"For years I roamed the planet as a street performer. Earning a living on the streets put me in touch with the poverty and distress of thousands of men, women and children. A little naively, no doubt, I told myself that the world would be a better place if its six billion inhabitants would all put on clown noses... In time that dream became Cirque du Soleil.

"Today I continue to dream of a fairer, more just world, a world where every human being has access to clean water and can live in dignity and health. In 1992 we came to Las Vegas to grow a flower in the desert, now in 2013 I invite you to join me and all of the artists and employees of Cirque du Soleil in Las Vegas for ONE NIGHT for ONE DROP, a one-night-only spectacle that will be created and performed by the now hundreds of artists from all seven Cirque du Soleil Las Vegas shows, followed by a grandiose post-show extravaganza.

"We are nothing without those around us – family, neighbors and fellow citizens. The only way to fight poverty and allow for sustainable development is to work together to share knowledge, experience and dreams, as well as human, material and financial resources. The wildest dreams can come true when we all invest our energy, willpower and creativity.

"Please join me." - (Guy Laliberté)

Here's how the show unfolded...

Just like any Cirque du Soleil performance around the world, you'll find clowns and characters of all kinds milling throughout the audience, warming them up and hopefully preparing them for what's to come. In the audience this night were "O"'s clowns, lizards from Mystère, ushers from Believe and many of the Strip's other Cirque show's characters. Interestingly enough, though, rather than a soothing piece of music from one of Cirque's Las Vegas productions complimenting the action, the "O" Theater was filled with the music of Pitbull. How strange it was to hear Pitbull in that theater! The contrast created a festive mood but it was not a Cirque-y mood... although it looked like everyone was having fun!

Just before the festivities began, Jerry Nadal – Senior Vice-President of Resident Shows – attempts to bring order (but the conga-line dancing Cirque characters are being rather rambunctious) and introduces us to One Drop. Then the lights dimmed and everyone settled...

"This planet is like no other I know," Guy Laliberte begins, his recorded voice booming throughout the darkened "O" Theater. It's a "solitary kite in the sky, a whistle in the dark, a song amid the dreary, a dance in the middle of the foot dragging, a dazzle of color splashed onto a dry wall." Truly, this garden of ours is a gem, he continues on... a true solitary kite in the sky. The "O" curtain pulls back dramatically (as in the show) and is whished away to reveal a projection of the Earth from space, followed by scenes of Las Vegas, the desert surrounding the city and an Eagle in flight. On stage, the female Amerindian artist from TOTEM performs her narrative dance (to "First Incantation" – the opening song from ZED), using hoops to create static and dynamic shapes to evoke various animals and images in a ritual that symbolizes the endless circle of life. Though she does not showcase many of the forms seen in TOTEM, the dance is effective, helping bring us into this world of Cirque du Soleil.

Next, the stage disappears revealing the steamy water of "O"'s pool and a troupe of synchronized swimmers. The music has turned tribal, fast and furious, with the beat of a taiko drum accompanying. The swimmers – clad in silky-looking, silver-colored costumes - take to the song's backbeat, churning up the waters with an amazing synchronistic performance. The performance is capped by the startling launch of one of the pack's performers - out of the pool (with the help of a guide wire), spinning and spinning out of sight, spraying droplets of water everywhere. This was quite the toe-tapping number; if I wasn't so fond of the original song (not to mention how it would wreck the original artistic vision) I'd almost like to see something like this integrated into the show.

The tribal beat is replaced by a slow, acoustic folksy tune called "Flake" from Jack Johnson (you can find it on his "Brushfire Fairytales" album) and an everyday man (our Alex the Complacent) sitting in his living room with all the entrapments of daily life: he's eating fast food, listening to music through his headphones, texting and instant messaging on his phone, and playing a video game... completely unaware of the situation right outside his window. His life is turned upside down when he clicks on a video link one of his friends has sent, featuring a swim with a mermaid. The mermaid (water activist Hannah Fraser) takes us on a journey under the sea so he, and we, can experience the beauty of the mostly unforeseen world under the ocean waves.

