The Rebel Heart Tour 2015-2016

[Madame Madonna 4,107]

^She did the exact same thing on MDNA Tour already, she wore the majorette costume for 7 minutes and then changed to that black one.

 

Oh, I totally forget that one! 

 

But to be honest for me that MDNA tour was very different case then this Rebel heart tour Gypsy section.

 

What I'm trying to saying is this Gypsy section has clear common theme which inspired by hispanic cluture.

 

But that MDNA Section 2  had no common theme for me.

[Madame Madonna 4,107]

You're right! This is quite unusual but necessary at the same time, I mean I can't imagine her singing Dress You Up with her matador costume, it wouldn't make any sense!

BTW these two outfits are really the most gorgeous of this tour IMO, especially for the medley, Gucci did such a great job! 

 

 

 

She did the same thing on the MDNA tour but the difference is there was no correlation between this horrible majorette thing and the following part! For me these 2 segments have nothing to do with each other 

 

I totally agree with you! 

for me it feels like MDNA that section was two small section not a one section.

 

 

And I have to confess that it seems like majority of fans really didn't like that majorette theme but I really loved that GMYL part.

I love her that powerful dance move so much!

 

But I didn't like EY choreography at all. that was the worst choreography for me.

[Madame Madonna 4,107]

oh by the way it seems like many fans don't like 80's medley but I really love that choreography.

 

I saw this one video which filmed at very close to side cat walk and I can hear the dancers strong and rhythmical foot sound when they are stamp their foot.

 

that was amazing. I can't feel their power, rhythm and their energy!!

 

that moment I realized that this choreography is not for the audience which far from stage. 

 

This choreography is for the audience which very close to the stage.( I mean side cat walk)

[groovyguy 63,856]

Madonna’s Rebel Heart Tour Dance Crew Reveals all
http://www.madonnarama.com/posts-en/2015/11/28/madonnas-rebel-heart-tour-dance-crew-reveals-all/#ixzz3snGBV2A9

Madonna has always expressed herself through her moves. But who shows Madonna the steps? Her dance crew reveals all to the Guardian â€“ from brutal all-night rehearsals to performing on her command at the afterparty.

 

Choreographer Richmond Talauega, who with his brother Anthony (AKA Rich+Tone) has worked extensively with Madonna.

French choreographer Sébastien Ramirez, who normally works in theatre, making arty contemporary hip-hop with partner Honji Wang.

Ramirez got the job after accompanying Wang to the dancer auditions in Paris. Wang might be the only dancer to get through the gruelling audition process – 5,000 auditioned for the current tour, in Paris, New York and Los Angeles – and then turn down a job, because it would demand she put her own company on hold for a year. But Madonna liked what she saw of their work, and hired Ramirez to make two numbers for the show.

 

Richmond Talauega…

Tone Talauega…

The thing that separates her from everyone else is that she started off as a dancer. She has that dance itch. She has taste, and she has that eye that knows what’s good out there.

The element of surprise is really key for live events. You buy a ticket to see the artist, but it’s up to the artist to create that element of surprise that will make the fans always come back.

 

Sébastien Ramirez…

She’ll fire a lot of people that come through.

She’s really sensitive on telling stories with movement. That’s one of the main reasons she differs so much from other artists. It’s not just putting dance moves to a nice beat.

 

A lot of artists will just leave it up to the choreographers to come up with everything, but not M, she leads every meeting. It’s very collaborative, but at the end of the day, she says yay or nay.

You need to know how to make amazing shapes that will carry to the back of the room.

She might pounce on trends, but what she really wants “is to be timeless.
It’s what we’re all striving for.

 

Honji Wang…

She’s very impressive. She’s into all the details. She knows who you are and what you do. She’s really looking into your eyes and trying to get you. She’s analysing a lot.

She’s a very impressive authority. When you see her arriving there’s an energy around her. But as well, I see this fragility in her. She’s so natural and accessible. She’s just one of us, working hard on the artistic vision.
What surprised me is that the creation process was not actually that different [to ours]. Except the speed.
It’s a different machinery. They’re swapping ideas every five minutes. They don’t hesitate to say: OK, keep this, throw this. It’s brutal. They change ideas constantly.

 

Andrew ‘Drew Dollaz’ Boyce…

Unlike a songwriter, who gets royalties every time a song is performed, choreographers work for a flat fee.

She treats us like family.
She invites us to her house and we have movie nights and stuff like that.
If we’re out with her and she wants us to dance, we’re going to dance.

 

Richmond Talauega…

The grind of rehearsals, starting from 9 or 10am in the morning, and sometimes running to 2am.

