By June 2006, steady progress had been made behind-the-scenes regarding the show: Some 30 artists had been signed out of the 53 needed. A full-day of brainstorming with the show’s creators occurred, which made it possible to get a review of the show in its entirety, in order to gain a better understanding of director David Shiner’s vision. A 1:6 scale mock-up of the big top was mounted for the purposes of developing the scenography for the show, preliminary concepts for the costumes were underway (and approved by Guy Laliberte), with fabric selection underway. Other creation milestones also followed: In September 2006 a number of proposals under consideration for the show’s name had been whittled down to three, with Diesel, the marketing agency working on the project, starting to submit ideas for visuals. On October 12, 2006, the Void, an important set piece, was deployed for the first time in the studio, followed by the Bataclan, the show’s set center-piece, on November 6, 2006. On November 3, 2006, advanced tickets went on sale for the as-yet unnamed show, noting performances would take place in Montreal from April 26th to May 27th and in Quebec City from July 5th to July 15th (though “previews” were later scheduled to begin by April 19th) and the stage was set: in just six months Cirque du Soleil would launch its latest touring production.

But the show would need all the time it could get. "We did our first run-through of the show at the headquarters in Montreal and it was awful," remembered Shiner. "Dead silence. Afterwards, when the whole team got together, everybody was looking at me like 'oh my god, I hope he saw that it was a mess.' And I said to everybody: 'What in god's name was I thinking about?' And everybody laughed. The show had become really serious and dramatic. Sometimes you need to go down a road like that. And literally, in two weeks, I was able to change it."

And it's not stopped since! Koozå continues to toddle around the globe under the Grand Chapiteau with, as yet, no end in sight.