For a brief moment, our guy is very preoccupied with the mermaid, but then something else catches his eye: a cocoon floating out in the middle of the water. Gyulnara Karaeva, the creator of the "Waterbowl" – an original discipline that reinvents contortion in the water (which you can see in Zumanity and Amaluna) – presents this unique act that would be quite at home in Cirque du Soleil's OVO. "Hatching" from her cocoon affixed to a gnarly-looking tree branch, Gyulnara contorts and balances her way into our hearts. But as her abode begins to float away, our out-of-touch everyman falls into the water, washing "ashore" transformed into a buff, young man (the mermaid having helped him break free of the ties that have bound him to an unhappy past.) Now full of vim and vigor, the new Alex (Roman Tomanov) takes to the skies to perform a strapping, uh, aerial strap act – one of the most awesome acts of this nature I have ever seen (Cirque du Soleil, put it in the show, now!)

He is followed by a rousing scene called "Walk for Water", a tribal scene intended to evoke the daily difficulties for Third World women who have to travel long distances (and through hars conditions) for their water supply. Performed to ZED's bungee song, "Birth of the Sky", the ensemble strikes quite an image – smartly dressed in flowing gowns full of reds, yellows and oranges, masked with bronze, and carrying large bronze pots – walking mile upon mile, becoming ensnared in a sandstorm, then finally rejoicing at finding the watering hole. One of the truly artistic pieces in the show. (It reminded me, perhaps rather unfairly, of the Lioness Hunt segment from The Lion King musical.)

As soon as they've collected their fill, Cirque artist Ginger Griep-Ruiz (veteran of ZED and now Mystere) descends from the skies to perform a rousing aerial silk number. In movements similar in nature to one she performed on stage at ZED (and to the same song, "Blue Silk", Ginger executes a rousing number accompanied by violinist Geneviève Dubé (playing the solo parts of the song live.) Toumany Kouyate makes an appearance with his Kora (21-string bridge-harp), providing a musical backdrop to a scene featuring kids playing in a small water fountain – a scene evocative of the everyday goings-on in Africa. A segment entitled "Ballroom" is next, featuring a colorful ensemble dancing eurhythmic to a remixed "Spiritual Spiral" from Dralion (that later segues into a song called "Jabulani" by Paul Rincon. Bungee flyers (the Warriors from Mystère), tribal dancers (clad in traditional looking garb) and even a fashion show of African clothing (beautiful ensembles of patterns, colors and styles – including one headpiece with rather large and long pointed horns) make up this energetic piece.

They're followed by artists Julia Lopatkina and Elena Solodovnikova who perform a duo contortion/hand-to-hand number on an ice floe with LOVE artists making an appearance as breakdancing penguins. The act's staging reminds me of ZAIA, although the music is quite different. The production is then kicked up a notch with high-diving accompanied by a rocking guitar solo. The act itself is similar to how it is performed in "O" – successive dives with additional number of divers – culminating in four at a time.

Poet and Rapper In-Q takes to the stage next with an original ode to water, a five-plus minute slam poem about problems with water, people, and nations. Painter David Garibaldi from America's Got Talent (who appears shipwrecked on a deserted island), makes a scene next. Energetically beginning to paint what appears to be "one drop", he eventually flips his canvas around to unveil the face of a young girl to conclude his act. (The song here is "Light Through the Veins" by Jon Hopkins" found on the "Insides" album.) Next we find ourselves in the Amazon; the entire stage and theater comes alive to the sounds of samba ("Magalenha" by Sergio Mendes, found on the "Brasileiro" album) – are we in Rio for Carnivale? Yes! Capoeira and other traditional dance electrify the stage (and through the theater) while Aerial Hoops artists dance and spin above the water's surface. A cleansing rainstorm (think "Aerial Cradle" from ‘O') ends Act II.

