Returning Home: Artistic Director Reclaims Roots in Cirque du Soleil’s Kooza

Jamieson Lindenberg discusses his journey from being let go as an usher to helming the production of “Kooza,” which runs in Hong Kong through July 13.

I WAS BORN IN

In St. Petersburg, Florida, back in 1984, my mother used to call me Mr. Sparkles or Mr. Showman. I constantly put on performances for anyone nearby. It seemed like an innate talent; thus, people were supportive of me pursuing theater. There was clearly something distinct about me that caught their attention as being particularly remarkable. Hence, they supported my interest in acting.

NO ONE KNEW

I might have been around nine or ten years old when I started singing. Once they heard my performance with the school choir, it led to getting vocal lessons and receiving all possible support to nurture this talent.

I STUDIED AT

A high school focused on performing arts with an emphasis on theater and dance. I received my primary education and artistic vocal training at this conservatory during my youth. It was there
Cirque du Soleil
They came to enlist ushers. I went through an interview process and was offered a role as an usher for a performance titled
Quidam
That was taking place at the Tropicana Field (in St Petersburg). It was my initial job. I was 15 years old.

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I’D NEVER HEARD OF

Cirque du Soleil, but I was absolutely blown away by what I was seeing. I was studying theatre, so it was quite a contrast to Broadway, which is what I went on to do.

I BROKE SOME OF

The rules — I arrived extremely tardy to my job as a 15-year-old high-school student and consequently got dismissed. Although disappointed, I never considered joining Cirque du Soleil or pursuing performance roles since I had completed my education with a focus on theater.

I went to New York’s

I attended Marymount Manhattan College to focus on theater and directing. Upon graduating, I worked on Broadway musicals such as
Rent
I went on an international tour for its Asian leg, performing in children’s shows as well as various theater productions.

I WAS IN BETWEEN

Two gigs when Cirque received a booking for a show titled
Zumanity
In Las Vegas, I attended that audition, and they surprisingly asked, “Would you mind applying for
Quidam
I thought, no chance, that’s the show I saw when working as an usher.

I SANG FOR

QUIDAM

For nearly nine years. After that, the show ended, and I moved on.
Varekai
As the lead vocalist, singing was consistently praised by others, yet personally, I didn’t always feel enthusiastic about it. I often share with people that you can excel at something, and everybody might encourage you to pursue roles on Broadway or continue your musical journey.
Idol
Or perhaps aspire to become a singer, recording artist, or dancer, yet might lack genuine passion for those roles.

MY PASSION IS DIRECTING

, visualizing concepts, bringing ideas to life, and helping realize the visions of others while also uniting people. This process involves storytelling rather than performing music. It wasn’t easy for me; I had to distance myself from that aspect of who I am. By 2013, I began venturing into independent work, taking on smaller initiatives. During my free time, I produced solo performances such as a cabaret show and an LGBTQ+ themed circus event.

I CREATED A SHOW

That conveyed an important message for LGBTQ+ individuals. It seemed as though I was somewhat pioneering this effort – in paving the way for queer and transgender performers, and in conveying the message I aimed to communicate.
gender identity
And our perspective on identity.

I WAS PROFOUNDLY

It was both humbling and an honor to witness people paying to experience our work. Seeing between 500 to 600 individuals each evening for three consecutive weeks—purchasing tickets to attend performances, even choosing to stand just to enjoy the show—it made me realize: This is definitely the direction I should be heading in.

IN 2018,

KOOZA

HAD

a position for an assistant artistic director opened up. I saw this as an excellent opportunity to return to Cirque du Soleil with a broader perspective, focusing more on the editing and directing aspects.

THE PANDEMIC WAS A

A crucial moment for me was when many of us in the arts and entertainment sector found ourselves washing dishes. The truth is that we needed to reshape who we were. Within Cirque du Soleil, our work isn’t only how we earn a living; it’s part of our self-image too. We coexist and journey together as one community. Without these elements, doubts start creeping into our minds about our very essence. It became necessary to redefine oneself beyond financial concerns. Those few years brought constant introspection: “Now what? And where next?”

NOW MY LIFE IS ON A

A small island named San Juan (located in Washington state), where I relocated during the pandemic and acquired a business — talk about transformation — focusing on wedding rentals since it’s all about “big weddings” there.

MY BEST FRIEND

, who hails from Cirque, purchased a company named San Juan Shindigs. Over the past couple of years prior to my return to Cirque, we essentially transformed it completely. During that time, I dealt with owning tents and an enormous quantity of cutlery and dishware. We provided these items for numerous high-profile weddings and events. It feels as though I have experienced countless different lifetimes.

AFTER THE

PANDEMIC

I returned as the artistic director for Cirque’s latest production.
Songblazers
, which is our country music program that concluded last year. Here I am once more, returning to
Kooza
In an administrative leadership position, essentially transitioning to an artistic director role!

MY GOAL IN LIFE

The aim is to produce artwork or grand-scale projects that resonate with audiences and amplify the voices of many, leaving a significant impact. As a child, I was highly sympathetic; I would defend my peers whenever possible. I frequently pointed out instances of unfairness or injustice. This capacity for empathy aids me significantly in my current role as an artistic director by allowing me to connect better with the artists around me.

THE FUTURE FOR ME

Is to join forces with more prominent figures and grander spectacles. This represents the pinnacle of achievement within the circus industry. However, am I envisioning the same scale of success? It’s uncertain. Perhaps I am.

WE HAD A MAJOR

A celebrity who recently visited us had just taken home several Grammy awards. As I chatted with her, I started brainstorming concepts for her upcoming show. The prospect truly excites me. Our plan involves a large pink UFO that will “beam” you up, set against an Italian 1960s-in-space theme. Figuring out how to achieve this entails coordinating logistics, setting the artistic direction, assembling the stage design team, and planning the choreography—bringing every element of the artist’s vision to life sounds incredible. Accumulating hands-on experience from big productions like these brings one step closer to mastering such projects.

I WOUND UP ON

This journey. Regardless of whether you subscribe to fate or destiny, the circus essentially whisked me away. It repeatedly returns. It’s strange—even when I feel “that’s enough,” the locomotive of happiness steers right back into my life.

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