Yeah, that’s the thing that sucks about our line of work! On a Broadway or Vegas show you get a bit of a percentage, but not when it comes to the pop world.. You have to sign it over to them. You’re not allowed to record, take pictures, nothing. What they give you is the credit.

 

Sébastien Ramirez…

But you get very good conditions. A masseur, good food…

 

Honji Wang…

You are in a golden cage. She has very high expectations of herself. It has to look as good as the dancer next to her.
I mean, you cannot tell! She’s so fit!

 

[karlafalves 1,135]

Her dancers are always the best - in every sense 

[SimonVenekeo 1,893]

 

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You will also receive a tour book personalized with your name by Madonna.

 

 

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[groovyguy 63,856]

https://www.facebook.com/permalink.php?story_fbid=10208073972711023&id=1350777198&pnref=story

Tanya Gorokhova

Ladies and gentleman, I'm selling my extra exclusive VIP limited edition Madonna Rebel Heart books! 200$ or the highest offer. PM me if interested! Or if you know someone who is interested 

smile emoticon

[SimonVenekeo 1,893]

What has she been saying recently right before Burning Up? 'Arigatou gozaimasu ladies' is what she said a lot now instead of ladies it sounds like (Ba-Coo-Ton). What does it mean if anyone understands what word I'm hearing.

[groovyguy 63,856]

How Madonna’s Rebel Heart Tour was designed

We speak to Stufish about designing a global tour for a pop icon as designer Ric Lipson takes us behind the scenes.

By Tom Banks on   

December 3, 2015

 

Camp, extravagant, spectacular and precise, Madonna’s Rebel Heart cavalcade rolled into London this week, a creative and logistical design conundrum masterminded by consultancy Stufish.

 

The entertainment architect works on large-scale public events and concerts – anyone from HM The Queen to the band Queen. Both are real clients.

 

Stufish began speaking to Madonna and her creative director Jamie King, in January. After a set of 25 songs was agreed, Stufish looked to find a creative solution to evocate the show’s Rebel Heart theme.

 

 

A core idea was soon developed; a stage, which abuts a runway bearing a resemblance to an arrow or a cross, with a heart at one end.

 

The heart also looks “a bit like a penis†according to Stufish designer Ric Lipson, who says: “Madonna even made a joke about it last night when she said that hearts and penises are clearly very linked and this is God’s way of setting her life in motion.â€

 

Below stage is an “Unglamorous worldâ€

Lipson takes us down below stage level, a distinctly “unglamorous world†less than 1.8m tall where dancers get changed in spaces where they can barely stand up, props are assembled and together performers and props are pushed up onto the stage above them, often on hydraulic lifts.

 

There’s something rather gladiatorial about this subterranean area, which is the footprint beneath the stage rather than back-stage. It’s a maze of tunnels, wires and props interrupted only by platforms poised to send performers up into the light.

 

Madonna herself is subject to the same conditions and uses a flat trolley on coasters and rails to be transported quickly from one end of the stage to the other.

 

She even has a tiny makeshift dressing room for what Lipson calls “pit stop costume changes†at one end, where hair, make-up and costume people can pounce on her.

 

The Machine

Most of the show is powered by what Lipson calls The Machine, a device constructed by Tait to be the engine of the show.

 

It’s an 8.5×4.8m screen, which in its flat position sits flush with the stage. It can be walked, jumped and danced on and can rise up 2.5m, pivoting from flat to 90 degrees vertically in 30 seconds.

During the show dancers perform on the screen composed of hundreds of LEDs, when it is held at about 45 degrees. A scenic handrail is attached to the top and at one point bungee points on the top edge allow performers to hang free.

The screen is also used in a slightly more conventional way for video, graphic montages and backdrops. This content has been produced by the studios Moment Factory, Veneno Inc and a host of video directors.

 

It dovetails with the physical props and together they play on almost every piece of iconography you can think of, religious or otherwise, as the show takes on various cultural themes from around the world and throughout time. Plus lots of sultry, coquettish Madonna imagery. In the spirit of surprise, we won’t give too much away though.

Prop design is a big part of the show. Possibly the most ambitious of these is a 5×2.5m steel spiral staircase initially hidden from view above the stage and lowered down to stage level for Madge to act out a doomed tryst.