Young thirteen-year-old Jackie Evanco (an American classical crossover singer featured on America's Got Talent) singing the Simon and Garfunkel classic "Bridge over Troubled Water" while Eugen (character from "O") plays the piano opens Act III. As the duo walk off the stage arm-in-arm we're in for a more lighthearted moment: a clown act! In typical Cirque du Soleil clown fashion, the artist (Shannan Calcutt, from Zumanity) browses the audience for someone to pick on and selects professional poker player Jeff Gross to be her playmate. She takes him up on stage where a boat awaits the two of them. Reminiscent of the car clown scene in Quidam, she and the poker player attempt to be funny. It falls rather flat.

An interpretive dance by Spencer Novich from KÀ saves us from the clown act; a provocative performance with a touch of mime and a whole lot of crazy (but interesting; somewhat suggestive of John Gilkey's Skywatcher character from Varekai). A string quartet in baroque-flavored dress accompanies a tightrope walker, joined a bit later by a burst of fire, supplied by Ray Wold. Then, a Native American proverb – "Treat the Earth well. It was not given to you by your parents, it was loaned to you by your children," helps usher in the last few moments of the show – a charivari – featuring a number of traditional Cirque (and gymnastic) disciplines, such as: Hand Balancing, Icarian Games, Aerial Straps, Clowning, Martial Arts, Swimming, Balancing on Canes, and more... with children the stars of these disciplines... all wrapped around "Hymn of the Worlds" from ZED, a very touching way to end this special one-night performance.

BLOOD, SWEAT, AND TEARS

The fifth “One Night for One Drop” benefit performance promised to be radically different than the previous four one-night-only productions that have raised millions of dollars for the water charity One Drop Foundation. Husband-and-wife creators Nicky and Laetitia Dewhurst, working alongside director Krista Monson, the creator of the first “One Drop,” promised that it would be “more dangerous and daring” than ever before.

"The concept of the first show was to celebrate Earth in its fragility, vulnerability and strength, so it was really a celebration of water importance," said Krista Monson. "Our second show in the 'Michael Jackson One' Theater at Mandalay Bay was how to cope in a world without water. The third show (at The Mirage) was a continuation of the walk for water by five women and how it affected each of them as we went into their personal stories. Last year our fourth show was at The Smith Center, and it was based on the personal story of our director, Hassan El Hajjami, of how he walked for water five miles every day as a child. These were surreal environments. So this time we are lighter — we’re flying free and having fun. After five years, it’s a different rhythm but the same theme with different directors. That’s the joy of it, to see the interpretations and take audiences over years one, two, three, four and five to a totally different experience. This one is fun, comedic and witty, yet still with that degree of excellence and messaging."

“We’re actually going smaller than year one as in smaller cast, smaller theater. This will be more about the individual talent of circus artists and performers. We want to bring back the blood, sweat and tears. We want the audience to really feel what it is to be a performer, and because we’re going back in time, we can go back to the traditional circus where the acts were a little more risky as in a danger aspect to the show. A little more jaw-dropping, much smaller, more intimate and thus more dangerous,” Laetitia said. “We’re really pushing the boundaries in the sense that we’re looking at the planet as a whole. I know that the charity is about water, but if it wasn’t for the planet, we wouldn’t have water. We’re trying to look at the broader issues of what’s going on with the planet right now. The previous four shows have all focused on the search for water. There’s no searching for water this time around. We wanted to make this show very different from the ones in the previous years but still focus on the broader issues with the planet rather than draw attention to the one particular subject.”

THEME: DAMAGE TO THE PLANET

Of the theme Laetitia revealed: “Basically we have two main characters. One represents mankind and the other represents Earth. Man treats Earth really poorly throughout the whole show. The metaphor throughout the show is the damage we’re doing to the planet we call home. We’re doing it with characters rather than actual physical things and visuals. We have reached out to guest stars and singers, and we’re in conversation with a couple of solo artists. This year we really bring them into the show as a real part of it as actual characters.”

