Since the inception of Le Grand Chapiteau's companion, the "Fascination! Newsletter", we've had the opportunity to rummage through Cirque's history on more than one occasion. Thus, in SPECIALS, we go back Behind the Curtain to share the many rewarding and fulfilling aspects of our research: from quirky items found lurking within programme books and items produced by other companies, to affiliations of the Cirque and everything else under the Soleil uncovered in our endeavors.

Whether through blue-and-yellow stripped or swirled, or just in a plain white Grand Chapiteau's, Cirque brings a swirl of color with it wherever it goes. Nestled within the 1987 tour programme book is a unique treasure: a rare 8-page insert, featuring whimsical circus-like scenes for eager kids (and adults alike) to lend their own little splash of color.

Michel-Thomas Poulin -- You might not recognize the name but you've seen his work. It's Cirque's one-time illustrator, and he has arguably created some of the most recognizable Cirque du Soleil images and illustrations to date! His affair with Cirque began in 1985, when he created the visual for that year's tour, and continued through to 1994 with Alegría's tour.

Wallpaper is not something that immediately springs to mind when one thinks of Cirque. But that didn't stop Seabrook Wallcoverings from creating designs that were "mystic and unique, inspired by the movements and grace of the human body". At first we thought the melding of wallpaper and Cirque was weird, but we were pleasantly surprised!

As Cirque passed its first decade and found its repertoire growing at an impressive clip, rather than having many of its creative companies spread out amongst various buildings, warehouses and shops across Montréal, Cirque decided its artists must have a single home in which to gather, create, rehearse, and dream; therefore, "The Studio", was born.

The Audition. Job interview of the entertainment arts. Where years of training, sweating and pain come together in a burst of creative energy. And all too often for an artist their hopes are dashed immediately. Yet they subject themselves to the process again and again, sometimes with success, more often with failure. So what exactly is this unique audition like?

Few moments in theater have the power to awe as completely as the opening of "O". From the moment the luscious red velvet curtain "whoosh's" away one is immediately startled and transported into its wonderful watery world. And if you're like us you might take a second to wonder: "How did they do that?"