Le Grand Chapiteau: Criss Angel BELIEVE

That’s how one of Fascination’s articles read on July 6, 2006, as the unofficial Cirque du Soleil newsletter highlighted a story, published by the Las Vegas Sun, which reviewed potential plans for the expansion of Cirque du Soleil’s empire in Las Vegas following MGM/Mirage’s purchase of Mandalay Resorts International. The purchase brought, amongst other properties, the Excalibur, the Luxor and Mandalay Bay into the MGM/Mirage Resorts fold. And chatter at the time suggested that there were preliminary plans for nine Cirque productions on the Strip by the end of the decade, including a new Luxor show [which ultimately became Believe], an Elvis-themed production at MGM Mirage’s Project CityCenter [Viva Elvis at Aria], a production to replace “Mamma Mia!” once it played out at Mandalay Bay [which ultimately became Michael Jackson ONE], and show No. 9 at an unspecified hotel - possibly a children’s show at Excalibur to counter the adult-themed Zumanity [which as of this writing has not come to pass.]

In response to inquiries about a permanent production show at the Luxor Theater, MGM Mirage spokeswoman Jenn Michaels said, “We’ve been looking at a number of options for the former ‘Hairspray’ theater; we are close to signing a deal and will make an announcement as soon as we are able to do so.” Michaels added that MGM Mirage didn’t have anything to announce regarding headliners and that plans for the Luxor’s entertainment program still needed to be firmed up. But it was the first time the possibility that Cirque du Soleil would inhabit a theater at the Luxor had been mentioned.

Questions, Questions... • Cracks in the Mirror?
The Curly Shuffle • Train Wreck? • Angel or Devil?
For My Next Trick... • MAGICjam
Not Done Making Magic? • Mindfreak!

Questions, Questions...

Questions regarding the necessity of having yet another magic show on the Strip, even if produced by Cirque du Soleil, and just who the magician would be began almost immediately. But internally, Cirque du Soleil already knew who they wanted to work with - Criss Angel, the star of A&E's magic series Mindfreak - and they'd already begun developing their concept with MGM-Mirage by August 2006. François Macerola was named Executive Producer, Guy Caron as Creative Director and Nancy Malette, as Production Manager.

By that December most of the creative team had come together, running a few technical and dance workshops (December 1st, 2nd, and 4th) to get the creative juices flowing. On December 6, 2006, Serge Denoncourt (Director), Guy Caron (Director of Creation) and Criss Angel met with Guy Laliberté to present the show’s concept. The concept was approved but Guy Caron, after a period of prolonged reflection, decided to withdraw from "Luxor 2008" to concentrate on the development of new creative content projects. (Did he perceive just how challenging a magic show with Angel would be?) Pierre Phaneuf, an Assistant to the Vice-President of Creative Content and New Project Development, would take over the position (and see the project to its conclusion).

By mid-March 2007 a detailed design of the set, stage and all its elements were due, and Eiko Ishioka was scheduled to present preliminary costume designs (she would later be replaced by Mérédith Caron). In April construction bids on the theater renovation were due and demolition of the old fixtures set to begin. And by May the illusions workshops would begin.

Then according to Vegas Pop's Luxe Life column by Robin Leach, Cirque du Soleil was on the verge of making an announcement about the oft-rumored Criss Angel "magic show" sometime around March 15, 2007, but March 15th came and went without any announcement; the conference had been postponed. The following week (March 22nd), Cirque du Soleil and MGM/Mirage made announced they were working with Angel for "Cirque Luxor" (not the official name, obviously). “The production purportedly will cost $65 million USD," Variety published at the time, and "the amount covers the cost of theater renovations and creation expenses." From the announcement:

Re-inventing the traditional magic show has been a long-standing desire of Guy Laliberté, Guide and Founder of Cirque du Soleil. Five years of extensive research and development were spent exploring the world of magic and how to re-define the experience. The crucial element, a young, edgy and talented artist and mystifier, was found in Criss Angel. With his incredibly unique creativity, Criss is now working with the experienced team of Cirque du Soleil creators led by Director Serge Denoncourt to bring this dream to life.

