It is officially time for the artists to join Cirque du Soleil and the initiation into the Cirque family begins. Questions are raised as certain artists review the terms of their contracts. The name of the new show is finally chosen.

First Aired: September 29, 2002 (Global) January 20, 2003 (Bravo)

Episode four opens about four and a half months prior to the show's premiere. The recent evaluation by President Guy Laliberté has initiated some significant changes to the show. The creative team is now shifting into high gear. In a montage set to the song "Stella Errans" we see make-up artist Nathalie Gagné creating several new designs on the performers' faces and drafts people working on computerized 3-D CAD models of various set elements.

We meet Louise Mercier of the Cirque du Soleil Marketing department. Louise is the Brand Director for Touring Shows, which means she is in charge of finding a name for the new production. "It's something emotional, a name, a visual, it's something [Cirque] is really protective of," she explains. At a meeting the marketing team comes up with a list of dozens of potential names including Tsunami, Bomboula, Gromm and Vigie. Director Dominic Champagne pushes for a Russian name to reflect the cultural background of the majority of the show's house troupe. He suggests "Praznik" (we celebrate) and "Vstavaï" (awakening), neither of which the marketing department likes.

Marketing is at odds with Dominic Champagne over the new name.

Louise and her team push forward to find a name that both they and the director can agree on. The team creates a short list of four names that they will essentially force Dominic to choose from; L'Envol, Volte, Kesali and Varekai. Eventually, they whittle the short list down to just the latter two. Andrew Watson, the show's Director of Creation does not like "Kesali", "It's too weak for the show. It lacks strength." Champagne agrees, he adores the name "Varekai". The word "va" in French means "to go", and "kai", the director says, sounds like an explosion. "It's exactly what we wanted; it takes off and then explodes!" Though "Varekai" is not the marketing department's favorite, they accept the director's choice. The show has found a name.

Kevin and Andrew Atherton continue to work with choreographer Bill Shannon to perfect their Aerial Straps number. Their progress puts them at the head of the troupe. Guy Laliberté chooses them to be the icon for the Cirque du Soleil corporate Christmas card. The Athertons pose inside a German Wheel during a photo shoot. Kevin and Andrew realize they are quickly becoming Cirque "stars" and want to negotiate a better contract. "It is business for [the Cirque] and they'll try to get us two as cheap as they possibly can," one of the twins argues. We walk with them through the Cirque's massive headquarters to the management offices, where windowed cubicles overlook training rooms so workers can watch artists rehearse while working at their desks. We leave the twins for their private meeting with a Cirque business manager and catch up with them later while they are training in the gym. The meeting didn't go as well as they would have liked. "They really make you feel guilty for asking for certain things and you actually start to feel guilty," one of the twins tells us. The Athertons will try playing hard to get with Cirque, "If there's no give and take then we're fully prepared for the consequences. . . Things have got to change, they've got no choice, or we will go." Weeks later, when they have not heard from management about a new contract, they call their father at home and update him on the situation. Ultimately, they talk and realize what course of action they want to take. "We realized that if we [were] willing to walk away from it . . . to do with our pride and things like that, then we're gonna miss out on a massive opportunity. And, we realized that we wanted to be on stage, and the act that we're doing here, this is what we've always wanted to do. We both decided we couldn't really give it up." So the twins stay on with their original contract.

As the cast members train feverously to be ready in time for the premiere, Stella, Raquel and the rest of the trapeze team wait on the sidelines. Their multiple-trapeze apparatus was cut from the show, a casualty of Guy Laliberté's progress evaluation. Finally, their new equipment arrives; the Triple Trapeze; a long steel bar suspended from four ropes so it, in effect, looks like three trapezes fused together. The girls are giddy and excited to be on the new trapeze . . . except for Stella, who still harbours some bitterness and trepidation. "I always have to try something to figure out if it's for me, but right now, in my heart, I don't want to do it. I'm angry, I'm frustrated, I'm sad, I'm just pouting. . ." Stella confesses. The other girls are all seasoned trapeze artists, Stella is not, she has never been on a trapeze before. "I have never wanted to do trapeze and I'm sort of disgruntled that I'm being forced into doing trapeze. I'm not qualified now for my job at all . . . I'm not interested." Stella is also upset that she was not given the choice to perform in another act in the show after the demise of the multiple-trapeze, "My choice was either I do trapeze or I don't do the show." We watch as the other girls joyfully swing and climb on the trapeze and then see Stella off to the side watching with uncertainty and apprehension. Raquel has confidence in Stella, "[Stella's] very strong, she's very courageous. I'm sure she'll get it very fast." Stella gives the trapeze a try. We see her smart as she gets burned by the rope. She falls while attempting a figure and struggles with the basics. The other girls teach her and Stella perseveres. She gives her all but the odds are against her and the trapeze team as they work furiously to catch up. They are three months behind the rest of the troupe.

Finally we catch up with Gareth, an Icarian Games performer who is making great progress. He has gone from being "a worry" to his coaches to being a model Cirque du Soleil performer. He and his performing partner Ashley are training very hard to make up for time lost during Gareth's sabbatical, when he returned home to be with his ailing mother. In marked contrast to the difficult and argumentative young man we met in earlier episodes, Gareth now seems happier and more comfortable at Cirque du Soleil. He rehearses with newfound determination and wants to "earn his place in the show". Gareth is among the first to sign a contract for the new show and is the first performer to get his measurements taken. We accompany Gareth as he is measured and photographed. A total of 62 taken, a thrill for Gareth as he has never even had measurements taken for a tailored suit. We also watch as his head is covered in plaster to make a mould, a process which all Cirque artists must undergo as all wigs, headpieces and masks are custom-made to perfectly fit each performer's head and face. Gareth gleefully relishes the image of his plaster cast head, "That's weird seeing my own face like that!" Then, in a touching personal moment, we listen in as he phones his still ailing mother back home in London. They try to arrange plans to see each other at Christmas.

The episode ends with Ashley in an impromptu performance in the alley behind the Cirque du Soleil residences. In the original spirit of the circus he juggles flaming clubs in the crisp, late-autumn air as light snow flurries fall on Montreal.