Rehearsals progress and the Grand Chapiteau is mounted. Make-up is designed, costumes fitted, and the show's visual identity has evolved.

First Aired: October 27, 2002 (Global) February 17, 2003 (Bravo)

Varekai is scheduled to premiere in 45 days. The atmosphere at Cirque headquarters is aptly described by the show's Lighting Designer Nol Van Genuchten, "I think the stress is hitting the fan in here." As spectators, we all have a vague sense of how hard Cirque performers must work to make it in the world's best circus but it's still humbling to watch them struggle with the challenges that they face. After weeks of struggling to accelerate the progress of the show and improve their performances, it is once again time for the performers to show President Guy Laliberté what they've got. The stage is set, the theatrical lights are lit and Guy is presented with fragments of the opening sequence and several numbers including the rousing Georgian Dance. For Icarian Games, Gareth and Ashley are relegated to the back of the scene as the Rampin Bros. take center stage. Guy watches the spectacular skill of the Spanish brothers with a big smile across his face.

This presentation is also the moment of truth for Stella, Raquel and the entire Triple Trapeze team. Laliberté axed their original Multiple Trapeze structure and it has taken them months to develop a new act. The performers have exhausted themselves trying to improve their shaky number, both acrobatically and dramatically. After the presentation, Cirque's Chief Operating Officer Lynn Heward gives the verdict; "I have to say to you I know you were sad when you lost your multiple trapeze but this [apparatus] does more for you than the other machine did. We see YOU in this performance and I think that's great." Then, turning to address the rest of the cast, "There are still lots of things to work on, tons of things to work on, but your movement forward is there and I just wish you all courage in the next few weeks, a lot of hard work and above all, give all of your attention and your focus to [Director] Dominic, he needs you, he can't do this show alone."

The performers will need all the good wishes, the next few weeks will be the grueling final stretch to the premiere. But for now, they celebrate the acceptance of the Triple Trapeze into the show and a successful presentation.

Adding to the list of reasons to celebrate, it is Gareth's birthday. He holds a party in his apartment at the Cirque residences. He's been trying unsuccessfully to phone his mother all day, we find out why. She has come from London with Gareth's sister and baby nephew Tyler to surprise him for his birthday. Gareth has not seen his family for almost six months and is elated. We witness their heartwarming reunion. The comfort of family gives Gareth the strength that he'll desperately need to survive the next leg of his journey with Cirque. "I've never worked so hard before in my life." Gareth professes. But he will soon be asked to work even harder.

Also working at full steam is Cirque's marketing department. They have still not finalized a poster for the new show and time is running out. The original designs were tossed out when Marketing learned of an underwater film shoot with the show's lead performers. The still photos from the film are beautiful but their quality is not high enough to be reproduced as a poster. Marketing is at odds with Creative Director Andrew Watson over the poster design. The team looks at a group of about 10 candidate posters featuring Icarus, clouds, wings or any combination of these elements. Andrew Watson still likes the poster of Icarus underwater, a marketer disagrees, "I find it really soft . . . Andrew, you see it; I don't think the consumer sees it." The group debates for hours before deciding to look at some designs featuring a stylized puppet Icarus that Guy Laliberté originally approved. "It's less cerebral, it's more fantasy," says the marketer.

As marketing debates the poster design, the Grand Chapiteau is already being erected in Montreal's Old Port. The performers will make their move to the show's venue and accelerate their working pace for the final stretch to the premiere. Stage Manager Armand Thomas prepares the performers, "So now we go through to the next step: Showtime! People are gonna get angry, people are gonna get angry at each other, we're gonna get really stressed out, we're gonna get tired, we're gonna get very frustrated and all that is normal for what we're gonna live through." An exhausted Gareth is concerned about the ramifications of the next step, "I don't know if I can handle it, I don't know if I can handle that life. When they started talking about 'things are gonna get really hectic and tempers are gonna fly' I'm like, I'm the worst person for temper." Gareth has been stressed and is having trouble sleeping. He is not progressing as quickly as he wants or needs to. Pedro, the Icarian coach, is frustrated at Gareth and Ashley's lack of consistency in their performance. At Cirque du Soleil if you aren't able to keep up with the best there will be consequences. Andrew Watson meets with Gareth and Ashley. They narrowly escape being fired. Gareth has been giving his best and it still doesn't seem to be enough. He is visibly upset, "I think I'm working well . . . What can I do? It makes me feel quite angry. I feel I am working hard. I feel training is going well. It's the final warning basically and if we have to have a meeting with him again, that's it." Then, with a sigh he concedes, "But that's life, y'know what I mean? That's show business."