Cirque officials who had long wanted to use the “Zumanity” Theater for “One Drop” decided that the fifth production would be there. That meant the duo had to redesign their production for the smaller-scale theater. “It let us go back farther in time with more of a cabaret vaudeville show, so it’s completely different to what we envisioned at The Smith Center and a completely different concept from past productions,” said Nicky.

Laetitia added: “We know the theater. I was literally born here. I’ve been with ‘Zumanity’ since it opened. The roof wasn’t even on when I first came here. I was an original dancer on straps and pole, and now I back up the clown character played by my husband. We thought that we knew the theater from performing here nightly, but we’ve discovered a lot more. We’ve had a lot of meetings in the lighting booths, and as artists we never really had to go there. We’re really going backstage. We know every nook and cranny in the theater, how it works, and it works perfectly for our ‘One Night’ vision. There was a toss-up between the ‘Mystere’ Theater, and we prayed for this one for our concept because of the intimacy, and it’s such a stunning showroom. It’s the smallest of all the Cirque theaters on the Strip, but it’s what we wanted originally. After The Smith Center production this year, there was talk of using a circus tent, but they wound up giving us the choice of the ‘Zumanity’ or ‘Mystere’ theaters, and we pushed for ‘Zumanity.’ It’s a beautiful theater, and for our concept this fits beautifully. We would have had to make the ‘Mystere’ Theater more intimate somehow.”

Pushed to reveal at least one dangerous aspect of the new production, Laetitia said: “We have an act that does straps but not holding on with their hands,” said Laetitia. “They hold on by their teeth. She holds him, a 130-pound guy, with her teeth. That’s pretty intense. They’re from Uzbekistan, friends of friends of ours, and they sent us the act and said they’d love to be part of the show. At first you think it’s a normal strap act, but then it just gets crazier and crazier and crazier. They will be one of our guest performers. She holds him in her teeth, and he hangs and flies and does a bunch of strength moves with her holding him in her teeth. We have to keep their name secret for now, but they illustrate what we’re transforming our ‘Zumanity’ Theater into: A nonstop traditional circus. We’re physically transforming the theater into a ‘broken’ big top. The show is very surreal, like a dream where our character goes back in time, a little like the story of ‘A Christmas Carol’ with Scrooge where he goes back in time. They can’t see him, but he can see himself and he sees the mistakes he’s made and how he treated people. It underscores how we treat Earth. If we could go back in time, what would we do differently? Our two main characters are the two ringmasters, one old and one younger.”

A NEW CIVILIZATION ON MARS?

The vintage circus theme is so bold, imaginative, exciting and exhilarating that it could well be a new Cirque show in its own right. Conceived, written and directed by husband-and-wife Cirque performing team Nicky and Laetitia Dewhurst, they enlisted their family to tell the tale through time-machine travel of a grumpy old ringmaster played by Nicky’s dad, Brian Dewhurst, the 84-year-old star of “Mystere” at T.I.

With no signs of retirement looming, Brian represents miserable mankind’s mistreatment of Earth’s resources, and Laetitia’s brother, Perry Ray, is The Timekeeper who teaches the old ringmaster a lesson he won’t forget and one for all of us to remember as to how we need to care for Mother Nature or wind up trying to start a new civilization on Mars.

Grammy-winning rapper Redfoo, “America’s Got Talent” winner Grace VanderWaal, multiplatinum-selling vocal group The Tenors, global stars Duo Sky Angels and “AGT” finalists Malevo with their high-speed foot-stomping, drum-banging and bolo-twirling Malambo gaucho act add their talents to the show. William Shatner joined cast for the finale as well, a Radio City Rockettes lineup of high kicks around the entire edge of the “Zumanity” stage under old-fashioned cannons firing confetti and the Monty Python-themed closing “Screw It, We’re Moving to Mars”:

This planet is a huge disgrace
There’s only one solution for the human race
Let’s pack and get out of this place
Screw it, we’re moving to Mars
No passport needed, there’s no immigration
Everybody’s welcome at this destination
Let’s all let go of our daily frustrations
Screw it, we’re moving to Mars

