The billionaire behind Cirque du Soleil, Guy Laliberté, sees himself as made up of two halves: performer and capitalist
. It was all very lucrative—and, after a while, replicative with a predictability bordering on boring.Laliberté wanted to do something else, so in 2015, he sold off most of Cirque—walking away with $1.5 billion to put into new endeavors. Some of that went to more real estate, a family office, some startup investing and art purchases, too. And then, two years ago, he launched Lune Rouge Entertainment, the corporate parent company of the pyramid and the psychedelic shows within it.
But they ended up turning a $40,000 profit and soon streamlined the performance. With the help of government grants and loans, the show added fanciful costumes, gravity-defying acrobats and emotional music. Cirque du Soleil was born. But he longed to do something truly creative. He thought about going professional with his DJing hobby. In November 2016, he played his first paid gig in New York. He won’t say where he performed—to save the club’s reputation, he insists. Because when he went to cash the $4,000 paycheck from the performance, the check bounced.
What would that sandbox look like? For centuries, dome-shaped venues have been the preferred spaces for immersive technology. That seemed too obvious. “We wanted to do it in a shape that is different,” he says, an espresso now in his hands. His mind went to the pyramids, a spiritual symbol revered around the world.
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