatines from "Mystère" Title: Crossed Wheel from "Alegria".
Picture credit: Richard Termine Picture credit: MA Lemire ©2019 Cirque
Costume credit: Dominique Lemieux. Costume credit: Cirque du Soleil
In 2014, the year before the acquisition, Cirque brought in $845 million in revenue. In the
same year, all the shows on Broadway combined brought in $1.37 billion (CBC.CA 2015).
Recognized over the world, Cirque du Soleil had constantly sought to evoke imagination
and provoke emotion.
Competitive Landscape of the Performing Arts Industry
Companies in the performing arts industry primarily engaged in producing live presentations
involving the performances of actors and actresses, singers, dancers, musical groups, artists,
and other performers (BusinessDataCodes.com). The U.S. performing arts industry included
more than 8,000 companies and employed more than 120,000 people. There were also a large
number of self-employed artists (Pearson 2019). The performing arts industry earned about
$35 billion per year (Vault.com). Growth in the industry was 1.8 percent annually from 2011
through 2016, due to the sluggish economy and federal and state budget cuts. Local
government support for the arts had dropped 18 percent, and state funding fell 27 percent.
Cirque du Soleil
The recession resulted in less disposable income, and less spending on arts and entertainment.
However, the outlook for the industry was brighter through 2020, as the economy was getting
stronger and spending on performing arts had improved (Vault.com).
Demands for performing arts were driven by personal income and leisure time. The
profitability of individual performing arts companies was based on what audiences wanted to
see. While
“large companies have advantages in marketing, fundraising, and attracting star
performers. Small companies can compete effectively by specializing in new,
unique, or popular works. The US industry is fragmented: the 50 largest
companies account for less than 30% of revenue” (Hoovers.com).
In addition to show admission fees, performing arts companies were motivated to obtain
revenue from contract and residual fees, licensing agreements, royalty fees, and in some cases
private contributions and government grants (Ghazzawi et al. 2014). Admissions accounted for
45% of industry revenue, contract fees 25%, and private contributions 15%. Other revenues
included food, beverage and merchandise sales, facility rentals, membership dues, and fees for
entertainer management, advertising, and endorsements (Hoovers.com).
Cirque du Soleil’s Top Competitors

As an entertainment powerhouse, Cirque’s competitors were all companies in the performing
arts industry, including Dodger Properties, Feld Entertainment, Jujamcyn Theaters, Live Nation
Entertainment, Nederlander Producing Company, Renaissance Entertainment, Shubert
Organization, and TBA Globa. Its top direct competitors were Feld Entertainment and Live
Nation Entertainment. See Exhibit 5 for Cirque Top Competitors.
Cirque du Soleil
Exhibit 5. Cirque du Soleil Top Competitors

Source: Hoovers.com
Company’s Name Gross Revenue Net Profit Margin Net Operating Cash Flow
*Cirque du Soleil $ 342.9 N.A. N.A.
*Feld Entertainment $ 1,368 N.A. N.A.
Live Nation Entertainment $10,787 (0.16 %) $941.59M
* Figures in USD millions. Figures are estimated as these companies are privately held and do not publish financial
information (CBC.CA 2015).
Feld Entertainment
With a focus on clowning, Feld Entertainment became one of the largest live entertainment
producers in the world. The company continued to entertain people in North America through
its centerpiece, Ringling Bros. and Barnum & Bailey Circus, which visited about 120 cities
annually. The Ringling Bros. and Barnum &Bailey Circus made its first performance in 1871.
Feld Entertainment, through its partnership with Walt Disney, produced “Disney on Ice” shows,
“Treasure Trove,” and “It’s Disney Live!”
Live Nation Entertainment

An American global company founded in 2010 by the merger of Live Nation and Ticketmaster,
Live Nation Entertainment was the world's largest ticket seller and promoter of live
entertainment. Live Nation Entertainment operated more than 220 venues in North America
and Europe (D&B Hoovers). Over 580 million people attended Live Nation events per year. Live
Nation owned House of Blues venues through HOB Entertainment and dozens of prestigious
concert halls. Additionally, the company owned a stake in more than 500 artists’ music,
including albums, tours, and merchandise (Hoovers.com 2019-b). Live Nation had offices in 40
countries and performing venues in 11 (D&B Hoovers).
Cirque du Soleil
Culture and Creativity at Cirque
Lynn Heward, Cirque's former president of creative content, credited the company’s growth
with its culture of innovation and creativity. In his own words,
“Cirque du Soleil has been a world-renowned laboratory of creativity, enthralling
audiences around the world by fusing dazzling acrobatics, staging and
choreography, and music, along with beautiful costumes and technical effects to
inspire and create magical, almost otherworldly theatrical experiences” (Heward
& Bacon).
This sentiment was resonated when Cirque founder Guy Laliberté provided a forward to a
storybook about Cirque titled, The Spark: Igniting the Creative Fire that Lives within us All by
Heward and Bacon. Laliberté wrote:
“Their stories - the people of Cirque du Soleil - are real. From their great
expectations and “magnificent dreams,” creative products have emerged. They
have learned to surrender to their senses, trust their instincts, take risks, and
meet new challenges in an artistic and nurturing environment. They work alone
and they work together learning to connect with and touch people in new ways,
endeavoring always to reinvent themselves. And they aspire to give back to the
world in the endless continuum of change, exchange, and renewal; they are
catalysts... From a tiny spark a great fire was kindled, and its flames warmed the
world.”
New employees and artists were transmitted Cirque’s underlying cultural values through
stories. Some of the stories were about Guy Laliberté leaving home at the young age of 14. He
quoted the philosopher Kahlil Gibran when he wrote a note to his family: "Your children are not
your children. They are the sons and daughters of life's call to life" (Denton 1988). Employees
were also told that Guy Laliberté was attracted to the busker’s lifestyle from a young age; he
started as a street performer.
The company’s culture was open, nurturing, and accepting of people. It was open to doing
things in different ways, and it encouraged people to take risks. This organizational culture
accepted that “there was no single formula for creative success - each of us must unlock the
power of our imagination in our own way” (Heward & Bacon). Artists remarked that what
Cirque du Soleil
ignited their creativity wasn’t the pressure of deadlines but instead the exhilaration that came
from risking it all. The culture changed the way they lived and worked as they felt creative and
had the opportunity to tap into the powerful force that was Cirque (Heward & Bacon 2006).
The Street: The Origin Cirque’s Organizational Culture

