I was fortunate to be part of an elite cast in Cirque du Soleil’s “IRIS.” This Los Angeles based show boasted several gold medal winning acts and was themed with Hollywood undertones. This experience was one of the greatest in my life. As an artist and acrobat, it was the perfect blend of gymnastics, theater, and risk. In this first photo, I am the police officer in purple, towards the bottom.

MY ENTIRE CIRQUE BLOG BELOW, PUBLISHED IN INTERNATIONAL GYMNAST MAGAZINE AND CIRQUE CORPORATE NEWSLETTER
PART 1

It’s been a while since I’ve checked in with my beloved gymnastics community, so I thought I would drop a note and let everyone know where I have been channeling my passion lately.

In November of 2010, I left my hometown of Houston, Texas, and embarked on a journey with Cirque du Soleil. The decision to do so was made after analyzing all aspects of my life, many career options, and by diving deep down to ask one of life’s most important questions: what are my most genuine passions?

For me, one answer came quickly: gymnastics. As a 30-year-old retired gymnast, I still had juice in the tank and found myself clocking into the gym to play gymnastics. I am a physical person and love to participate in all sports, but to me, there isn’t another like gymnastics. However, it wasn’t the competition that I was still in love with, nor had the desire to do. Throughout my career, it was the feeling of doing gymnastics that I’ve loved the most. While I will always miss competitive gymnastics and am grateful for all the valuable life lessons it has taught me, I knew the time was right to move on without totally relinquishing my physical talent.

I mentally toyed with the idea of Cirque for almost five years, starting with my post-2004 season. I thought about retiring after the 2004 Olympics, but that decision never sat well with me, as I had unfinished goals in the sport. Four years and an Olympic medal later, I knew the time was right. I loved performing and always had a strong urge to expand on gymnastics in creative ways. I had seen many Cirque shows before and always remember sitting in the audience thinking how beautiful it is to see these acrobats combine gymnastics and theater elements in magical ways. I remember one moment specifically as I was watching “O” in Las Vegas. The boat act (or “Bateau”) was one of the most fascinating things I had ever seen and I was literally moving in my seat, trying to feel what the acrobats were feeling as they were pushing the envelope, throwing some amazing tricks. Maybe someday I would feel it for real….

After compiling a video highlighting my gymnastics career and some fun tricks in the gym, I began talking with Stacy Clark in the casting department at Cirque to see if I would be a good fit for one of their shows. Turned out that I got really exciting news when they told me they wanted me for “Kodak,” a new Los Angeles resident show, now titled “IRIS.” I’ve been wanting to live and work in Los Angeles for a long time, so one dream was now coming true.

I arrived in Montreal on Nov. 21, 2010, and began training the next day. I remember, vividly, the first time I walked through the doors at headquarters. I was a mixed bag of emotions; excited, nervous, anxious…. a bit like being at the Olympics. Meeting other members from the cast was a joy as Team IRIS is fully represented by former athletes and entertainers from all over the world. It was even nice to talk gymnastics and recall people we know in the community. It made the new world I was stepping into feel more comfortable and not so far from home.

The creation experience in Montreal is something I will cherish for a lifetime. It felt similar to being at the Olympic Training Center in Colorado as we lived right across the street from the studio, and we made several trips back and forth for training sessions, physio appointments and cross training. What was interesting though was to walk into the training rooms and see in one corner, someone balancing a one-arm handstand on someone else’s head, or a contortionist with her leg pulled over her head and feet tucked under her chin, and maybe even someone flying 40 feet in the air on a trapeze. It definitely isn’t the normal scene I’m used to, but that’s what I love about Cirque.