 

Like all of the other props, prototypes are made before the real thing is finalised. “We build a whole mock set before the real thing,†says Lipson, who adds: “The staircase is probably one of the most complicated things we’ve ever built. We mocked up the staircase in one piece, out of steel. You should never use steel, because it’s too heavy and you should never use one piece, because it’s too big, but Madonna got used to how sturdy it was in rehearsals over six weeks. When the aluminium one came it wasn’t as sturdy, so she said, ‘We’ll take the steel one on tour.’ It’s a good example that you should always build the real prop straight away if you can, or you’ll never get away from it otherwise.â€

The undeniably more outrageous Vogue Table was simpler to design. Its façade is a baroque-style interpretation of the Last Supper. The table is more than 7m long and supports 1.2m flickering candelabras at each end – as well as Madonna and a troupe of dancers at one point as they perform an erotic and irreverent take on the holy scene.

 

A similar theme is picked up when Madonna and some marauding semi-naked nuns cavort around on giant crosses. One of them has been designed so that the cross bar of the cross can spin, with Madonna on it, while she is casually supported by a gyrating pole dancing nun.

 

In search of perfection

There is a sense that Lipson and his team have to match Madge’s loosely veiled perfectionism by going in search of perfect design solutions.

 

For example, the crosses are the result of 17 different prototypes. On the final ones tiny ridges have been embellished so that dancers know which way round they are being held. They are also resprayed gold before every night’s performance to retain their lustre.

 

“Without sounding negative, every single prop in this show had a problem and went back to prop fabricators. Between it being built as a mock and the real thing, for whatever reason – if it was me, or the vendor or Madonna changing her mind – there was always a new problem to fix. This was not an easy build by any stretch,†says Lipson.

 

Dagger fans

There is a scene near the beginning of the show where Chinese hand fans are used. “Initially we bought 30 fans for three bucks each and then an amazing choreographed dance was made and Madonna said ‘We want dagger fans’ – so we spent $20,000 and six weeks working on this beautiful dagger fan. I knew it would be a problem, because we’d gone from using a plastic fan that weighed nothing to using something that’s made out of plastic and metal, which looks beautiful but is three times as wide. We showed Madonna and she said, ‘I can’t hold this…’â€

 

The whole show is a global tour and has been designed so that its template fits into all of the visited arenas. Lipson says that every effort is made to think sustainably so non-bespoke kit is hired in each location but in total there are 130 touring crew, and at most 24 trucks carrying equipment and three Boeing 747’s. Next stop Amsterdam.

 

 

[Gargamel 8,775]

super_hero_tony The Rebel â¤'s Family photo album. When we landed November 1 st - December 21 st seemed so far away. Now we have 4 more shows left on this leg. It has been pretty amazing to watch the Rebel â¤'s bond, support and protect each other. More and more I read post from people saying it is their last show with us and how much they will miss being here. I think one of the kindest things someone can say (even more than I love you) is I l'll miss you - you can't solicit that, you have to earn it. If you have to leave us now Thank You for coming along for the ride. I hope you can carry with you the very best memories and wonderful experiences with people you have met. It has been such a pleasure to see everyone smile,laugh and sing along. I will miss those faces in the crowd. Please continue to spread the message. ⤠conquers all. It's free and a renewable resource. It looks like she was right, music really does make the people come together. Zurich we have one show today - you best believe it is going to be a good one! â¤

https://www.instagram.com/p/_K_K7Ayxi2/

[SimonVenekeo 1,893]

 

16th highest grossing 2015 tour from only being eligible in the last 2 months and only from 24 shows.

[groovyguy 63,856]

^ 

Boxscores as reported Nov. 12^th, 2014 – Nov. 9^th, 2015

 

Solo Female Artists on Top 25 Tours for Nov. 12^th, 2014 – Nov. 9^th, 2015

 

Rank / Artist / Total Gross / Total Attendees / No. of Shows / Average per Show / Average Ticket Price

1.Taylor Swift / $217, 437,974 / 1,982,076 / 71 shows / $3,062,507 / $109.70

2.Shania Twain / $65,195,972 / 687,216 / 68 shows / $958,764 / $94.87

3.Katy Perry / $55,642,477 / 514,806 / 36 shows / $1,545,624 / $108.08

4.Madonna / $45,899,978 / 304,935 / 24 shows / $1,912,499 / $150.52

5.Bette Midler / $36,599,832 / 286,787 / 32 shows / $1,143,745 / $127.62

 

Rank according to Average per Show

1.Taylor Swift - $3,062,507

2.Madonna - $1,912,499

3.Katy Perry - $1,545,624

4.Bette Midler - $1,143,745

5.Shania Twain - $958,764

 

Rank according to Average Ticket Price

1.Madonna - $150.52

2.Bette Midler - $127.62

3.Taylor Swift - $109.70

4.Katy Perry - $108.08

5.Shania Twain - $94.87

[groovyguy 63,856]

"In the middle of heartbreakcity..."