The culture at Cirque was rooted in its street performances. “In the street you take a lot of
risks, you never know how people will react” (Leslie & Rantisi 2011: 1775). The founding father
of Cirque had toured Europe, performing the arts of busking, fire-breathing, juggling, and stilt
walking. The street was also the origin of the of the risk-taking entrepreneurial culture of the
company (McGuire 2003). The ability to accept risk, uncertainty, inefficiency, and react to the
needs of the audience helped Cirque to sustain a culture of continuous innovation and change.
One creative director at Cirque asserted that his early experience working on the streets
developed his communication skills needed to assemble a team of creative artists (Leslie &
Rantisi 2011).
Street culture was well integrated in some of Cirque shows, for instance in the 1006 show
“Quidam.” Quidam meant “a nameless passer-by, a solitary figure lingering on a street corner, a
person rushing past and swallowed by the crowd.” It could have been anyone in the crowd, a
member of the silent majority, or the one who cried out. The show as it was explained by the
show director was for all the "quidams" whom this show allowed to speak - finally emerged
from anonymity (Cirque Du Soleil-d).
Another show in the early nineties was Saltimbanco, Italian for “jump on a bench.” The show
explored “the urban experience in all its myriad forms: the people who live there, their
idiosyncrasies and likenesses, families and groups, the hustle and bustle of the street and the
towering heights of skyscrapers” (Yelp.com).
In sum, Cirque’s company’s culture was enriched with its humble beginning, street experiences,
and street performing hippies who did not need more than their circus-like talents.
Cirque du Soleil
Cirque Values, Dominant Culture and Subcultures

Cirque had developed cultural values and norms that strongly emphasized the need for
employees to be empowered, to experiment, and take risks, and to come up with ideas. While
the varied productions, departments, and locations across the organization differed in some
practices, they united along the organization norms and values. Ricotta (2013) recounted from
Cirque’s initial beginnings:
“Those values [that] were created when we first began this company were such
strong emotional values that they’re almost impossible to erase and we wouldn’t
want to change them. … there is no dipping in the values when you become part
of the company. You just know that they are there and people make you fully
aware. Further, they are not posted on the wall but somehow they get to you. At
the heart of it all, Cirque sees itself as a global citizen. And it is doing its job for a
purpose. I know it’s going to sound trite, to make the world a better place, and
we do that through entertainment.”
The key to the company’s cultural success was that its employees and artists lived up to Cirque
espoused values and practiced norms, the “Cirque unwritten rules” that successfully guided the
way its people worked and treated each other. Laliberté’s leadership philosophy was built on
his knowledge and artistic experience. As a leader, Laliberté was both paternalistic and
protective of his performers’ creative outlets and comfort capacities (DeLong & Vijayaraghavan
2002; Ghazzawi et al. 2013). Cirque’s philosophy was that if it could sustain the performers’
“happiness” then the audience/spectator would no doubt experience an emotionally driven,
memorable, glitzy performance. “This invaginate blanket served to establish Cirque’s
organizational norms and values. Thus, protection of a disparate and diverse band of
performers resulted in motivating performers to excel in a one-of-a-kind entertainment
excellence” (Ghazzawi et al. 2013: 41).
While the prescribed culture manifested the values and norms shared by Cirque’s majority
members, as a large company, Cirque had subcultures that were based on the characteristics of
their own departments, shows, or geographical locations. See Exhibit 6 for an illustration of the
organization’s culture and sub-cultures as conceptualized by the author of this case.
Cirque du Soleil
Cirque was a company with a cause. Its people were “citizens of the world;” they lived and
company values. They practiced it by showing joy, showing love, showing hardship, showing
pain, and somehow getting people involved (Ghazzawi, et al. 2014).
Exhibit 6. Organizational Culture and Subcultures*

Source: Author’s notes
* Subcultures exist within parts of the organization rather than entirely throughout them. The above illustration
does not cover all of Cirque shows, locations, or departments; it is merely meant to illustrate subcultures.
Empowerment and Collaboration: Micro-Management is Not an Option

The working environment at Cirque was good-natured, with a substantial freedom given to
artists and employees. According to Dan (2012), once a Cirque theme was decided upon,
Lammare and Laliberté empowered the creative director of that particular show to take over
Cirque du Soleil
for the purpose of developing the concept over the 2-3 years that were needed to bring the
show to life. Both corporate leaders reviewed progress every 6 months,
“but in order to encourage collaboration they do not dictate changes, simply
point out what doesn’t work, and leave it to the creative director and the troupe
to come up with solutions. The pair's focus is on quality control, and making sure
that the product unfolds within the original vision that they created, without
micro-managing the “line executives” who are responsible for putting the show
together” (In Dan 2012: Para. 3).
Empowerment at Cirque was relevant to establishing directions and boundaries as opposed to

micro-managing people. The empowerment aspect of Cirque was described by a performer
who suggested:
“We don’t have a big history of circus. When you go to Europe, they have 250
years of family circus, of circus schools, of people, for us it’s all new, so everything
is merging right now … We can still do what we want with it because it’s only 25
years old” (in Leslie & Rantisi 2011: 1776).
As opposed to calling all the shots, managers at Cirque granted employees the autonomy to
take charge of what they doing. According to Grabher (In Fuchs & Shapira 2005: 65):
“Diversity allows evolution to follow… The proliferation of a broad spectrum of
different organizational forms and diverse practices - as opposed to the diffusion
of a single “best practice” - provides a richer “selection environment” for regions,
firms and individual actors to co-evolve.”
As empowerment was well connected to innovation, Cirque leadership cemented this belief
when stated that,
“as with any artistic endeavor, inspiration plays a big part in the creative process,
but Cirque’s approach to innovation, while intuitive, is guided by a deep
commitment to R&D as the catalyst of the creative spark” (In Dan 2012: Para. 5).
The outcomes of empowerment were satisfied artists and employees who were innovative,
creative in what and how they performed, and who felt a sense of achievement.
Cirque du Soleil
Embracing Creativity and Innovation through Partnership