I spent the first three months training new acrobatic skills and devoting a lot of mental energy to getting acclimated to my new life as an artist. Cirque knows gymnasts can bring many acrobatic tricks to the table, but what I love is that they spend a good deal of time nurturing an ex-gymnast like myself to become a theatrical entertainer. Outside of the acro, we were fortunate to learn about all aspects of production. In the mornings, we had dance, acting, clown and yoga classes. My favorite classes were the acting and clown classes, or “bouffon.” Sounds a lot like buffoon, and that’s exactly what you behave like. (I’m sure most of my friends know that it suits me well!) On a deeper level though, what I really love is that these classes pushed me to free myself of judgement from myself or the outside world. As an artist, I am learning that the best performances are given when an entertainer is truly committed and has absolute conviction to the role he/she is playing. In June, the entire team, production and cast, moved to our new home city of Los Angeles. We were taken to see the Kodak Theatre the same week, and when I first saw the stage, my jaw was on the ground. For one, I could not believe that we will be sharing the same stage that previous Oscar-winning actors and actresses have walked and talked on. When I set foot on the stage for the first time, I could literally feel the immense energy of the place. Believe me when I say, there is something magical about this theater. There is a special quality about it and I haven’t yet found the words to describe it. All I can tell you now is that it’s a pleasure and I am humbled to be performing there.

Upon arrival in LA, we had many things cluttering our minds. Before we enjoyed the California sun, everyone was scurrying to find apartments, buy bikes and scooters, and pretty much settle down in Hollywood. Of course there is some pleasure in saying that I am an entertainer in the industry’s lead city, but what I get more satisfaction from is knowing that I have a responsibility to entertain the very tourists that I pass every day on my way to work. Many of us walk along the Hollywood Walk of Fame on our way to the theater, most of the time with our heads down staring at the names of successful entertainers encased in gold stars. I want to believe that on some level, we aspire to be like them.

Right now a typical day consists of training sessions from 9 a.m. until noon. We break for lunch, which is readily available as the Hollywood & Highland Center is packed with restaurants and great places to grub. We come back in the afternoon for staging sessions where we run certain numbers and put the Cirque quality polish on our work. Evenings consist of some cross training, physio treatments and dinner. I crash early nowadays as I’m drained after work, but honestly, I don’t mind being tired from something I love doing.

All in all, I have thoroughly enjoyed my experience thus far. Being a member of this cast has not only given me the opportunity to enjoy gymnastics in a different format, but has mainly placed me around creative, imaginative and quality people. Our team has sacrificed some of life’s immediate gratifications for the last six months — including a winter in Canada, some physically taxing training sessions and a complete relocation to another city — in an effort to produce a breathtaking show for the world to enjoy. If you get a chance, come see “IRIS.” You will love it!

In my first blog, I told IG readers about my new adventure with Cirque du Soleil and how much I have enjoyed the creation of IRIS to this very day. It really is amazing how time flies in life, and when I take a moment to reflect back on my life as a competitive gymnast and where I am now, I get goose bumps.

It’s been seven months since I joined this project, and I am proud to announce that IRIS opened magnificently on Thursday, July 21, 2011. While this is just a “soft” opening (meaning the general public is invited to view the complete show as it stands now), it is still an accomplishment, and I would like to publicly thank Cirque du Soleil for providing me with the opportunity to perform in an amazing show.

Also, a hearty congratulations goes out to the cast, crew and production team at IRIS, as we have all worked very hard and I believe it shows. Lastly, thank you to everyone who has supported me in this adventure. I have received so many exciting letters and online postings mentioning how elated people are to see IRIS. That is the fuel that keeps me going in this direction.

In a short and sweet sentence, I will say this: The July opening of IRIS was a highly anticipated event for not only our new home city of Los Angeles, but for all of us involved in the show. It went very smoothly and before I knew it we were at the end of the show, on stage, taking in a standing ovation.

In the weeks leading up the premiere, our workload was not the only thing that increased. Within the cast there was a bubbling of excitement, as we were ready to show this new baby to the world. I use the word baby, because that is what this show is at this stage. We still have two more months of previews, while minor changes are made. As a result, this show is going to evolve: it will only get better and develop more personality and character as time goes by. Sept. 25 marks another big date as it is our premiere, or hard opening. It is the next big moment for Team IRIS.