For more than seven decades, William Shatner has captivated audiences with his portrayals in several blockbuster films and TV series. Using his contagious energy and undeniable charm, the beloved actor enjoyed a personalized role in the show, performing alongside artists from the world-famous Cirque du Soleil for the first time in his career. “There are only a few people in this world that could resonate with fans across different generations like Mr. Shatner,” said Nicky and Laetitia Dewhurst, co-writers and directors for the show. “With his timeless personality, he is the perfect addition to our show, which focuses on the concept of time as it relates to humanity and Mother Earth.”

William Shatner, Captain Kirk of Star Trek fame, is an interesting choice. When asked which came first, William Shatner or the number itself, Krista Monson admitted: “'Move to Mars' came first, and, to be honest, it had nothing to do with the space theme that made us think of him. We wanted a man, an iconic figure who can actually tell Cirque du Soleil how to close the show. He didn’t hesitate for a split-second! I got an immediate callback saying that he’s interested. He was on a “Star Trek” cruise at the time, so we had to wait a couple of weeks until he got back on land, and after that it was, “Let’s jump on a call.” Leticia took him through the story arc. There was a bit of a pregnant pause at the end of the line, and he burst into laughter and said, 'I can’t believe you want me to do this.' And we said, 'The pleasure and honor is all ours, Mr. Shatner.' It is really interesting because he’s the old man of theater, and Grace is the young girl of theater. It fits with the theme, the idea of generations, the old ringmaster and the new ringmaster."

LIVING, BREATHING TIME MACHINE

The circus acts come at a dizzying speed. Your heart has just a second to settle down after watching incredible derring-do feats of the teeterboard team before the award-winning aerialists Duo Sky Angels from Uzbekistan send it racing again 60 feet high in the air held only by each other’s teeth! She’s balanced only on the feet of her partner — truly amazing.

Eve Diamond, “The Desert Queen of the Sky,” is just as extraordinary and matched by an aerial trapeze artist known as Cuckoo because of outrageous antics near the rafters. Eve’s aerial activities are so death-defying that she has to wear a harness for safety, but my forehead began to sweat as the safety precaution slid precariously down her body.

The seaside British crass-comedy duo known as Daredevil Chicken also entertained with a volunteer from the audience playing the role of Simba from “The Lion King” who wound up in a cage with another lion actor. Totally insane and madcap and welcome relief from the aerial dramas unfolding from the ceiling above.

Grace, with her ukulele for her solo, “Light Up the Sky”; The Tenors, with their beautiful voices on two Queen songs, “Bohemian Rhapsody” and “Who Wants to Live Forever?”; the old ringmaster, who cries about his awful, past cruel behavior; and Redfoo, for his interruptions, are standouts, but the audience falls in love with Orbis, a little person who is badgered and belittled by Mortales, the creepy, wicked ringmaster of the imaginary Circus Tempest.

Orbis proves the highpoint, the high-flying performer soaring out over the audience with a barrage of acrobatics on silks. It’s breathtakingly beautiful and visually stunning, and it’s highly appropriate that he winds up encased in an out-of-this-world miniature globe suspended over the cast in the finale as lord and master of all he surveys.

It all takes place against a kaleidoscope of psychedelic colors and video backdrops.

“We are so thrilled nothing really went wrong with this massive jigsaw puzzle assembled around the world. This really was a little glitch, so what we saw was the heart and soul of people sharing who they are and their passion for the charity and being onstage. The whole vision with lighting, projections, performances — all the technical — everybody made sure the humanity is what came out first. It looks gorgeous, and it’s amazing.”