To keep its creative brand fresh, Cirque also believed that it was critical to strive for
collaboration beyond its yellow-and-blue striped tent (Dan 2012). An important aspect of
Cirque’s culture was its openness to the outside world, and willingness to cooperate and
embrace others’ ideas. According to Leslie and Rantisi (2011: 1777),
“the presence of interrelated and complementary industries suggest the
importance of ‘path interdependence’—situations where the path-dependent
trajectories of different industries are mutually reinforcing.”
Cirque researched all over the globe, both online and with in-country trend-spotters (Dan
2012). The company utilized a global network of talent scouts to discover new performers, and
it relied on research
“… within its own extensive archives that contained thousands of books, videos,
musical scores, and images to establish accuracy of details. Scores of researchers
feed information of what’s “cool” and unique that allows the creative directors to
determine the relevancy and appeal of the new show” (Dan 2012: Para. 5).
Stephan Haves, a Master Teacher and Cirque consultant asserted that,

“Technology nearly surpassed the artistry with seamless hologram projections
and lasers that it becomes so immersive for the public that it has become a new
generation [of entertainment]. The technology is . . . exponentially more
incredible, an indication that via technology the future of the circus will be to the
point of intoxication.”
Marc Gagnon, head of Enterprise Architecture at Cirque, commented on this relationship when
stated:
“Creativity and innovation are in our DNA… It’s what we’ve been doing for
decades. Using technology as a tool for intentional and frequent innovation is at
the core of our strategy to become the world leader in live entertainment”
(Newswire Today 2018: Para. 3).
See Exhibit 7 for images of Human-Computer Interaction (HCI).
Cirque du Soleil
Exhibit 7. Images of Human-Computer Interaction (HCI)

Cirque had created on-going strategic alliance with a few entities, including Disney, artists such
as Madonna (for whom it helped produced 2012 Super Bowl show, see Exhibit 8), and James
Cameron (with whom it collaborated on a 3D movie, see Exhibit 9). Additionally, the company
collaborated closely with engineering and art departments in as many as 17 universities where
it solicited ideas from students, many of which were eventually incorporated into its shows
(Dan 2012).
Equally important to Cirque’s was the role the City of Montreal where the company’s head
office was located. Montreal was home to the National Theatre School, the O Vertigo dance
company, the world-famous Jazz Festival, and vibrant other independent music, arts, and
design companies. Additionally, Montreal was recognized as the center of Canada’s fashion,
visual arts and design. This center of arts, design, fashion, and music had created a basin for
creators and “spill-across” effects that were important to Cirque’s artistic development.
Cirque du Soleil
Exhibit 8. Images of Madonna 2012 Super Bowl Show

Creativity through Teamwork and Diversity

Collaboration was a key to Cirque’s culture of creativity. Teams and teamwork were the basin
of creative work at Cirque, as entertainment productions were based on collaborative efforts.
Artistic show had to be done by teams. According to Ricotta (2013), the greatest competitive
advantage that the company had was the diversity of its teams. Tony Ricotta, a “Zarkana”
company’s manager, reiterated:
“If everybody is from the same side of the river, you are only going to look at it
one way and you can’t appeal to everybody if you are only looking at it from a
very narrow field of vision. So everything is made up of teams. Whether it’s the
production team, the operations team, and the artistic team, they all come from
all over the place. So there is a varied perspective and that is what gives us a
competitive advantage. When we started, it was very French Canadian… Now
we have the ability to reach beyond our headquarters and bring in new creators
from around the globe and give them an opportunity to create in a way that they
never been able to before and do some amazing things.”
Each Cirque performance required a team of people with specialized/complimentary skills who
worked together to perform a unique production. According to Ghazzawi et al. (2014: 42):
Cirque du Soleil
“Each production began on a storyboard with narrative development leading to

an accruement of design levels not limited to lighting and stage design,
gymnastic choreographers, music writers and composers, engineers and set
developers, structural erectors, among other design specialists. Once developed
operations took on a level of functions including auxiliary services such as
catering, communications, medical services, business operations, marketing and
human relations.”
Exhibit 9. Images of James Cameron, Cirque du Soleil Production

For Cirque, Teams were important for the very simple reason that no one person could keep all
these talented balls in the air and do it well. Additionally, performances, creative shows, and
theater productions in most cases and required collaborative, team-based work (Ricotta 2013).
Exhibit 10 provides images of teamwork during a Cirque production. Each team member had a
role of what was expected from her/him to perform. Roles at Cirque had rights and
responsibilities attached to them. Role relationships were a key to performances’ success as
team members needed to interact with each other to perform their specific roles. Accordingly,
team members acquired roles through role-making and through role-taking. According to
Ghazzawi et al. (2014: 41):
“Given the diversity of merging cultures, communications among recruits and
personnel was indeed challenging but certainly not impossible. Add to the mix
the complexities of living arrangements and the constant adaptation required on
Cirque du Soleil
a daily basis, one could easily imagine the critical trust requirements needed
when performing highflying stunts promulgated by precarious drops and turns.”
Generally speaking, Cirque performers had high group efficacy; this meant that members of the
performing team had a shared belief regarding the ability of all team members to achieve their
goals and objectives, in other words, “perform well together.” Said efficacy developed over
time as group members come to understand each other, how the group functioned, the tasks it
needed to accomplish, and the group’s capabilities (George & Jones 2012).
Cirque du Soleil
Exhibit 10. Selected Images of Teamwork Performances at Cirque

