An Interview with Boris Verkhovsky of Cirque Du Soleil

In 1993, Cirque du Soleil recruited Boris Verkhovsky as acrobatic performance and coaching director for the company's productions worldwide. Verkhovsky, a graduate of the Institute of Physical and Sports Culture in Moscow and later coach of the National Acrobatics Team for the former Soviet Union, brought an impeccable resume to the table.

Cirque Du Soleil was already revolutionizing the world of theater and performance art with their amazing productions, and the world-famous show had long wanted to emulate the moving emotion and physicality of the Moscow Circus. Since he joined, Verkhovsky has molded world-class competitive athletes into world-class performing acrobats.

Next week, the magnificent tents of Cirque du Soleil will rise in Philadelphia. Digphilly spoke with Verkhovsky about his years with Cirque and the company's latest offering, KOOZA.

AC: What has been your single greatest challenge over the years?

BV: Doing things better each time. Going beyond where we have gone last time, from every aspect of the performance. From a human aspect, from a perspective of political correctness, from an aspect of the performance. And all that is not always easy to balance. When you are talking about a high caliber performance, as a manager or a coach, you are helping someone to go on his or her toes. You have to push people beyond their imagined limits. That is an art itself, because sometimes you are on the edge of what can be perceived as harassment.

AC: I imagine the group of artists is much bigger now than 15 years ago.

BV: That is the difficulty. Five years ago we had 450 artists. Every one went through my hands, being trained, being placed. Now we are at one thousand artists. I don't know some of them, and that is not the way I am used to working. The family has grown, and that is another challenge.

AC: Has it grown too big?

BV: We ask that question very often, from many different angles. Is there a market to sustain the performances? Can we find enough candidates to fill our artistic roles? Can we come up with new ideas, and find plenty of brilliant people to execute them? Each times we pose these questions, we answer them,