Fairies manned the coat check. A pink and orange sea urchin padded around in flippers. Drinks were served by Greek gods. These were just a few of elements that came together to create a fantastical setting for Cirque du Soleil's after-party for the premiere of its new production Varekai on Randall's Island. Elizabeth-Ann Doyle, marketing and PR agent for Varekai, hired Urban Events to produce the party, which welcomed more than 3,000 guests to the fete next to Cirque's blue and yellow circus tent, where the show will run through mid-June.
The event's theme, which looked part A Midsummer Night's Dream with a little Dante's Inferno and Greek mythology thrown in, was adapted to extend the Icarus myth that's woven into Varekai's plot. "It's sort of an underworld garden look," said Urban Events' Gustavo Marcus, citing Estella's overgrown garden in the 1998 Great Expectations film as inspiration for the decor.
A team of 40 stylists transformed an army of actors, dancers and caterwaiters into fantastical creatures. Makeup artists Andrew Martin and Bianca Alexander of M.A.C. and hairstylist Laurent Philippon of Bumble & Bumble spearheaded the transformations, using products from their companies (both were event sponsors). Male bartenders sported golden hairsprayed locks and dramatic black and white eye makeup for a Greek god look. Caterwaiters looked more severe in black outfits and heavy black makeup, and women in lime green bikinis covered with faux foliage—dubbed "the sexpots," from the Mystic Family Circus—danced on top of giant planters filled with moss. Hollywood Pop Gallery built two grotto sets—a fiery, Hades-esque setting and a cool blue set presided over by an actress covered in blue body paint, a sheer cape and wearing a glittery string bikini bottom.
Towering silver tressing stood at the center of Starr Tent's giant party tent, where Ron Fogel and Associates rigged the lighting equipment and two weather balloons. Fogel's lighting scheme mixed purple, blue and pink lights on the walls of the tent, and a textured gold light shined directly above a platform surrounded by stretch fabric where shadowdancers (choreographed by Carlito Dalceggio of Lufthaus) performed.
One last-minute request that had planners scrambling was Cirque co-founder Guy Laliberte's decision to eliminate the V.I.P. area the night before the party. "I have 800 friends," he told Marcus, and deciding who was and was not a V.I.P. would have been problematic.
The after-party also previewed Zumanity, Cirque's new "erotic cabaret" set to debut in Las Vegas in July. A small lounge separate from the main party was filled with red carpeting, lighting and furniture from Props for Today. The party carried on throughout the night—some revelers, amped on Red Bull, Veuve Clicquot, Grey Goose and Grolsch were dancing on the lounge furniture—until 4 AM. Rehydration was provided by water sponsor TyNant.
—Suzanne Ito
The event's theme, which looked part A Midsummer Night's Dream with a little Dante's Inferno and Greek mythology thrown in, was adapted to extend the Icarus myth that's woven into Varekai's plot. "It's sort of an underworld garden look," said Urban Events' Gustavo Marcus, citing Estella's overgrown garden in the 1998 Great Expectations film as inspiration for the decor.
A team of 40 stylists transformed an army of actors, dancers and caterwaiters into fantastical creatures. Makeup artists Andrew Martin and Bianca Alexander of M.A.C. and hairstylist Laurent Philippon of Bumble & Bumble spearheaded the transformations, using products from their companies (both were event sponsors). Male bartenders sported golden hairsprayed locks and dramatic black and white eye makeup for a Greek god look. Caterwaiters looked more severe in black outfits and heavy black makeup, and women in lime green bikinis covered with faux foliage—dubbed "the sexpots," from the Mystic Family Circus—danced on top of giant planters filled with moss. Hollywood Pop Gallery built two grotto sets—a fiery, Hades-esque setting and a cool blue set presided over by an actress covered in blue body paint, a sheer cape and wearing a glittery string bikini bottom.
Towering silver tressing stood at the center of Starr Tent's giant party tent, where Ron Fogel and Associates rigged the lighting equipment and two weather balloons. Fogel's lighting scheme mixed purple, blue and pink lights on the walls of the tent, and a textured gold light shined directly above a platform surrounded by stretch fabric where shadowdancers (choreographed by Carlito Dalceggio of Lufthaus) performed.
One last-minute request that had planners scrambling was Cirque co-founder Guy Laliberte's decision to eliminate the V.I.P. area the night before the party. "I have 800 friends," he told Marcus, and deciding who was and was not a V.I.P. would have been problematic.
The after-party also previewed Zumanity, Cirque's new "erotic cabaret" set to debut in Las Vegas in July. A small lounge separate from the main party was filled with red carpeting, lighting and furniture from Props for Today. The party carried on throughout the night—some revelers, amped on Red Bull, Veuve Clicquot, Grey Goose and Grolsch were dancing on the lounge furniture—until 4 AM. Rehydration was provided by water sponsor TyNant.
—Suzanne Ito
A stiltwalker from Hollywood Pop Gallery in a costume inspired by a seashell from Aruba stalked around the party.
A "sexpot" dancer dressed in a lime green bikini covered with faux flora from the Mystic Family Circus danced with a performer inside a pink and orange sea urchin costume from Hollywood Pop Gallery.
Starr Tents' party tent featured rigging in the center for lights and two weather balloons. Shadowdancers performed on a platform surrounded by stretch fabric in the center of the tent.
An actress dressed as the queen of the sea posed on the blue grotto decor set.