Without spoiling it for everyone, I will reference here the essence of our show. Official text states:

“This new production from Cirque du Soleil is a lyrical, fanciful, kinetic foray into the seventh art. Bringing together dance, acrobatics, live video, filmed sequences and animation, the show takes spectators on a fantastic voyage through the history of cinema and its genres, taking them into the heart of the movie-making process. From illustration to animation, black and white to colour, silent films to talkies, fixed shots to swooping camera movements, spectators witness the poetic construction/ deconstruction of this art as an object and as a way of transcending reality.”

You also catch on to a fantastical love story between Buster, a melancholic composer and Scarlett, who longs to become a star. In this great escapade, you will see Buster traveling through different circus environments on his way to finding his one true love. Also scattered throughout the show are several movie references, so it is fun to watch and see where this show gets its food.

One of the most common questions I get from my family and friends is, “Raj, what are you doing in the show?” Until now, I have spoken in generalities to just a few of my closest people, but now that we have opened, and I know you will come see the show soon, it makes sense to also give you a sneak peek into my role on IRIS.

As a Cirque du Soleil artist, I have the opportunity to be in many acts throughout the show. Our acrobatic cast of 20-plus artists is fully loaded with talent and years of experience. I consider myself fortunate to among such a group.

I would call “roof tops” my main act and it’s heavy! This explosive cops-and-robbers chase scene is full of trampoline tricks, parkour, high bar and column work (colonne). Fifteen very talented acrobats jumping and flying around on a multilevel structure resembling a roof top scene from Warren Beatty’s “Dick Tracy” is my kind of scene. Most of my creation time in Montreal was dedicated to training this number and there are so many elements involved that to me it is the gymnasts’ ultimate playground.

Putting into words my entire track would put us into the New Year so I’ll just tell you to look for a short policeman in a purple uniform with a black eye. We run and jump off rooftops, swing around poles and disappear into houses, all while stunt fighting, acting and dodging machine gun fire. One of my favorite tricks is a fifteen foot long jump from a tramp, flying over a second tramp, to land in a doorway Jason Bourne style. It is not fun when I miss this one, but the thrill is immense when I hit it.

Perched near the top of the structure is a half-length high bar 20 feet high on which I and another acrobat perform. I’m used to a high bar eight feet high with mats under me; this one is more than double the height and we dismount to our backs on the trampoline bed. Currently there is a crash mat under us as the bounce afterward is something only birds are used to. When I arrived in Montreal and saw the high bar structure for the first time, I was silent. I never would have believed that I would some day conquer it, but just like gymnastics, Cirque emphasizes step-by-step training and safety. This has led to many successful high bar dismounts from both me and my fellow high bar artist, a former gymnast from France. Our final trick as of now: giant, giant, layout flyaway … drop 20 feet to our back, then double kaboom. I am still working toward this; my kaboom was never the best, so I might land on my back and bounce rotating forward. Either way, we fly.

While high bar is something I am used to training as a gymnast, column work, or “colonne,” on the trampoline was something I never did before in my life. In short, colonne is when acrobats stack on top of each other by standing on each others’ shoulders sometimes three to four people high. As a gymnast, I believe we have the ability to pick up sports and new skills very naturally, and colonne has become a new talent I never knew I had. You may have seen acrobats in other shows do flips from a teeterboard and land on a tower of people. This is the same concept except that we are on a trampoline and the person on the bottom (porter) is working extra hard due to the lack of a hard surface for solid support. The colonne team in this act has spent many hours learning tricks that are very appealing to the eye. We do back flips and land on our porter’s shoulders every night – it’s become quite fun and challenging.

Though July 21 has come and gone, we still have work to do before our premiere in September. We rarely get to see our own show live, but I do get to see the reaction on people’s faces which tells me enough. Even my toughest critics, my parents, were all smiles after this one.

I’ve really enjoyed plugging my fans and readers into this adventure-of-a-lifetime. Stay tuned — in my final installment I will be sharing with you what it means to be performing in a world-class show, on a world-class stage, with world-class people.