“I wanted to distance myself from the swimsuit-clad babes and cheapo variety acts, and do a more theatrical magic show, with emotion. Something that would reflect the aesthetic of the Italian theatre,” said Denoncourt. The director considers illusionist Criss Angel currently the best in his field, a genre that has seen nothing new since David Copperfield in the ’80s. “But if we hadn’t hit it off so well, we wouldn’t work together. We’re both really happy. We don’t want a show that’s too clean, too rigid, too cute. We want to be a little more provocative,” acknowledges the director. “Because I love magic, because I love Criss, and because I love Cirque du Soleil, we will bring to Vegas a different magic show. And I say it’s about time!”

Since he was six years old, Criss Angel has immersed himself in a multitude of art forms, from performance artist to mystifier and provocateur. Since then, a relentless work ethic combined with talent, skill and vision has made Criss one of the most provocative artists of our day. From creator, producer and performer in his television series, specials and live shows, Criss has redefined the term “artist” for the 21st Century.

“When I first met Guy Laliberté, I said, ‘Guy, you reinvented the circus and the poetry you create is unlike anything the world has ever seen. Imagine if we could reinvent magic like you reinvented the circus.’ That is my dream, that is my quest, and that is exactly what we are going to do when we open up this show.”

“I’ve spent 15 years creating and evolving a concept that the world of entertainment has never seen,” said Criss Angel. “Now, I’m thrilled to be working with Cirque du Soleil and Felix Rappaport and his amazing team here at the Luxor to create an experience that goes beyond even my wildest expectations. I am confident that this collaboration will culminate in what is destined to become one of the most exciting shows Las Vegas has ever seen and redefine magic in the same way Cirque du Soleil has redefined the circus.”

Daniel Lamarre, President and CEO of Cirque du Soleil, said, “This production represents a new, distinctive type of creation for Cirque du Soleil. We believe there is a market for an unconventional magic show with production values audiences have come to expect from Cirque du Soleil.”

Gilles Ste-Croix, Senior Vice President of Creative Content at Cirque du Soleil said "Cirque du Soleil has always worked with an acrobatic foundation for each of our shows; with The Beatles LOVE we were privileged enough to have The Beatles music as our center; with this project - magic will be at the core. We are excited to combine our years of research and creative expertise in the areas of staging, lighting, sound design, projections, costume and make-up design with Criss Angel’s one of a kind experience as a creator and performer of illusion, special effects and magic."

Cracks in the Mirror?

“Cirque du Soleil has taken out a huge insurance policy to cover its first headliner, illusionist Criss Angel. Vegas Confidential has also learned that Cirque is working on a Plan B in the event that the ‘Mindfreak’ star is not able to carry out his commitment to do 4,000 performances in the $100 million production at Luxor over the next 10 years. The show is to open in late July.”

The blurb above, from Norm Clark of the Las Vegas Review-Journal in early 2008, raised a lot of eyebrows. It would be the first indication that all was not well with the partnership even in this early stage, although nobody understood that fully at the time. Indeed, many long-time Vegas entertainment journalists began to ask: how much Cirque is too much? Mike Weatherford of the Review-Journal posed that very question in an article for his paper. Indeed fans and followers of Cirque have been asking that very question since Zumanity premiered in 2003. Renewed concern came in part from the 20% stake in Cirque du Soleil that Nakheel and Istithmar World of Dubai purchased on August 6th:

The Dubai money should aid the "acceleration of our development," Cirque's president, Daniel Lamarre, noted. [...] But each time Cirque opens a show on the Strip, there is a renewed gap between the company's ambitious plans and the skeptical local reaction. Talk to Cirque, and you hear something like this: "Give me as many venues as you have, and I'll find the right creators," Lamarre says. "When I walk into our creative center in Montreal, there are more ideas than there are theaters available to us." Talk to Las Vegas locals and others in the show community, and you hear something like this: "The Cirque shows are wonderful, but enough already. Isn't there anything else out there?"