Cirque clown legend Brian Dewhurst said this about working for his son, Nicky: “For years and years, I would direct him. He learned well from the master who he is now teaching! They created a very unique and interesting concept of how I look back on myself as a young person in the show. It was enlightening especially because I had no input to their story idea. I sort of rubber stamped my approval to everything he came up with. I didn’t have to change anything. He’s doing exactly to me what I did years ago with him. It’s very exciting, and I am so proud of them both. They have worked their asses off for hours and hours. It’s going to be a great show. We’re a very open family, so I didn’t have to even tell him to not hold back on any criticism or constructive comment he had on what I have to do. We’re all family, so grandkids don’t hold back on feelings. That’s what keeps us together as a family, keeps us honest and keeps us loving each other because there are no hidden secrets. I feel very lucky and very blessed to have them around. I started as a clown at age 13, so this has been my entire life. I am 84, but I feel great. I have the aches and pains of life, but I actually feel OK. ‘Mystere’ is still a priority for me, and I’m still working it. I certainly hope that there’s no sign of any retirement yet!”

Six months of volunteer work from around the world comes to an end in a glorious tribute to the origins of old-time circus to tell a story of how we must protect Earth’s resources to provide sustainable clean water for the world. It’s an ambitious creation, and Cirque has pulled it off again.

From rags to riches, Jewel went from homeless to the cover of TIME Magazine, Rolling Stone, and performing for the Pope, the President of the United States, Saturday Night Live, and the Super Bowl. Jewel credits her great mentors Bob Dylan and Neil Young who took their time to groom and encourage her as a young artist. This gave her the confidence to experiment with several genres over her career, selling 30 million records, debuting with #1 hits in Folk, Alternative, Pop, Club, Country, Children, and Holiday music. Throughout her career Jewel has earned 26 Music Award nominations, including the GRAMMYS, American Music Awards, MTV Awards, VH1 Awards, Billboard Music Awards, and Country Music Awards - winning 8 times.

Jewel, considered one of the best singer-songwriters of our time, started ff life in a very different way. She was raised on an Alaskan homestead with no electricity, where her family survived off the land, as chronicled in the Discovery series Alaska: The Last Frontier. Her New York Times best-selling memoir "Never Broken" chronicles how she used hard work, grit and grace to survive and thrive under extreme circumstances. Jewel's mother left at age eight. Her father, a war veteran who suffered from PTSD, was left to raise Jewel and her two brothers. Jewel sang with him from bar to bar until his drinking and abuse became too much. She left home at fifteen and lived on her own. She became homeless after refusing the advances of her boss at 18 - for which he rewarded her by not giving her a paycheck, making it impossible to pay rent. But these adverse times and values were the inspiration for the lyrics and poems that would later make her famous.

Like love, water is a source that Jewel has always cherished. As a child, she walked down to the river daily to fill buckets of water needed to drink, cook and wash dishes. Years later, struggling with kidney disease as a homeless teenager on the streets of San Diego, she needed 1 gallon of clean distilled water a day, something she couldn't afford. Jewel understood first-hand what it was like to live without the basic necessity of water, something most people take for granted. So, when Jewel was discovered at nineteen, she started Project Clean Water charity to give people around the world access to clean water. Coupled with her own funds, Jewel has spent over twenty-five million dollars to build and support water projects around the world. Jewel has partnered with One Night for One Drop, and Cirque du Soleil, to donate funds, her music and extraordinary life story to help their efforts to bring this precious source to those in need.

To help people not only survive, but thrive, Jewel founded Whole Human, a company that is creating human development, education and mindfulness tools to help others retrain their brain and learn to make a habit out of happiness. To this end she is partnering with one of the world's most innovative companies (Zappos) and entrepreneurs (Tony Hsieh) to develop the next frontier in corporate culture by offering companies a tool kit to help them invest in their human capital in more meaningful ways.

Jewel founded her charity Never Broken (www.JewelNeverBroken.com) to make mindfulness and emotional intelligence tools available to the masses for free. The non-profit has partnered with the Mary Hennessy Inspiring Children Foundation to offer the mindfulness tools Jewel developed to convert her hears of pain into resilience to support at- risk youth of Vegas and beyond.