Title: Tabloid Junkie from Michael Jackson. Title: Counselor's Son and Spearmen from ONE KA
Picture credit: Isaac Brekken/Getty Images. Picture credit: Eric Jamison
Costume credit: Zaldy Goco Costume credit: Marie Chantale Vaillancourt
Ricotta (2013) asserted that “the greatest competitive advantage that the company had was
the diversity of its teams.” DeLong and Vijayaraghavan (2002) noted that the artists and
performers originated from more than 40 countries and they spoke more than 25 different
languages and dialects. Cirque was home to 4,000 employees, 500 of whom were performers
who arrived from various destinations and from remote villages in Africa, China, and South
America. The practice at Cirque was to allow at least two friends or family members to
accompany a performer to help ease the challenges of changes in culture, language, customs,
and environment (DeLong & Vijayaraghavan 2002; Ghazzawi et al. 2014).
Additionally, language (reading, speaking, and writing) courses and educational opportunities
were provided for both performers and their accompanied family members. Celebrations of
cultural diversity were common at Cirque. Troupe parties were held with ethnic food and
special events that reflected the company’s diversity. Medical care, transportation assistance,
food, social and psychological support, and living facilities were standard benefits for Cirque
performers/artists.
Cirque du Soleil
Cirque’s Four Pillars of Corporate Social Responsibility “CSR”

Cirque du Soleil established a philanthropic organization to help at-risk youth by discovering
them, putting them on stage, and providing them an outlet so that they could be sheltered
from life’s challenges. Cirque was a company with a cause and Cirque people were “citizens of
the world.” Cirque identified its four pillars as: “Talent, Community, Procurement and
Partnership, and Environment” (Cirque du Soleil-d). (See Exhibit 11 for the author’s
conceptualized illustration of the four pillars.)
Talent
For Cirque’s “Talent” pillar, according to its own definition,
“our employees are the undeniable force on which our reputation is built. Their
work environment has a great influence on their quality of life, their family life
and their health. Hence, we make sure this environment is open, safe, creative
and friendly” (Cirque du Soleil-d).
Cirque emphasized employees’ well-being and energy, health and safety, and access to the
arts. Additionally, the company was passionate about creation. Cirque supported the
local artistic community by purchasing exhibitions and shows tickets for its employees to
enable them to discover new ideas. Cirque also organized the "PARADE” program, an
annual exhibit to salute its employees’ artistic talent. At the “PARADE,” employees
exhibited their artwork. The event took place at international headquarters and in a
gallery in Las Vegas (Cirque du Soleil-d).
Community
As for the “Community” pillar, the company communicated the following:

“We strive to be a good neighbor at our offices and in the cities we visit by
building relationships with communities through activities and programs that
benefit at-risk youth. This cause is a natural fit for a company founded by street
performers. We speak to youth in a language that is built into our DNA: art”
(Cirque du Soleil-e).
Cirque du Soleil
The company used art as an intervention tool to help its community. Cirque created two
intervention programs for youth: Cirque du Monde, a program that promoted circus acts
as a mean of intervention with at-risk youth, also known as the social circus; and “Arts
Nomades,” a program that offered a pedagogical approach based on a partnership in a
school setting. “Arts Nomades” featured a team of teaching artists working with teachers
who wished to use the arts in support of academic concepts. Both programs “used art to
contribute to the personal and social development of the participants by fostering self-
esteem, confidence, social skills, citizen development and creativity” (Cirque du Soleil-e).
Cirque supported various community programs, namely “Art Collection and Show
Heritage” and “Montreal: City of Circus Arts,” among others. The company encouraged its
employees to participate in action-based initiatives and supported events that were
meaningful to the local community. It supported the annual Run Away with Cirque du
Soleil at the Springs Preserve and the 5K Run and 1-Mile Fun Walk where all proceeds
supported educational and environmental programs (Cirque du Soleil-e).
Procurement and Partnership

In 2008, Cirque adopted a responsible procurement policy, with principles for environmental
protection and work standards defined by the International Labor Organization. The
company used responsible suppliers who shared Cirque’s Corporate Social Responsibility
approach (Cirque du Soleil-f). The “Procurement and Partnership” Pillar was characterized as
follows:
“Cirque du Soleil has a social responsibility clause in its partnership agreements.

This clause covers a set of social responsibility parameters, such as employee
relations, responsible procurement, environmental protection and social and
cultural action in the community” (Cirque du Soleil-f).
Environment
In 2006, Cirque adopted an environmental policy based on the following themes: “water
management, greenhouse gas (GHG) management, residential and hazardous waste
Cirque du Soleil
management, and employee education and awareness building” (Cirque du Soleil-g). To reduce
its GHG emissions, Cirque connected its shows to cities' power grids whenever possible as
opposed to using generators. Additionally, the company started using a light-colored
canvas for its new Big Top instead of its traditional Big Top; the new canvas reflected the
sun's rays, reducing air-conditioning needs (Cirque du Soleil-g).
The company became a member of urban heating network. It linked its international
headquarters to “the Biomont power plant in the Saint-Michel district of Montreal. Urban
heating network transformed biogas from the landfill site of the Saint-Michel
Environmental Complex into electricity. Controlled combustion of the biogas produces
electricity” (Cirque du Soleil-g). According to Cirque, the residual heat of the process was
recovered, supplied the heating systems of its headquarters, and reduced its emissions by
more than 1,200 tons a year (Cirque du Soleil-g).
Other initiative including two-sided printing and elimination of disposable cups and
dishes, reduction of water consumption, new methods and materials to increase the
lifespan of costumes, and active recycling and compost (Cirque du Soleil-g).
Cirque international headquarters was certified “BOMA BEST®” Level 3. Said certification
recognized the company’s environmental practices and its healthy workplace. BOMA
BEST® covered six aspects: energy, water, waste reduction and sites, effluent emissions,
the indoor environment, and the environmental management system (Cirque du Soleil-g).
Cirque du Soleil
Exhibit 11. An Illustration of Cirque’s Four Pillars “CSR”