The reason for the insurance policy became clear when it was announced that on Wednesday, July 30th 2008, Criss Angel would attempt to escape from the Spyglass Hotel in Clearwater Beach, Florida before it imploded – all on live television: "There's 550 sticks of dynamite that will be below my feet, there's a helicopter that needs to hover 30 feet above the roof. If I don't make it through the handcuffs, five locks and four doors in no more than three minutes and 30 seconds - if I'm one second late, that helicopter needs to leave without me. Who knows, I could trip, I could have trouble picking a lock."

And how happy was Cirque with this stunt? “Cirque is not very happy about my decision to do this because they have a lot of money invested in me and in the show. They would prefer that I don't do it. Whether I kill myself or twist my ankle, it would still have a detrimental effect -- obviously one more than another -- on us opening. And there's a lot of money that ticks away every day that show's not open and we're not ready to roll. So they don't want me to do it. They're not happy with this decision.”

Angel did attempt the stunt, and survived of course, crawling away from the wrecked building after seemingly missing his helicopter getaway. (It was also one of the lamest “escape” attempts we’ve ever seen. No attempt was even made to suggest some sort of “magic” was involved...)

The Curly Shuffle

A year after rumors of discord between Cirque and its new star personality began circulating (they really didn’t want him doing the implosion stunt) the name of the new show was announced by Cirque (on April 17, 2008) – BELIEVE – and we got our first glimpse of its presentation. The show was slated to celebrate its gala premiere on October 31, 2008, chosen because Halloween is particularly significant as it marks the anniversary of the passing of legendary magician and escape artist, Harry Houdini. Every Halloween for 10 years following Harry Houdini’s death, his wife held a vigil to test the legitimacy of people who claimed to be able to communicate with Houdini. To claim success they needed to say the code word – BELIEVE. Thus, in an attempt to pay homage to the late/great Harry Houdini, Criss chose “Believe” as the title for this unprecedented live experience. But would fans of Criss Angel be able to hold a vigil for him on Halloween?

Just weeks after Cirque du Soleil and MGM/Mirage made the official announcement about BELIEVE rumors began circulating that the show would have to be delayed for “unforeseen circumstances”. By June 30, 2008, those rumors gained traction as Cirque itself made it known that the debut of “Criss Angel Believe” would be pushed back two weeks. Ticketed previews that were to begin on Sept. 1 would begin Sept. 12. The private party to mark the “official” debut had been pushed from Sept. 12 to Oct. 9. Spokeswoman Anita Nelving said technical delays made the cast about five weeks late moving from an off-strip warehouse into the custom theater at the Luxor.

The move affected 14 shows that already were on sale but they would not be the first.

On September 8, 2008, Mike Weatherford of the Review-Journal had some interesting things to say about the cause of the latest delay for the Criss Angel show:

"With [KA and LOVE], the main goal of previews was to make tweaks or changes based partly on audience reaction", Cirque spokeswoman Anita Nelving explains. If automated props or sets broke down in the course of things, everyone took it in stride. This time illusions are involved and “there are elements that can’t be worked out during previews,” she says. If a technical gaffe exposes how a trick is done, that’s a real problem. “This is the first time we’ve created a show of illusion, and we underestimated the amount of time we needed.” On the other hand, a member of the show’s production staff reports (through a third party) that “Believe” is “just out and out boring,” and that the illusions are more of the close-up variety that don’t hold up in a large theater.

Then the show was delayed yet again. On September 17, 2008, just mere days before the show was set to begin its original set of preview performances, came the official word. The $100-million showcase would now publically debut at the Luxor on October 31st according to the Review-Journal with a gala premiere to happen sometime after...

“I can't imagine a more fitting night all year for Criss than Halloween, the night that marks the 82nd anniversary of the death of his and the show's inspiration, Harry Houdini,” Angel’s publicist, Steve Flynn, said.

Publicists for Angel and Cirque say the magician and show’s director, Serge Denoncourt, insist every aspect of the technical show, which includes illusions, acrobatics and pyrotechnics, be perfect before it opens, and more time was needed. The latest decision to delay the premiere was announced Saturday after more than 400 Cirque employees and artists took in a performance. The creative team met afterward and it was then decided to move the premiere to Oct. 31 and restore the preview period to its original timeframe.

On September 22, 2008, Mike Weatherford, columnist for the Las Vegas Review-Journal took a moment to sit down with Gilles Ste-Croix - Cirque du Soleil’s Vice President of Creation - regarding the show's delays:

Earlier postponements, combined with Angel's bad-boy image, give Ste-Croix lots of rumor-control work for this one. The truth, he says, is "We are in much better shape than 'Ka,' much better shape than 'Zumanity' also." Of Angel, he says, may have "previously made his reputation about him being spoiled brat. ... But in our case working with him, he's such a gentleman, such a smooth guy. He's always positive."

Ste-Croix doesn't totally refute talk, based on early run-throughs, that "Believe" was dull and/or the illusions didn't carry all the way through to the back rows. "In the last stretch, that's where the show becomes (complete). You have to have trust and you have to have a lot of confidence," he says. "One day and it makes a big step. Two days, and it makes a bigger step."

MGM Mirage officials saw the show on Labor Day weekend and again last week. "They could not believe how much it's changed," he says. "They said, 'We understand what you have been trying to do for the past six months. Now we get it.'"

Organizers first delayed the premiere in late June because of apparent technical difficulties. The premiere was then rescheduled for Oct. 10. Further “enormous complexities” were cited on Sept. 2 as the schedule for preview performances was pushed back a second time. While the change didn't affect the Oct. 10 premiere, the decision effectively axed the first two weeks of preview performances. Saturday’s announcement restores the preview period to its original five-week run, with the first performance taking place Sept. 26. “The preview period is an important part of our creative process as it allows the show to develop in front of a live audience,” Cirque du Soleil spokeswoman Anita Nelving said.

Train Wreck?

“I’ve spent 15 years creating and evolving a concept that the world of entertainment has never seen,” said Criss Angel in a press release about the show. “Now, I’m thrilled to be working with Cirque du Soleil and Felix Rappaport and his amazing team here at the Luxor to create an experience that goes beyond even my wildest expectations. I am confident that this collaboration will culminate in what is destined to become one of the most exciting shows Las Vegas has ever seen and redefine magic in the same way Cirque du Soleil has redefined the circus.”

Criss Angel BELIEVE had its first “Lion’s Den” performance on September 12th, opened its doors to preview performances on the 26th and by the 30th, reviews were pouring in: everything from “horrible” to “terrible” and all points in between. It was clear that BELIEVE was nothing short of a train-wreck, but the coup de grace - DOUG ELFMAN’s article from the Review-Journal - seemed to sum it up nicely:

Criss Angel fans flew in from as far away as London to see his new Cirque du Soleil show open at the Luxor on Friday. The verdict by many? Creatively, “Believe” is a possibly unsalvageable “waste of time” and a “dead end” that literally bored some audience members to sleep. On Saturday night, reaction was even worse. “Everyone in the bathroom was chanting ‘bull—-’” from the urinals, Damon Ranger of Chicago told me Saturday. “It was absolutely awful. You can ‘Believe’ how bad it is — because it’s terrible!” People streamed out of the theater on Saturday screaming about how poor it was. A group of six women was led by a woman yelling furiously, demanding their money back. “Dude, it’s a train wreck,” Ranger said. On a scale of 1 to 10, he declared “Believe” a zero.

Whatever the problems with "Believe," the show was not "unsalvageable," Elfman went on to write. The costumes, look and music of the show were impressive props, he agreed. The dancers talented. The problem was the very confusing premise that's at the core of the show: "Illusionist Angel, through an accident, winds up in a Cirque-created world of magic. But if that is the story, then Cirque has to reconcile itself to having a headliner whose personality puts over the show." He went on to say: "Right now 'Believe' loses energy the moment Angel enters the mystery world of Cirque and becomes, for the most part, a spectator. He possesses mighty powers, hangs out a little and returns to our world healed enough to sing along with a taped version of his television theme song as the audience walks out. Where is the man's dialouge? Does he have thoughts of what is going on with his body in the 'real' world or what he is viewing in the land of Cirque creations? We never learn. Angel turns mostly silent."

Brutal.

Angel or Devil?

The initial preview performance was not received well; audience reactions were thoroughly negative. The show opened to equally harsh reviews, citing a lack of the magic Angel is known for as well as a confusing and uninteresting theme; reviewers felt neither Angel nor Cirque du Soleil were able to perform their capabilities. By December 17, two months into the show's run, the Luxor was offering a 40% discount on show tickets. In lieu of quotes from theater critics, by January 2009 the Believe website used positive critical quotes from selected celebrities, including Angel's then-girlfriend, Holly Madison. Over the next year many reviews of the show would share roughly the same sentiment though the show continued to fill seats well enough (but whether it was making money or not remained to be seen).

Criss also had his fair share of run-ins with the press and celebrities alike. After Cirque spent some weeks tweaking the show, blogger and television personality Perez Hilton attended a performance on Friday, April 17, 2009. During the show, Hilton used his Twitter account to message over half a million of his subscribers "We are 20 minutes in and Criss Angel's Vegas show, Believe, is unbelievably BAD!", as well as other criticism. As the show was ending, Angel singled out Hilton, had him stand up, and declared to the audience that "We have the world's biggest douchebag asshole in the house!" To which Hilton replied "Thanks for the free tickets." Hilton, who was a fan of Cirque du Soleil's other Vegas shows, later noted that "until 'Believe,' Cirque has had an incredible track record of excellence. I have seen all of their Vegas shows and loved them all."

In the aftermath of the incident, Cirque du Soleil, but not Angel, issued an apology to Hilton, as well as anyone else present in the family-oriented show. Speaking also on behalf of hotel owner MGM Mirage, Cirque du Soleil called Angel's remarks "inappropriate and disrespectful", noting that "Cirque du Soleil does not condone disrespectful behavior towards any audience member at any time. Cirque management will address such behavior privately with any of its artists to ensure it will not happen again." The Vegas media reaction was strongly against Angel, who was viewed as having broken a major taboo among casino employees in the largely tourist economy by insulting a guest, notably during an economic downturn. Angel had even threatened Norm Clarke of the Review-Journal over some of his comments, suggesting he promised to take out his other eye (Norm wears an eye patch).

Criss Angel was becoming a bad boy, and a very visible liability to Cirque du Soleil’s brand.

Onstage, though, it seemed that Angel was just going through the motions. That's what Joe Brown, columnist for the Las Vegas Sun, observed when he saw the show a year after it's debut.

"Believe" now seems a bizarre, stranded artifact of a moment when some people had too much money. The show has been streamlined a bit - no live musicians, fewer aerialists and dancers, less video wizardry - but it hasn't been improved, only diminished. It just sort of dribbles away. Mercifully, Angel’s speaking lines, which even a year ago were mostly non sequiturs, have been reduced.

If not exactly humbled by the show’s critical drubbing and lackluster sales, Angel, now the butt of jokes by most other Strip comics and magicians, seems less hubristic than he did a year ago. There’s less swagger and no chest-baring (Angel appears to have put on a few pounds). He looks like what he is — a cape-wearing Long Island schlub with a tragic Jennifer Aniston haircut.

By December 14, 2009, though, according to Robin Leach’s column for the Las Vegas Sun, Criss Angel was in the process of integrating seven new “extraordinary” illusions into BELIEVE, hoping to stem the negative press.

He has already been rehearsing all of them during the day and performing his shows at night. Now he’s waiting for Fire and Building Department approvals to add them into the show. Luxor President Felix Rappaport confirmed the delay in adding the illusions. “We’d hoped it would be December, then January, but now realistically with the additional building changes and the show coming up to code in every aspect, all the inspectors say Criss can have everything in place for March in time for new marketing and promotion.”

For My Next Trick...

With all the reaction to the debut and first performances of the show, it was obvious to fans that something had gone wrong and that changes would be in the offing. From what had been heard by rumor this had been happening all during the creation process, with Angel battling with Denoncourt and Cirque over the direction of the show. If there was a general conclusion to be drawn from most of the fan reaction, it was that the show was too much “Cirque” for Criss Angel Mindfreak fans and too much “Mindfreak” for Cirque du Soleil fans. Trying to straddle this middle ground, it couldn’t succeed with either audience.

Another area of contention was the entire approach of the show, which had Angel attempting a stunt which would go “horribly wrong” resulting in transporting him (and thereby the audience) into the fantasy realm where he would take on the persona of the “Victorian Noble.” The problem with the approach was it was inconsistent; once Angel was in the Noble persona he would perform an illusion only to then directly address the crowd in the present as Criss Angel. He would go into the fantasy realm and back out again several times during the show, with no resolution of the plotline of his character. (Unlike the show of Ziegfried & Roy, who used a similar fantasy/reality motif but kept the fantasy sections distinctly separate from each other and reality.)

Changes were coming. But the changes were slow to arrive, leading some to think nothing was being done. It was actually that, when dealing with two creative organizations (Angel and Cirque) more time needed to be taken to make sure all parties were satisfied with the new direction. It also took a long time for construction and rehearsal, as props and stage changes needed to be made to very tight tolerance. New illusions were incorporated into the show over time, but by then the reputation of the show had been established.

After a bit more than a year of performance it was decided that Cirque’s approach was not working, and that Angel’s original approach would better fit his persona. This meant jettisoning nearly all of the “Cirque-ey” elements; Angel’s Victorian Noble character, the continuing fantasy plotline, the multiple types of dancing rabbits, various characters, and live music. It was decided to focus strongly on Angel and his interaction with the audience, and adding more illusions to the show. But change again was slow (taking more than a year), as instead of releasing artists immediately it was done as contracts expired, leading to the dancing contingent shrinking and shrinking over a period of time until just a couple remained (until their contracts expired).

The debut of "Version 2.0" of Criss Angel Believe is hard to pinpoint, as Cirque has never "re-launched" the show or made a point of its re-invention. Our best guess is that most all the elements of the new show were in place by May, 2010. Mike Weatherford of the Las Vegas Review-Journal reviewed the show on it's second anniversary and came away surprised that it had been so radically altered. He said...

Instead, Angel seemed more like the miscast star of a spectacle designed for another personality. "What we tried to do was just not right for the time and for Criss Angel. Maybe it would have been great if it was somebody else." The new "Believe" could be read as a giant step backward, to the more predictable showcase people might have expected before Cirque was attached. "I could have done it without Cirque and I could have made a lot more money, to be perfectly frank with you," he says. But he is philosophic about aiming high. "We tried to go down a road that hasn't been traveled," he says. "We were embarking on a journey together that was going to try to push the envelope. You try things, you think they're going to work. They're great in theory, but then they don't play out."

In the early weeks after fans and critics jeered, Cirque officials stuck to the usual plan of "fixation" -- adjustments based on audience reaction -- that it employs for all its titles, whether they needed just a bit of tweaking ("Love") or a lot of work ("Zumanity"). But after six months, Cirque no longer promised a delivery date for an overhauled "Believe." Angel now says he and then-Luxor president Felix Rappaport lobbied to "give me the free rein to do what I wanted to do with the show." The near-death premise vanished a year ago; the dancers were released in June. Gilles Ste-Croix, the company's top creative executive, noted, "We have changed our point of view on how to do magic. It rests really on the magician."

Without officially closing the show for more than its scheduled breaks, Angel came in early each day to rehearse new illusions. "The pacing is now like a rock concert," he says. "No filler, no taking one moment and extending it longer than it has to be."

The debut of “Version 3.0” is much easier to pinpoint, however.

MagicJam

On October 25, 2013, an announcement was made that Criss Angel would undergo surgery in Janauary 2014 to repair a shoulder injury. Criss was initially diagnosed with a Supraspinatus tendon tear, superior labral anterior posterior tear and subscapularis strain, which took place a year or so prior. He continued to perform throughout 2013 despite the trauma; in fact, he has not missed a show – over 2100 – since BeLIEve’s premiere 5 years ago. However, Criss exacerbated the injury during his double straightjacket escape in Times Square in New York City. He had no choice but to have surgery to repair his shoulder and avoid permanent damage, so the show went dark from January through April. And when it returns, “it will have a whole new look,” he told Robin Leach of the Las Vegas Sun. “We’ve got new music, lighting and costumes…” Criss will not be permitted to do the upside-down straightjacket escape over the audience’s heads when “Believe” returns. His apprentice, 22-year-old Krystyn Lambert, will perform the stunt. However, Criss is adding material for the show’s return.

“Our opening is completely new. Then we’re adding my version of Lance Burton’s signature ‘Oscar With Swords’ illusion. He’s never given the rights to anybody before, but he allowed me to ‘Angel-ize’ it. I pay homage to Lance, who is held in the highest regard and twice awarded Magician of the Year. He performed more than 5,000 shows for over 5 million people next door at the Monte Carlo. Also for the first time in the past five years of ‘Believe,’ I will go right into the audience to perform close-up magic. I wanted to make it more intimate, interesting and exciting with the audience 360 degrees surrounding me. We’ll have a video camera on the close-ups to show on our big screens. Next comes the most revolutionary levitation you’ll ever see. This will be its year. It’s the most complicated thing I’ve ever undertaken in my career. It’s already taken years to develop, but we’re planning it for later this year.”

Meanwhile, while Angel was out, he invited the World’s Greatest Magicans and specialty acts to be a part of his newest production, MAGICjam, a compilation magic variety production that will take place during his rehabilitation period. MAGICjam, created and hosted by Angel, will present an anthology of the greatest acts and will spotlight select cast members from Angel’s current hit SPIKE TV show, also titled “Criss Angel BeLIEve,” including top female magician Krystyn Lambert, comedian-illusionist Nathan Burton and Banachek, the world’s premier mentalist. The lineup will also include grand master manipulators Jason Byrne and Tony Clarke, the hilarious Russ Merlin, and the world’s best close-up artist Armando Vera. Angel will play host to his friends in addition to closing the show with some of his revolutionary illusions. Guests’ minds will be blown as they witness the impossible in the most exciting variety showcase, featuring the best-of-the-best for this once-in-a-lifetime limited engagement.

“MAGICjam is something I have wanted to do for years, and I’m so excited to bring the most talented artists in their respective disciplines, all of whom I’m so fortunate to call my friends, to Luxor. It’s gonna be a blast!” said Criss.

MAGICjam ran for two successful months. Criss returned to Believe on April 15th and the show continued with its new content.

Not Done Making Magic

Through a headlining residency that has often seemed as harrowing as his sky-high straitjacket escape, Angel has achieved some genuine show-business magic on the Strip simply by keeping a show afloat for this long. Some very good ones on the Boulevard, even another Cirque production (Viva Elvis at Aria), have fallen far short of that mark. Angel’s magic empire continues to expand, too, with a series of live productions outside the Luxor. He has developed touring show The Supernaturalists, a project a decade in the making that features nine magicians of varying styles, all handpicked by Angel. Expecting that Angel’s work and attention on The Supernaturalists has come at the expense of Believe would be far off-target. Angel never halts the development and evolution of the show at the center of his professional existence.

Believe survived a staggering start, and Angel himself weathered some early reviews—from audience members and the media—that would have crippled lesser individuals. “We obviously had some big challenges, and I could have either walked away or rolled up my sleeves,” Angel said. “I said to Cirque, ‘Okay, now I’m going to try to do what I asked to do in the beginning. [They] said, ‘If you want to do five-minute tests for us to see what you would do with the show as a writer and as a director, we’ll look at it now.”