The One Night for One Drop 2018 production is based on events from Jewel's life story. Her incredibly complex journey was simplified to its essence and made into a tale about abandonment, betrayal, the search for love, but ultimately the courage to forgive.

Inspired by the spectacular backdrop of Alaska, Jewel's homeland, our character embody the spirit of its amazing and diverse wildlife. Jewel is the "Source" and acts as an ethereal guide to our main character Nukka. The Source emerges from our central tree, which is the direct reflection of Nukka's soul, flourishing with happiness and withering in sadness.

Nukka is a baby eagle who, along with her brothers, is abandoned by their Mother shortly after they hatch - leaving them to be raised by a Father whose circumstances quickly overwhelm him, and he spirals into depression. His odyssey parallels Nukka's journey as he struggles with his own demons, finally realizing that the treasure of life is passing him by.

Sensing her vulnerability, the Source provides Nukka with a friend, the Clown Bear, (Jewel's childhood imaginary friend) to be her protector and champion. Choosing not to stay in this dysfunctional environment Nuuka leaves home to begin her exploration of the world. Meeting many different characters along her path, some crewel, some kind. As she tries to find happiness, it is whisked away by the return of her Mother at a time when the tree is most plentiful.

Guided by the source, Nukka ultimately recognizes happiness is within us all, giving her the courage to forgive. We are all the Source.

THE SOURCE
Poem by Jewel
Music: Jean-Francois Blais

SURREAL ALASKA
Act Design: Sasha Bonderenko, Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais
Lyrics: Briana Rossi
Choreography: Briana Bowie & Laetitia Dewhurst
Aerial Choreographer: Jill Crook

THE HATCHING
Act Design: Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais

ANGEL STANDING BY
"Angel Standing By" written by Jewel Kilcher
Courtesy of Wiggly Tooth Music (ASCAP)
Performed by Jewel

SNOWBALLS
Act Design: Marton Sarlos, Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais
Choreography: Briana Bowie & Laetitia Dewhurst

THIRSTY MOOSE
Act Design: Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais

THE JOURNEY
Act Design: Marton Sarlos, Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais
Choreography: Laetitia Dewhurst & Briana Bowie

FOOLISH GAMES
"Foolish Games" written by Jewel Kilcher
Courtesy of Wiggly Tooth Music (ASCAP)
Performed by Jewel
Arranged by: Jean-Francois Blais
Act Design: Rick Tija, Aleksandra Savina, Alexy Ishmaev, Nicky & Laetitia Dewhurst
Aerial Choreographer: Jill Crook

PIFF THE MAGIC DRAGON
Performed by Piff the Magic Dragon
feat. Mr. Piffles, the World's Only Magic Performing Chihuahua
Words: Artist's Own
Music: Jean-Francois Blais

SAVE YOUR SOUL
"Who Will Save Your Soul"
Written by Jewel Kilcher
Courtesy of Wiggly Tooth Music (ASCAP)
Performed by Jewel
Arranged by Jean-Francois Blais
Act Design: Paul Cameron
Choreography: Briana Bowie

WEB OF DECEIPT
Act Design: Nicky & Laetitia Dewhurst
Choreography: Laetitia Dewhurst & Indrajit Kumavat
Aerial Choreographer: Jill Crook
Music: Jean-Francois Blais

BETRAYAL
Act Design: Marton Sarlos, Nicky & Laetitia Dewhurst
Choreography: Laetitia Dewhurst & Briana Bowie
Music: Jean-Francois Blais

STELLA JAYS
Acrobatic Performance by Luba Kazantseva and Dima Deyneko
Music performed by Jewel

CLOWN
Performed and Created by Claudio Carneiro

A DRINK
Act Design: Sean Blue, Emil Dahl, Penn Jilette, Beejay Joyer,
Nicky & Laetitia Dewhurst
Music: Jean-Francois Blais

INNER DEMONS
Music performed by Chase Holfelder
Dance performed by Nick Daniels
Act Design: Nicky & Laetitia Dewhurst
Choreography: Nick Daniels