[SimonVenekeo 1,893]

[SimonVenekeo 1,893]

[skyfitswim 906]

i can't wait for this tour on dvd/blue ray :-) 

3D dvd would be a dream , madonna walking out the tv and be infront of me in my own seat hahaha 

[groovyguy 63,856]

‪#‎Right‬ or â€ª#‎Left‬ ?!? â€ª#‎Madonna‬ â€ª#‎RebelHeartTour‬

[florian 79]

right

[InfinityWithin 276]

Right

[Stevo 6,436]

Left.

[Gargamel 8,775]

I can't make up my mind...She looks gorgeous in both styles 

Actually, her straight hair looks better with second segment's outfit IMO!

 

[groovyguy 63,856]

 

‎Rodolfo Abreu‎

 

[Gargamel 8,775]

Just found this picture on IG, isn't she a bit crazy?  

[groovyguy 63,856]

Anatomy of a Madonna tour

Date: December 19, 2015

Read more: http://www.smh.com.au/entertainment/music/anatomy-of-a-madonna-tour-20151217-glmv9b.html#ixzz3uhI3EoO2 
 

It will take three Boeing 747s to bring all Madonna's equipment to Australia for her Rebel Heart tour. Photo: Getty Images

Backstage in the bowels of Antwerp's Sportspaleis, Jason Danter cheerfully apologises in advance for all the swearing. He's Rebel Heart's production manager, which, he says, basically translates as, "How the f--- do we get this into this?"

 

And that takes some doing. So far, Madonna's 81-date Rebel Heart tour has rumbled 27 semitrailers of equipment and 185 staff across North America and Europe; but that's a lot easier than coming to Australia and New Zealand in March, for which three Boeing 747s are needed.

 

Madonna hasn't visited our shores since 1993's Girlie Show tour, so unsurprisingly the $1999.90 front-row seats in Sydney, Melbourne and Brisbane were exhausted during presales.

 

Danter served in the Royal Navy, which comes in handy now. "The military teaches you discipline," he says in his Brummie accent. "You need to make decisions, have plans, work whatever hours are needed to get the job done." He and his crew have been on site in Antwerp since 7am, joined at around 10am by tour director Tres Thomas.

 

At university, Thomas was more interested in selling tickets for student shows than singing and dancing in them. His qualifications in accounting and law perfectly suit him for the business of touring, which he's done for 35 years. He works for Live Nation, which in 2007 signed Madonna to a 10-year global partnership, the first of its kind.

 

In a deal rumoured to be worth $120 million, Madonna became a shareholder and funnelled the execution of all her forthcoming merchandise, touring and releases, as well as TV and film projects, rights and sponsorship deals into the new Artist Nation division.

 

According to both Danter and Thomas – her trusted tour lieutenants – a show day runs with sparkling efficiency. Madonna – or 'M', as Danter calls her – flies into a city by private charter jet and will settle in her hotel. She turns up to the venue mid-afternoon with her two assistants and a member of her Maverick Management team in tow.

 

The four-piece band and backing singers soundcheck first, then Madonna runs through parts of the set for 90 minutes, testing the audio at different spots on the stage. "She's always perfecting her performance," Thomas says.

 

Madonna likes to plan well in advance of her tours. "Her rehearsal time is long. It's the better part of 16, 17 weeks. We sit down, design the show: we have been working on Rebel Heart since November 2014," Thomas says. But on tour, there are almost always tweaks to be made to the 23-song set.

 

Choreographer Valeree Young also runs a safety check on the sway poles, the aerial harness and the inflatable bag that one dancer gets shoved onto from a giant spiral staircase.

Backstage, dancers can take advantage of physiotherapists, or they might join in with whoever's throwing a footy around. Previous tours have had a mini-golf set-up; this time around the entertainment is rotated to keep people amused. The hospitality and catering areas will be running at full throttle.

 

Madonna's dressing-room compound comprises a few rooms where she can work out, relax and have her hair and make-up attended to. It's all decked out by a dedicated "ambience department", which unloads a semitrailer-and-a-half of furniture, pictures and gym gear at each venue.

 

The only things locally sourced are the ample flowers. "All of the trays, sofa, pictures, everything is picked out by Madonna, trying to replicate a comfortable living room. She likes a homey atmosphere," Thomas says.

 

Before each show, Madonna holds a huddled prayer service, asking for guidance. The performers then get into position as Danter waits at the back of the stage for Madonna to enter. She's handed over to the stage manager, who sets her up for her opening aerial scene in a steel cage.