PART 3

Lights, camera, action! The stage has been set and the big moment finally arrived! The grand launch for the new Cirque du Soleil show, “IRIS” premiered on September 25, 2011, exclusively at the Kodak Theater in Los Angeles. Its amazing to think that this show started from a mere blank canvas or a simple figment of one’s imagination, and has now evolved into the very live, three dimensional, dynamic theater show that it has become.

Before I get into the meat of my bantering I want to give you a quick fun fact. In 1987, Cirque was invited to participate in the Los Angeles Arts Festival in which it was a huge success. The show and company were warmly embraced by the public and the local entertainment community alike, thus giving it the necessary fuel to become the entertainment mogul it is today. The IRIS premier, happening now 24 years later, is momentous not only because it’s back in Los Angeles, but in a way pays homage to its humble beginnings. I’m sure the night of the premier was a “Kodak” moment for Guy Laliberte and early founders of the company.

Recently I had the pleasure of watching the show live for the first time. Its hard to imagine that after 8 months of being involved in the project, that I am just now witnessing it live for the first time. Strange you may say, but until now, I have been involved in every show in some capacity and have only seen trainings, rehearsals, or run throughs. Its really not the same experience as watching the show top to bottom, in it’s complete entirety. I am not a certified critic named Ebert or Roeper, but I want to say unbiasedly that this show is magnificent and thoroughly entertaining! I found myself sitting in the seats getting lost in its uniqueness just as any other viewer would. I was in awe of our acrobats, wowed by our talented dancers, and I laughed at all the jokes. Not to mention, the music by Danny Elfman soared through the house, connecting flawlessly to my emotions. I even went into the lobby during intermission so I could join in on conversations with our lovely patrons, who were all impressed as well.

Maybe my previous blogs and the paragraph above isn’t reason enough for you to book a ticket to LA so I will give you a few more snippets into my role with IRIS. Outside of “roof tops” which is my main number, there are several instances or “cues” which I perform.

During act one, my role is much more mental than physical, in that I am focusing my attention on remotely controlling a baby machine on stage. “Baby machine,” you ask? I’ll explain. There are three motorized baby machines in the show, which are radio controlled from “somewhere” in the house. These knee-high little creatures symbolize the three distinct elements of the movie making process (light, sound, and film) and are masterfully decorated to emphasize the antiquity of the past. I have several cues with the Baby Pavillion (sound machine) and the Baby Camera and its interesting because an artist like myself trains and runs choreography with them for many months eventually adding lifelike personality and character to a remote mechanical “artist.”

Act two is where things start to pick up for me. It all starts immediately following intermission, with a number we call “movie set.” This chain reaction scene is jam packed with full blown acrobatics using a number of different apparatuses like teeter boards and Russian bars. Its fueled by some energized dance choreography and musical genius that has an almost comical feel. I canʼt even begin to touch on all the elements in this scene without leaving something precious out (like the props) so Iʼll let you witness it. Did I mention ALL the artists are on stage for this one? This is one of my favorite numbers as its so skillfully choreographed and there is so much going on, there isnʼt much time for a mid-number applause. Outside the little pockets of acting and dancing, you can see me doing an iron cross on a ladder towards the beginning, spinning on a camera dolly in the middle of the number, and doing some funky gymnastics on an acro-table in the end. Very. Fun.

Rather than give more details about the show and spoil some of the greatest moments with words, I want to take this time to give an analysis of my life as a gymnast and now as an artist.

While I am still doing gymnastics in a different format, one of the first differences that come to mind is that an artist is not going for a score. The sole goal of any artistic performer is to take viewers to another realm, out of their current reality. As an artist, its less about competition and you versus someone else and more about connecting with an audience. I guess score can be measured in how loud an applause is or how taken aback someone is with the aesthetics of what they are watching, but the absence of score means there are less rules to be followed, less pressure, and more importance on creative ability. If a gymnast makes a mistake, it will hurt their overall score. If an artist makes a mistake, he/she would try to cover up or mask the mistake in a creative way which still holds the audience connection. This creative freedom is a concept I am quite fond of and its the main reason I was always looking for new skills to create in the sport.