Source: Conceptualized by the case author
Procurement
Talent Community and Environment
Partnership
The Future of Culture and Creativity at Cirque
Laliberté’s was a “talent harvester” and “cultivator of people” who was committed to
developing his artists’ and managers’ talent while maintaining stewardship of their physical and
emotional welfare. His vision for Cirque and its people “will be applied to future productions
whereby he pursues and realizes ideals and creativity and hunts for the potential in individuals,
while healing the very spirit of live performance” (Ghazzawi et al. 2014: 44).
Despite its historical growth and success, the company had been plagued by a series of failed
shows and a decline in its profit. In 2010, Cirque cancelled Banana Shpeel's scheduled run at
the Golden Gate Theatre in San Francisco. After its troubled showing in New York City and
Toronto, the show was dubbed as "one of the most frustrating failures in Cirque's history" by
the New York Times (Arcand 2019). Entertainment critic Christopher Hoile wrote in his review
of Banana Shpeel: "To remain creative, a company needs to experiment; this experiment just
Cirque du Soleil
doesn't work out. It would be better for Cirque du Soleil to withdraw Banana Shpeel than flog it
on tour and endanger its reputation" (in Arcand 2019: Para. 5).
Adding to Cirque’s trouble was the need to cancel five shows in 2011-12, namely: Z and Zaya in
Asia, Saltimbanco on Tour, Viva Elvis in Las Vegas, and Iris in California. Iris, presented at the
Dolby Theater in Los Angeles, was put to rest in December 2012 due to a low audience
attendance despite its positive critical reception (Baillargeon 2013). See Appendix 1 for Cirque
shows. In 2012, the company announced a wave of layoffs at Montreal headquarters, including
30 head office positions (Baillargeon 2013). President Daniel Lamarre argued that said changes
were necessary “to support the sustainability” of the company. To Lamarre, “the situation did
not seem catastrophic … however, that after a decade of tremendous growth, global economic
conditions were forcing a review of the business model" (Baillargeon 2013, para. 6). According
to Cousineau (2014):
“Laliberté discreetly reclaimed half of the 20-per-cent stake in the Cirque du Soleil
he had sold to Dubai investors in 2008 after the financial crisis in Dubai crushed
their global real estate investments and turned this much publicized Cirque global
expansion/partnership into a mirage. The failed expansion contributed to the
Cirque's financial difficulties, which resulted in 400 layoffs in January, 2013. The
financial difficulties were also felt in Las Vegas, where hotel groups gave into
discounting, forcing their circus partner to follow suit, Mr. Laliberté said. The
Cirque generates close to half of its $850-million in annual revenue from its eight
Vegas shows. The rising Canadian dollar, which swelled production costs, also hit
the bottom line, shaving off at least $50-million in profits per year.”
As ninety percent of Cirque du Soleil was acquired in 2015, some were questioning whether a
traditional culture that valued social norms and stability would not work well with process-
oriented and bottom-line requirements of the new owners. Accordingly, Daniel Lammare and
Guy Laliberté were re-visiting the challenges that faced an organization during its growth cycle
where Cirque culture needed to adapt to environmental changes. Cirque executives knew that
the acquisition played a significant role in the survival and revitalization of the company. They
for sure knew that the acquiring partners’ expectations were to put in place organizational
processes that would yield a reasonable return on their invested capital, gains in market share,
and retention of key employees.
Cirque du Soleil
According to Leslie and Rantisi (2019: 264),

“The intimate connections between performers and the audience that has also
led to innovation have also been disrupted with the shift from big tops to arenas.
The show creation process has become increasingly linear in a geographic and
organizational sense, as aspects of creation are more tightly controlled…A
standardization of work and rationalization of labor - as well an increasingly
closed script and regulated space-have created conditions whereby a growing
number of young performers seek out employment at smaller, more innovative
troupes… .”
In moving forward, the big question before Cirque leadership was, how could Cirque pro-
actively respond to the changes in its internal environment while maintaining its high creative
standards, expand its appeal to a larger audience, meet its new partners’ expectations, and
remain loyal to its original values?
Cirque du Soleil
Issam A. Ghazzawi
is Professor of Management and the Sam Walton Fellow at the University
of La Verne. Professor Ghazzawi offers courses in organizational design,
organizational theory, organizational behavior, and management. He
received his Ph.D. from the University of Pittsburgh; his Master in Labor
and Human Resources (M.L.H.R.) from The Ohio State University; and his
Master in Business Administration (MBA) from Sul Ross State University.
He is a past president of the Western Casewriters Association.
Cirque du Soleil
Appendix A
Cirque du Soleil Shows
Source: Wikipedia
Venue Premiere Touring Vs. Resident Style/Format Status