The moment was pivotal for Angel, who took control of Believe in a sink-or-swim period lasting several months. Gone were the bunnies and many of the Cirque elements, excised for Angel’s own magic creations. The show has become tighter, moves more fluidly and is doubtlessly among the more ambitious productions on the Strip today. And that solid footing has enabled Angel and Cirque to consider what the next three years of Angel’s contract with the entertainment company and the hotel will entail. Even with the constant movement in Believe, an overhaul is overdue.

“We’re in the process of working through that with Criss right now,” says Jerry Nadal, vice president of Cirque du Soleil’s resident shows. “If we were to change Believe, what is that going to look like or be called? The dynamics of the market, the demographics, have changed immensely since we opened. We’re always looking at how we can branch out and change things up, to give us a new audience, and to keep those who see the show coming back.”

That helps dispel rumors that Cirque and Angel have been working on a deal that would release him from his contract earlier than the 10-year mark. Such talk surfaced when Angel began making trips to Foxwoods (and regularly selling out the theater). But he’s determined to log at least a decade on the Strip, which would place him in a rarefied class of magicians who have prospered in this city.

Yes, Criss Angel wasn't done making magic in Las Vegas... but he wouldn't be doing it in a Cirque du Soleil show...

Mindfreak!

Following the celebration of BeLIEve’s 7th anniversary as the number one best-selling magic production in Las Vegas, superstar magician, Criss Angel unleashed his brand new creation MINDFREAK LIVE!. The new immersive spectacle – based on the wildly successful touring version, which performed to sell-out houses across the country and was hailed as the “Magic Experience of a Lifetime” – replaced the critically acclaimed CRISS ANGEL BeLIEve. “Thank you to all the Loyal fans who have made BeLIEve the best-selling magic show in Las Vegas since its opening in 2008,” said Criss Angel. “It was an amazing 7-plus years, and I am so excited to bring MINDFREAK LIVE! to my home at Luxor.”

Based on Angel’s breakout hit TV show, MINDFREAK, which smashed records and counted an audience of more than 100 million viewers in each of its six seasons on A&E, MINDFREAK® LIVE! will showcase 90-minutes of the most spectacular, original and revolutionary illusions ever performed on stage. “Criss is a pioneering and visionary artist and together we created BeLIEve, a first-of-its-kind magic stage phenomenon, of which we are all tremendously proud,” said Jerry Nadal, senior vice president, Cirque du Soleil. “When we first saw Criss’ new production MINDFREAK LIVE! on tour, we realized how much he has continued to push the envelope, and the show’s unlimited potential for Criss’ fan base and Las Vegas’ international audience. We are very enthusiastic to continue our partnership with the biggest name in magic as Criss brings his latest unparalleled vision to life at Luxor.”

“I believe it will be my greatest work to date,” Angel said by telephone Thursday. “It gives me a license to create what I’ve always wanted to do, things I’ve been working on for many, many years.” Cirque du Soleil will continue as producer in the new effort. Angel will carry the title of executive producer and director. “I have no handcuffs on me at all,” he said. Angel said two and a half years still remain on his original 10-year contract with Cirque.

The original version of “Believe” was widely considered a misstep when it opened in October 2008; it was more of a Cirque du Soleil production show with the magician disconnected from the persona he had created on TV. Angel gradually reconfigured “Believe” into more of a straightforward illusion show, stripping away the choreography and narrative. But even when he got the show streamlined into more of what fans expected, “I had to play in a sandbox that was already constructed. I wasn’t really able to go outside that box,” Angel said, in terms of spending more money on sets and costumes beyond those in the original show. “With this show, I’m able to start from scratch and not have to re-purpose things and work within the parameters of Cirque du Soleil,” he said. “I have the freedom to start from the ground up and really see through what my vision really is. And it’s an ambitious vision, but one that is incredibly different (from ‘Believe’).”

And thus the tale that is Criss Angel BELIEVE came to an end.