However, in contrast, sports and especially gymnastics, provide something more concrete for athletes and fans alike. Score plays an important role in giving an athlete something to strive for as they attempt perfection. Score, especially in gymnastics, is what pushes an athlete to believe they are capable of more than they can conceive. Score also separates the good from the great. Sports and competition are rooted in times equally as ancient as the arts and mainly because human beings love rankings and champions. While there is still a connection between fans and athletes, sports have a unique ability of bringing people together to cheer for a common goal. A fan of a particular athlete can find themselves connecting to the story and individuality of said competitor. Not to mention, there is a physiological response in the body when an athlete is victorious and I believe buried in this immense energy are some of life’s most beautiful, irreplaceable gifts.

In terms of this new “job” and my old one as a professional gymnast, another stark difference is the schedule and training/peak cycles. As gymnasts, we are used to six week training cycles in which your intensity, workload, and mental-focus increase as competition nears. Once competition finishes, there is maybe one or two weeks of decompression time where you still work out but the work load is lightened to give necessary rest and recovery time to your body. For twenty years as a competitive gymnast, my body was wired for this schedule.

In the circus realm and especially with this show, we have to find it in us to give everything we have every night. We have 360 plus shows a year and that means we will have people in the seats night after night, ready to be entertained. While some skills in Cirque are just tough as gymnastics, its not the skills alone that entertain people. An artist can learn to entertain people through their emotions and conviction to a role or character. Artists entertain through giving selflessly and projecting outwardly, and by bringing an immense amount of life-energy every time they set foot on stage. One off day in the gym, where you are tired, hurt, and drained may just slightly affect your overall long term goal. However an off day as a performer, where you aren’t fully alive on stage, is easily noticeable if spotted and could have an impact on the overall feel of your act in a negative way. As for an ex-gymnast like myself, a certain period of rewiring must take place mentally and physically in order to acclimate to a show schedule of this nature.

The main similarity between the two realms is the aspect of performance. Both gymnastics and artistic performance are extremely similar in this regard, hence the term artistic gymnastics. Even after retiring from the sport, I find myself reliving the glory days quite often, but the images that come to mind first are those related to the performance of routines and tricks. I haven’t talked to a single gymnast or artistic performer that got bored with the feeling of sticking the final dismount in front of a huge crowd or taking in a standing ovation at the end of a show. Performance is an incredible stimulant for the body and mind. It usually justifies the sacrifices made in life, and makes the work leading up to said performance worthwhile.

I could go on about the similarities and differences between the two realms but the truth in comparing the two so closely is like comparing apples to oranges. One day I might want an apple, and the other an orange. Both have a unique ability to wow, yet at the same time are derived from different roots; sport and art.

I will leave you with this important piece and this is my advice to all budding and established gymnasts out there. I have taken note of valuable lessons since becoming a performer on stage that I would have brought with me to my life as a gymnast if I were to do it all over again.

Combine the two elements and start thinking of the sport as an art. Competitive gymnastics, at its highest level, is like trying to paint a “Monet” under extreme pressure. As a gymnast, its easy to get caught up in score, rankings, placement, accolade, start-value, etc. Pay closer attention to the artistry and performance aspect of what you are doing. In gymnastics, people are also buying tickets, coming to see you perform. Approach every competition as if it were a show, and every routine as if it were a piece of art. From the moment you set foot in the arena, know that you are ultimately there to show off your talent. From the moment you salute, know that you are painting a beautiful picture for those watching, using only body and mind as your instruments. Set your routine to music. Does it flow? Is it appealing to the eye? In the end, it doesn’t matter where you placed, people will soon forget, but people will always connect with the emotion you gave them through your performance and chances are you will unleash the true competitor in you.

In closing notes, I just want to openly confess that even though I am now retired, I will always have a long-lasting love affair with gymnastics. Gymnastics has tremendous gifts to offer and honestly, it brought me here, to this point; performing on stage every night. Regardless of how your career fares, just commend yourself for partaking in one of the world’s toughest sports, and now in my mind, most incredible art-forms.