Alegria April 21, 1994 Touring show * Grand Chapiteau (1994-1999, Retired
2001-2009). Arena (2009-2013)
Alegría: In a New Light April 18, 2019 Touring show Grand Chapiteau Active
Amaluna April 19, 2012 Touring show Grand Chapiteau Active
Axel April 4, 2019 Touring show Arena Active
Banana Shpeel November 19, 2009 Touring show Theatre Retired
Bazzar November 14, 2018 Touring show Grand Chapiteau Active
Corteo April 21, 2005 Touring show Grand Chapiteau Active
Arena (since 2018)
Criss Angel Believe September 26, 2008 Luxor, Las Vegas Resident (2008 — 2016) Retired
Crystal October 5, 2017 Touring show Arena (since 2017) Active
Delirium January 26, 2006 Touring show Arena (2006 — 2008) Retired
Dralion April 22, 1999 Touring show Grand Chapiteau (1999- 2010) Retired
Arena (2010-2015)
Iris September 25, 2011 Dolby Theatre, Los Angeles Resident (2011- 2013) Retired
Joyà November 8, 2014 Riviera Maya, Mexico Resident (since 2014) Active
Kà November 26, 2004 MGM Grand, Las Vegas Resident (since 2004) Active
Koozå April 19, 2007 Touring show Grand Chapiteau (since 2007) Active
Kurios: Cabinet of April 24, 2014 Touring show Grand Chapiteau (since 2014) Active
Curiosities
La Nouba December 23, 1998 Disney Springs, Lake Buena Vista, Resident (1998 - 2017) Retired
Florida
Luzia April 21, 2016 Touring show Grand Chapiteau Active
Messi 10 October 10, 2019 Touring show Arena (since 2019) Active
Michael Jackson: One May 23, 2013 Mandalay Bay Resort and Casino, Resident (since 2013) Active
Las Vegas
Michael Jackson: The October 2, 2011 Touring show Arena (2011-2014) Retired
Immortal World Tour
Mystère December 25, 1993 Treasure Island, Las Vegas Resident (since 1993) Active
Nouvelle Expérience May 8, 1990 Touring show Grand Chapiteau (1990-1993) Retired
Cirque du Soleil
Appendix A cont.
Cirque du Soleil Shows
O October 15, 1998 Bellagio, Las Vegas Resident (since 1998) Active
Ovo April 23, 2009 Touring show Grand Chapiteau (2009-2015) Active
Arena (since 2016)
Paramour April 16, 2016 Hamburg, Germany Theatre (2016- 2017, 2019 - present) Active
Quidam April 23, 1996 Touring show Grand Chapiteau (1996-2010, 2015) Retired
Arena (2009, 2010 – 2016)
R.U.N October 24, 2019 Luxor, Las Vegas Resident Active
Saltimbanco April 23, 1992 Touring show Grand Chapiteau (1992 – 2006) Retired
Arena (2007- 2012)
Séptimo Día - No March 9, 2017 Touring show Arena (2017-2018) Retired
Descansaré
The Beatles Love June 2, 2006 The Mirage, Las Vegas Resident (since 2006) Active
Toruk - The First Flight November 12, 2015 Touring show Arena (2015-2019) Retired
Totem April 22, 2010 Touring show Grand Chapiteau (since 2010) Active
Arena (2017)
'Twas The Night Before... November 29, 2019 The Chicago Theatre, Chicago Seasonal Theatre Coming Soon
(soft launch) and Madison Square
Garden, New York City
Varekai April 24, 2002 Touring show Grand Chapiteau (2002 — 2013, Retired
2017) Arena (2013 — 2017)
Viva Elvis December 16, 2009 Aria Resort and Casino, Las Vegas Resident (2009 — 2012) Retired
Volta April 20, 2017 Touring show Grand Chapiteau (since 2017) Active
Wintuk November 1, 2007 Madison Square Garden, New Seasonal Resident (2007 — 2011) Retired
York City
X (The Land of Fantasy) August 10, 2019 Hangzhou, China Resident (since 2019) Active
Zaia July 26, 2008 The Venetian Macao, Cotai Strip, Resident (2008 — 2012) Retired
Macau
Zarkana June 29, 2011 Aria Resort and Casino, Las Vegas Arena (2011 — 2012) Retired
Resident (2012 — 2016)
Zed August 15, 2008 Tokyo Disney Resort, Tokyo, Resident (2008 — 2011) Retired
Japan
Zumanity July 31, 2003 New York-New York, Las Vegas Resident (since 2003) Active
* A “Grand Chapiteau” is literally a mobile village. It houses the venue as well as a kitchen, school, rehearsal space and items needed for the cast and crew.
Cirque du Soleil
Appendix B
Cirque du Soleil Important Timeline
Source: https://www.cirquedusoleil.com/press/kits/corporate/about-cirque
1984
Cirque du Soleil is born with the assistance of the Quebec government, as part of the celebrations surrounding the
450th anniversary of Jacques Cartier’s arrival in Canada. The first production, Le Grand Tour debuts in the small
Quebec town of Gaspé, and is then performed in 10 other cities throughout the province. The first blue-and-yellow
big top seats 800.
1985
After performing in Montreal, Sherbrooke and Quebec City, with Le Grand Tour, Cirque du Soleil leaves its home
province for the first time to take its show to neighboring Ontario. It performs in Ottawa, Toronto and Niagara Falls
and the show is simply named Cirque du Soleil.
1986
Cirque du Soleil takes La Magie Continue across Canada, including Vancouver, where it puts on several
performances at the Children’s Festival and Expo 86 and in seven other Canadian cities. The big top now has room
for 1,500 spectators.
1987
Having triumphed in five cities in Quebec, We Reinvent the Circus is performed at the Los Angeles Art Festival and
then moves on to San Diego and Santa Monica. Exhilarated by the Californian public's response, Cirque du Soleil is
an overnight success. The participation of Cirque du Soleil at the L.A Art Festival is not only an important milestone
in its history but also its first visit to its American neighbors.
1988
We Reinvent the Circus continues its North American tour, after a brief appearance at the Calgary Winter
Olympics. Wherever it goes, the result is the same: the performances sell out, and the critics rave.
1990
Montreal is the setting for the world premiere of a brand-new production, Nouvelle Expérience, in a new, 2,500-
seat big top. With this new production, Cirque du Soleilshatters all previous records for ticket sales. Meanwhile,
Cirque makes its first foray into Europe, staging We Reinvent the Circus in London and Paris.
1992
Fascination, a collage of the best acts from past shows, enables Cirque to make a name for itself in Japan. The
show opens in Tokyo and then moves on to seven other cities. Meanwhile, in Europe, Cirque du Soleil joins forces
with Switzerland's Circus Knie and stages a show in over 60 towns throughout the country. In North America, 1992
sees Cirque du Soleil make its Las Vegas debut when Nouvelle Expérience kicks off a year-long engagement under a
big top at the Mirage Hotel. Cirque du Soleiladad: a monument to its repertoire of shows, Saltimbanco. Premiering
in Montreal, this latest production begins a lengthy tour of North America.
1993
Following the successful Las Vegas run of Nouvelle Expérience, Cirque du Soleil moves into a theatre built to its
specifications at the new Treasure Island Hotel. A 10-year contract is signed with Mirage Resorts to stage Mystère,
a gigantic production befitting this show business capital.
1994
Cirque du Soleil celebrates its 10th anniversary with another production, Alegria. True to tradition, the world
premiere is held in Montreal. Saltimbanco embarks on a six- month run in Tokyo that attracts a great deal of
attention.
1995
Cirque du Soleil responds to a request from the Canadian government and creates a show for the heads of state
gathered at the G7 Summit in Halifax, Nova Scotia. Also in 1995, Saltimbanco sets out to open officially the
European market. Cirque's spectacular white big top with seating for 2,500 spectators makes its first stop in
Amsterdam, followed by Munich, Berlin, Düsseldorf, and Vienna.
1996
In April, Cirque launches Quidam in Montreal. After finishing its hometown run, Quidam heads off on a North
American tour. Meanwhile, Alegria sets out to tour Japan for a few months.
Cirque du Soleil
Appendix B cont.
1997
In Montreal, the inauguration of the brand new International Headquarters is held; the Studio is now where all of
Cirque's shows will be created and produced.
1998
In October, the second resident show for Cirque du Soleil, “O”, takes to the stage of a new theatre at the Bellagio
in Las Vegas. This production is Cirque's first aquatic show and an important milestone in the company history.
With this show, Cirque is now known internationally. In December of the same year, Cirque inaugurates yet
another permanent show, La Nouba, at the Walt Disney World Resort near Orlando, Florida.
1999
A brand-new Cirque du Soleil production, Dralion, launches its North American tour in Montreal. With
Saltimbanco, Cirque sets up shop in Asia and the Pacific.
2000
Movie fans come out in droves to see Cirque du Soleil on the IMAX screen for the first time ever, as its large-
format film production Journey of Man (Passages in French), distributed by Sony Pictures Classics, premieres
worldwide.
2001
Cirque du Soleil keeps on growing with the inauguration of a 15, 000-square-metre addition (Les Ateliers) to its
International Headquarters in Montreal.
2002
In April, a fifth touring show is added to the seven Cirque du Soleil shows already performing simultaneously in