 

"If it works correctly, it isn't manic. There are stage managers, ambience co-ordinators, wardrobe co-ordinators, 12 people that assist during the show with changing all the costumes beneath the stage.

 

We've had our moments when something is out of whack and has held up Madonna's arrival, but it's a very structured, professional environment, with people who have worked together a long time," Thomas says.

 

As each of the four acts pan out, performers disappear from view through lifts in the stage. Running beneath the length of the runway is the "coal train", which transports performers and props in a cart on a purpose-built track, so that they can pop up without the audience seeing their journey.

 

Madonna has an inner-ear and intercom system, so if something's not right in a segment, she'll make a verbal note that will get printed out and delivered to the relevant people for the next soundcheck. After the last encore, she leaves directly from the stage, whisked off by car to her hotel.

 

"The performers are on a high after a show in front of 15,000 people, so if they're in a city for a few days they might visit clubs or pubs," says Thomas. There are some rules – or let's go with his "guidelines" description – to help all staff maintain decorum in public.

 

"If it's a school night, we'll try and hold it down a little bit," says Thomas. "But everyone's human."

 

STAGING

Creative director Jamie King, who's worked with Madonna for 18 years, creates a storyboard with Madonna 10 months before the first date. This is sent to set designer Ric Lipson​ at British company Stufish​, who puts it into renderings to get items such as the spiral staircase built to scale. 

The stage has three main performance areas, which can sink down to let performers and props on and off. Underneath there's a whole city, including the wardrobe department, the quick-change areas and train tracks. 

Lighting and video design is down to another Brit, Al Gurdon​, who did the honours for the opening and closing ceremonies of the 2012 London Olympics and worked on Madonna's 2012 MDNA tour. 

The LED video dance floor – The Machine – is 8.5m wide by 4.8m deep, weighing 25,000kg. It lifts up from horizontal and pivots on one hinge to a 90-degree wall. Even broken up, it requires an eight-tonne forklift at every venue. 

Close to 2.2 million LED pixels light up the rear screens, which show 22 videos per night. 64,000kg of lights, sound and video equipment go into each performance. 

 

In the segue between acts three and four, dancers climb up seven five metre-long bouncing sway poles. These are from Aussie company Strange Fruit, the same kind used in Mad Max: Fury Road.

 

DANCERS

There are 10 choreographers and 20 dancers, with styles ranging from contemporary to krump, vogue to flexing, jookin and house.

Lead choreographer Megan Lawson has worked with Missy Elliot and Nicki Minaj and likes to tell a narrative with her routines. "M always says 'art imitates life'," she says. "There's always something human and relatable to the characters we bring to the stage." 

The supervising choreographers watch the show from the sound booth and take notes to make sure everything stays on point. Madonna will also usually have notes for the dancers to read before each soundcheck. 

Characters include warriors, blasphemous nuns, medieval executioners and the disciples at a Last Supper ritual. According to Lawson, "in the Spanish second part, we go to Spain and incorporate flamenco and matador motivations. And we couldn't help but do a Charleston or two in our 1920s French Cabaret."

 

COSTUMES

Arianne Phillips conceptualises all the performers' costumes and, with Madonna's approval, invites in designers to collaborate. Phillips creates mood boards for them that contain sketches, ideas, themes, colours and the parameters of the proposed costumes. 

"Nothing in Madonna's world is ever one-dimensional," says Phillips. "Act one is a mash-up of a samurai warrior-meets-religious themes. Act two has a Japanese rockabilly mash-up. Act three is matador-meets-flamenco-meets Frida Kahlo​. Act four is a 1920s world of Paris-meets Josephine Baker-meets Harlem and the jazz era." 

10,000 hours of workmanship have gone into creating costumes from Alessandro Michele for Gucci, Alexander Wang, Fausto Puglisi​, Jeremy Scott for Moschino​, NicolasJebran, Miu Miu, Prada and Swarovski​. 

Sixty people make up the costume staff, dressing, sewing and adjusting. There are 1000-plus wardrobe pieces for all the performers and 500 pairs of shoes have been custom-made. Two and a half million Swarovski crystals adorn Madonna's costumes. 
Madonna has eight costume changes. Her dresser is "Tony the Tiger", who has quick-changed the world's biggest divas. It takes about an hour to get all the costumes beneath the stage for quick-changes – there are more than 200 pairs of fishnets alone. 

When the tour ends, the costumes are inventoried and kept in a climate-controlled archive.
 

[Breathless 5,286]

"In the middle of heartbreakcity..."

..."and it's not that pretty..."  :lol: