The Cirque du Soleil is a phenomenon whose quality and impact on audiences is impossible to capture in a few words. Some journalists have called it "a circus without animals," but this simplification fails completely, and in fact does the group an injustice. The best description may be the vague presenter's cliché, "You have to see it to believe it."

Another approach to describing Cirque du Soleil is through its astounding growth. From its quirky beginnings 14 years ago as a group of entertainers called the "Club des talons hauts" (the High-Heels Club) who juggled, ate fire, and stilt-walked in the Quebec town of Baie-Saint-Paul, Cirque has grown to an organization that employs more than 1300 worldwide, including nearly 300 performers. In the past 12 years, Cirque has played to some 2.5 million patrons in over 1200 performances. Last year's sales topped $100 million (Canadian).

Currently there are four Cirque shows drawing sell-out audiences around the world. The Las Vegas 10-year engagement, currently of "Mystere," is in a permanent venue. The other performances are on tour in Japan, Europe, and the United States. ("Algeria" in Tokyo, "Saltimbanco" in Zurich, and "Quidam" in Santa Monica).

Built on the foundations of the "High-Heels Club," Cirque du Soleil had its official start as part of the 450th Anniversary of Quebec City and later toured 11 cities in the Province of Quebec. Its performance tent grew from 800 to 1500 as it toured Canada, culminating in a sensational engagement in Vancouver at Expo `86. First performances outside of Canada were in California in 1987.

Today, the tents have grown to accommodate 2500, with sold-out shows drawing an unusually young audience (70 percent are under the age of 45). Plans are underway for a second "permanent" venue in Las Vegas and one also in Berlin.

What accounts for the amazing success? ISPA member Bill Riske, General Manager of Cirque du Soleil (US), sees it as no secret at all. He believes that Cirque has created a show that is centered on the extraordinary abilities of its artists, who bring a "humanity" to each of the productions. In his opinion, that is what attracts the sell-out audiences and keeps them coming back. The creative "team" is both inspired and inspiring.

A glance at the organization's promotional materials would also suggest a little marketing savvy hasn't hurt Cirque's success, either. Beyond the glossy and gorgeous brochures, there is a keen eye for business detail, as well. For example, Cirque does not rely on local ticketing systems for their performances. Instead, they have developed their own system that travels with them to their various venues. They have also proven themselves outstanding merchandisers, earning over 11 percent of their revenue from product sales (clothing, souvenir books, audio tapes, and compact disks).

Still, Riske, who relocated from the Royal Winnipeg Ballet to Cirque's Las Vegas venue, knows a good creative team when he sees one. And even though his personal artistic lexicon has changed from "pas de deux, bouree, and grand jete," to "plunge, Chinese poles," and "double layouts on teeter boards," the transition has not been as dramatic as some might think.

Ultimately, Cirque du Soleil draws as much of its influence from dance and performance art as it does from the traditional big top. And that combination has made it one indescribable art form that has found incomparable commercial success.

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