2002. Varekai premieres in Montreal, and from there begins a tour of North America. Cirque du Soleil made its first
stop in Mexico this year with Alegriá. Cirque’s Multimedia Division, called Cirque du Soleil Images at the time,
produces its first television series, Cirque du Soleil Fire Within, for the Canadian and American television market.
2003
The newest addition to the Cirque family, Zumanity is born in August. It is an adults- only resident show at the New
York-New York Hotel & Casino in Las Vegas. The filming of a new television series—the first to be produced entirely
by Cirque du Soleil Images—is wrapped up in the late summer. This unique family TV series brings together
acrobatic acts within a dramatic comedy framework. The series is aimed at international television markets,
including Canada and the United States.
2004
Cirque du Soleil celebrates its 20th anniversary in 2004. A number of events mark the occasion: among other
things, a book is launched, entitled 20 Years under the Sun, which recounts the unusual history of Cirque du
Soleil step by step, and Cirque sets the first Guinness World Record for the largest number of stilt-walkers (544) at
the same time and place. Cirque du Soleil launches a new resident show, KÀ, in the fall at the MGM Grand in Las
Vegas.
2005
The year 2005 is marked by the Montreal launch and world premiere of Corteo, Cirque’s latest touring show. In
July, Montreal hosts the XI FINA World Aquatic Championships, for which Cirque du Soleil creates the opening
ceremony show.
2006
Cirque du Soleil first-ever musical show in arena, DELIRIUM, premiered in Montreal in January and has begun its US
tour. Cirque du Soleil is also preparing a fifth permanent show in Las Vegas: The Beatles LOVE, which celebrates
the musical legacy of the Beatles and premieres in June at The Mirage. After touring in North America, Europe, Asia
and Australia, Cirque du Soleil has set out to make a name for itself in South America by presenting its show
Saltimbanco in Chile, Argentina and Brazil in 2006.
Cirque du Soleil has entered into an exclusive agreement with CKX Inc.
Cirque du Soleil
Appendix B cont.
2007
KOOZA, a new touring show, is launched in Montreal in April 2007. In February, Cirque du Soleil puts on a pre-
game show performance for Super Bowl XLI in Miami. In November, Cirque presents Wintuk, a show designed
exclusively for the WaMu Theater at Madison Square Garden in New York. Starting in 2007, this seasonal show has
been performed for 10 weeks for four years. Cirque du Soleil has also launched a fiction/non- fiction book entitled
The Spark, which invites readers to discover the power of creativity and imagination and apply it in their own lives.
Written by John Bacon and based on an original idea by Lyn Heward, the book is distributed in several countries.
After having toured for 14 years and being performed before more than 9.5 million spectators, Saltimbanco is
reborn in July as it takes off on an arena tour of more than 40 cities in Canada and the U.S.
2008
This was an historical year for Cirque du Soleil as the company launched three new permanent shows that year:
ZAIA at The Venetian Hotel in Macau (China), ZED at the Tokyo Disney Resort in Tokyo (Japan) and CRISS ANGEL
Believe at The Luxor Hotel in Las Vegas (United States). Cirque du Soleil also created a show-event presented at
Colisée Pepsi in Quebec City in the scope of the 400th anniversary of the city. Istithmar World, the investment arm
of Dubai World, and Nakheel have together acquired a 20 per cent stake in Cirque du Soleil.
2009
Cirque du Soleil celebrates its 25th anniversary and launches the 25th production of its history. This new creation,
OVO premieres in Montreal in April. The publication of a book on Cirque costumes and the launch of a double CD
containing a music compilation, are among the commemorative activities of this anniversary.
In September 2009, Guy Laliberté became the first Canadian private space explorer. His mission was dedicated to
raising awareness on water issues facing humankind on planet earth. Under the theme Moving Stars and Earth for
Water, this first Poetic Social Mission in space aimed at touching people through an artistic approach: a special
120-minute webcast program featuring various artistic performances unfolding in 14 cities on five continents,
including the International Space Station.
2010
Cirque du Soleil launches three new productions in 2010. Viva ELVIS, Cirque’s seventh show in Las Vegas begins in
February at ARIA Resort & Casino. Banana Shpeel is presented from November 2009 to June 27, 2010 in Chicago
and New York. In April, TOTEM, first show designed to adapt to various performance spaces such as Big Top and
arenas, celebrates its world premiere in Montreal. Cirque du Soleil, James Cameron (Titanic, AVATAR), and Andrew
Adamson (Shrek, Chronicles of Narnia), joined their creative forces to develop and produce immersive theatrical
3D projects. In November, Cirque du Soleil’s founder, Guy Laliberté gets a star on the Hollywood Walk of Fame.
2011
Cirque du Soleil will launch three new shows: Zarkana, written and directed by acclaimed film and theatre director
François Girard will begin at the legendary Radio City Music Hall in New York City on June 9. Written and directed
by director-choreographer Philippe Decouflé, IRIS created exclusively for the Dolby Theatre at the Hollywood &
Highland Center will begin on July 21. The show Michael Jackson THE IMMORTAL World Tour™ written and
directed by Jamie King will begin in Montreal on October 2nd.
2012
Cirque du Soleil launched a new touring show in Montreal called Amaluna. The company has developed a new
creative and production service dedicated to businesses and artists wanting to call on Cirque du Soleil’s creative
know-how for their projects. Within that context, Cirque du Soleil collaborated with pop star Madonna providing
artistic direction services for her performance at the Super Bowl XLVI halftime show. In December, Cirque du Soleil
and Bell Media created a new joint venture to develop media content for television, film, digital, and gaming
platforms. Cirque du Soleil Media’s mandate is to develop original entertainment projects, leveraging Cirque du
Soleil’s creative inventiveness and resources, consumer insight, and infrastructure, with Bell Media’s production
experience, media platforms, and diverse distribution capabilities.
Cirque du Soleil
Appendix B cont.
2013
Cirque du Soleil launched a new resident production inspired by pop icon Michael Jackson, Michael Jackson ONE,
at the Mandalay Bay Hotel in Las Vegas. Michael Jackson THE IMMORTAL show ranked among the 10 more
lucrative tours of rock history, a first for a Canadian artist.
2014
Cirque du Soleil celebrates its 30th anniversary and launched a new touring show in April in Montreal, Kurios –
Cabinet de curiosités. In November, Cirque opened a new resident show in Riviera Maya (Mexico), JOYÀ, in a
custom-designed theatre. In December, as part of its 30th anniversary, and for the first time in its history, Cirque
du Soleil presents a unique, exclusive music event in Montreal celebrating 30 years of music.
In the context of an on-going strategy of diversifying its content and live-entertainment activities
worldwide, Cirque du Soleil has created some 10 subsidiaries among which: 45 DEGREES, Cirque du
Soleil Hospitality, Cirque du Soleil Theatrical, 4U2C, Cirque du Soleil Média and Outbox.
2015
Cirque du Soleil announced an agreement under which TPG, a global private investment firm, was to acquire a
majority stake in Cirque du Soleil to fuel growth and take Cirque’s iconic blue and yellow big top to exciting new
markets.
On December 21, Cirque du Soleil launched TORUK – The First Flight, an arena-touring show inspired by the world
of James Cameron’s history-making motion picture AVATAR.
2016
Two new productions launched in April: LUZIA, a touring show under the big top inspired by the rich Mexican
culture launched in Montreal, and PARAMOUR, a production created specifically for Broadway presented at the
Lyric Theatre in New York.
2017
In March, a new arena show will begin a South American tour. This show called Sep7imo Dia is inspired by the
music of a popular band from Argentina, Soda Stereo. The most recent touring show VOLTA, inspired by action
sports, will lift its marquee at the Old Port of Montreal in April.
The international success story known as Cirque du Soleil is, above all, the story of a remarkable bond between
performers and spectators the world over. For at the end of the day, it is the spectators who spark the creative
passions of Cirque du Soleil.
Cirque du Soleil
References
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December 2019
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Cirque Du Soleil. INNOVATION IS MORE CULTURE THAN JUST A PROCESS

