Under theBig Top

“Cirque du Soleil’s shows have always amazed me with their high-level acrobatics, but more importantly the music and sound design of each of their shows,” says sound technician Anthony Murano. “The music is very whimsical and atmospheric, bringing many unique cultural instruments from around the world.”

Since joining Cirque du Soleil in 2017, Murano has worked on more than 1,000 performances with top shows “Luzia” and “Volta,” and was on the creation team of Cirque and The Walt Disney Co.’s new show, “Drawn to Life.” Transporting audiences into the inspiring world of Disney animation, the show premiered in November 2021 and was the first new production since the start of the pandemic.

As a sound technician, Murano’s responsibilities include deploying the sound system and patching microphones, amplifiers, speakers and interconnections.

“Every Cirque show uses a different sound system and different system components, which challenges us to understand a lot of different workflows and system architectures,” he shares.

The sound team of three to five technicians rotate mixing over 100 channels of audio for 2,600 audience members. Another technician is in the monitor booth mixing the live bands during the show. The team also manages the 34 wireless microphones and in-ear monitors backstage during the performances, and helps wire up the artists and band.

For Kirsten Monson’s 11th birthday, her dad bought the family tickets to see Cirque du Soleil’s “Varekai” at the OC Fair and Event Center. “I remember being absolutely blown away by the music, the lighting and the costumes,” she says.

From that point on, Monson was hooked. She made it a point to watch as many shows as she could — 17 to date — and remembers thinking, “I don’t know what I’m going to do, but I want to be a part of Cirque.”

She found her calling in the field of stage automation, which involves complex motion and synchronization of lighting to sound and scenery movements through such tools as electric motors, hydraulics, pneumatics, flying scenery and stage trucks.

Monson has worked on four Cirque shows: first as an intern for “Totem” on tour in Santa Monica, then as an automation technician for “KÀ” and “Michael Jackson One” in Las Vegas.

She currently is the lead automation technician for Cirque’s newest show in Las Vegas, “Mad Apple,” which opened at New York New York Hotel and Casino in May. Her responsibilities include programming and running the console during shows, collaborating with artists to integrate new acts into the show, and performing maintenance on winches and machinery.

Her career with Cirque du Soleil began with an internship while a student at Cal State Fullerton. “One of the key reasons that I’m in the position I am today is because I simply asked for the internship,” she says. “I asked for the job and I asked for the learning that I’ve received on the job.”

CSUF is one of two public programs in the state, along with San Diego State University, that trains theater students in stage automation and rigging — a technical skill sought by such employers as Disney, Universal Studios and Cirque du Soleil. Students in the program gain hands-on experience programming and building machines to create special effects such as a spinning stage or objects flying across the stage.

During her time as a student, Monson worked as a scenic lab assistant, helping to build each of the department shows and teaching stagecraft students.

“I pursued any automation opportunities I could within the technical department,” she explains. “I made an effort to show up, regardless if it was ‘my show’ or not. I just wanted to learn and get my hands on whatever I could, and it is a credit to my professors that they allowed me to do that.”

Though the pandemic nearly cost her the job she moved to a new state to pursue, Monson didn’t give up hope that one day she would be back behind the console for Cirque du Soleil.

Price says there were around 650 performers, 350 makeup designs across all eight shows, and 150 makeup designs for public relations and photoshoots.

“Performers are responsible for applying their makeup every night. When a new performer joined a show, I was responsible for teaching him or her the approved makeup design over several practice sessions,” says Price. “I also designed and implemented an annual makeup review process for every performer on each show, and taught one or two people in each show’s wardrobe shop the basics of the makeup designs and inventory management.”

While a student at Cal State Fullerton, Price worked as a “monster maker” for Knott’s Scary Farm before landing a “dream job” at Cirque du Soleil.

“At CSUF, I learned so many of the skills I still use today,” says Price. “Equally important are the relationships that I developed with both students and faculty. At the time, I had no idea this was the start of my professional network. That network has grown and is still alive and thriving today. I am so grateful for all of my time at CSUF, now and then.”