Article · December 2019

Job Satisfaction Anticents and Consequences View project

The user has requested enhancement of the downloaded file.

Guy Laliberté Founder and Past CEO, Cirque du Soleil1

See Exhibit 1 for selected images of Cirque shows.

Exhibit 1. Selected Images from Cirque Du Soleil Shows

Title: Cadre from "O". Title: Hand Balancing from “Mystère”

The Creation of a Powerful Entertainment Company

Exhibit 2. Images of Charlevoix, Canada

Exhibit 3. An Image of Cirque Du Soleil Big Top

Competitive Landscape of the Performing Arts Industry

Cirque du Soleil’s Top Competitors

Exhibit 5. Cirque du Soleil Top Competitors

Live Nation Entertainment

Culture and Creativity at Cirque

The Street: The Origin Cirque’s Organizational Culture

Cirque Values, Dominant Culture and Subcultures

Exhibit 6. Organizational Culture and Subcultures*

Empowerment and Collaboration: Micro-Management is Not an Option

Empowerment at Cirque was relevant to establishing directions and boundaries as opposed to

Embracing Creativity and Innovation through Partnership

Stephan Haves, a Master Teacher and Cirque consultant asserted that,

See Exhibit 7 for images of Human-Computer Interaction (HCI).

Exhibit 7. Images of Human-Computer Interaction (HCI)

Exhibit 8. Images of Madonna 2012 Super Bowl Show

Creativity through Teamwork and Diversity

“Each production began on a storyboard with narrative development leading to

Exhibit 9. Images of James Cameron, Cirque du Soleil Production

Exhibit 10. Selected Images of Teamwork Performances at Cirque

Cirque’s Four Pillars of Corporate Social Responsibility “CSR”

As for the “Community” pillar, the company communicated the following:

Procurement and Partnership

“Cirque du Soleil has a social responsibility clause in its partnership agreements.

Exhibit 11. An Illustration of Cirque’s Four Pillars “CSR”

The Future of Culture and Creativity at Cirque

According to Leslie and Rantisi (2019: 264),

Venue Premiere Touring Vs. Resident Style/Format Status

BussinessDataCodes.com (n.d.). NAICS 7111 Performing Arts Companies. Retrieved on

Cirque du Soleil-d (n.d.). Talent. Retrieved on November 20, 2019 from:

Cirque du Soleil-e (n.d.). Community. Retrieved on November 20 from:

Cirque du Soleil-g (n.d.). Environment. Retrieved on November 20, 2019 from:

Goodreads. Retrieved on November 12, 2019 from:

Hoovers.com (August 29, 2019-a). Feld Entertainment. Company Overview. Retrieved on

Hoovers.com (October 1, 2019-c). Cirque du Soleil. Competitors. Retrieved on November 5,

2019 from: Hoovers.com.

Hoovers.com (October 1, 2019-b). Live Nation Entertainment. Company Overview. Retrieved

Peer-Reviewed Cases, Notes and Articles

A publication of the Western Casewriters Association

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