The Global Media Site for Entertainment.
Menu
Cecilia Arnould Rachner, Artist, Casting Director, Artistic Coach, Creative Advisor, and Production Manager has always had two passions: working artistically and preserving nature. Now, the mosaic pieces of her impressive career have aligned in the founding her own company: The Six Foot Creation (SFC) Foundation. This will soon also be followed by the Chimera Gala, a culmination of Cecilia’s work and passions thus far. In our interview, Cecilia gives us some fascinating as well as charming insights into her career. This is part 1 of 2.
Evolving from a career as a high-level synchronized swimmer, Cecilia has always been fascinated by the Aquatic world and its creatures.
As a child already, Cecilia’s dream career was to study Cetaceans and the preservation of wildlife in general.
First however, she followed her love for artistic and cultural work, and chose a path in the theatrical and Live Entertainment Industry.
She has established herself as one of the most sought-after casting directors, artistic coaches, creative advisors, and production managers for some of the world’s leading companies: Franco Dragone Group, Balich Worldwide Shows, Five Currents, Cirque Eloize and Showtime Entertainment Production.
Philanthropist at heart, her first project began with the Association Princesse Grace de Monaco undertaking cultural action, and support for 90 pre-professional dancers.
Recently, Cecilia has worked in numerous ways to support Ukrainian war refugee artists and their families.
The SFC Foundation is a true culmination of her life’s work and passions.
It all began when I was 6 years old, and my mother brought me to watch a synchronized swimming gala in Strasbourg.
I fell in love.
I was very attracted by the glitter and costumes. Really hooked. After the competition, we went to the VIP corner where the audience got to meet the athletes. I stayed there for over an hour, until after the event was finished.
I wanted to get started right away. But my mom thought I was too young.
Instead, she gave me swimming lessons, and I began to do gymnastics.
Then, two years later when she felt I was ready, my mom brought me back to get started with synchronized swimming.
Her swimming lessons turned out to be highly valuable since, to start training, you already have to know 3 different types of swimming.
After I passed the trial, it was like I fell in love all over again. From then on, I was always the first in and the last out.
This is how my synchro swimming career started. I did quite a lot. Then got badly injured at 17. I couldn’t walk anymore, and I couldn’t train anymore at all. The doctor even said I might never again be able to walk normally.
It was then I began to think further and realized something was missing in my life. After a while, I realized it was the artistic side of things.
It was 2002. And I watched the Salt Lake City Winter Olympics on TV.
As I watched the ice skaters and listened to interviews with their Russian choreographer,
I realized that I needed to be doing something within the realm of artistic management.
At the time, I was doing scientific courses at school as well. Thinking of becoming a marine biologist. I wanted to do something with marine mammals. Or definitely Orcas. This passion went way back to childhood dreams of me wanting to be a park ranger.
At the same time, not being able to perform and train affected me a lot. My whole body wanted to act and do something.
Then I realized there is a university in Nice, in the South of France called the Performing Arts and Live Arts Academy. I was still in the process of healing my body at the time but definitely needed to follow my need to go towards the artistic side of things.
At this academy I learned everything about dance, music, and theatre. We even had in-depth anatomy courses. Lots of different subjects. It was an intense and tough time. And a very good experience because we learned so much. Not just theory but also practice.
When I first went into dance, I remember it being very funny. My moves were powerful and energetic, and I really looked like a fish out of the water.
Synchronized swimmers usually have strong background of gymnastics and dance training. I had come from the gymnastics side. Now at the academy, my classmates were afraid to dance with me. They said, “Your movements are so powerful, we are afraid to be kicked by you.”
After the first year we had to present in front of the entire 1st of the academy. Still very much in love with water, I chose the music of The Big Blue.
When I finished the academy, we could do an internship. Our professors gave us some direct contacts of shows and events.
My first work through the academy was with the Association Princesse Grace de Monaco.
It’s a nonprofit. Every 2 years, they select the 90 best dancers from around the world and bring them to Monaco for a week. At the same time, they invite famous choreographers as well. Then they hold a competition, and the winners get a scholarship.
I worked directly for the selection of those dancers and was in charge of the audition. It was a beautiful first experience. Further enhanced by being at the Monaco seaside.
After, I went back to university and took a year to get a diploma as a professional rescue swimmer/teacher. It is basically a certificate for all things aquatic. It also includes pedagogics with kids, disabled people, pregnant women.
This was in Antibes. And, following my oceanic passions, passed my boat driving license before my car driving license.
During this time, I also performed as a synchronized swimmer for private events. And I worked a bit with the Orcas at Marineland in Antibes.
Slowly, I began to realize that I wanted to create my own shows. But the only good place for that in France is Paris. So, I moved there and to support myself first took a job as a lifeguard in a public swimming pool.
Then I was offered to work as a lifeguard and aquatics fitness coach for the Paris Ritz, working with VIPs.
At the same time, at a little under 25 years old, I also became the director and manager of the 19th arrondissement swimming pool in Paris.
It was nice in that place because I gave synchronized swimming lessons people who have no idea about any swimming, sports. To kids and teenagers, as well as adults. Ladies up to 40/50 years old. They just wanted to learn. I even did a gala with them, and it was amazing.
On my last day of my work as a pool director, the pool technician came to put the chemicals in the pool. They do that very early at 6am. But he made a mistake. That morning, he put the wrong chemical product in the wrong place. Which resulted in an explosion and 10 fire department trucks racing to the rescue. They had lots of hoses and other equipment to make sure the chemicals didn’t spread.
You might say, I left that job with a bang.
During my last year of doing all these different things, I once more took an extra year of study. This time on the side while working full time. Because I had come to the realization that to create my own shows I needed to also understand about the administrative side of things. So, I took one year of European Management of Cultural Art.
During this extra year of study, we had to do an internship. I went where they sent me but really did not like it.
Which got me thinking, “Maybe I should send an application to Franco Dragone.” Because ever since I had begun with art studies, I had been in love with the shows he had created, like Alegria and Quidam. I watched them over and over.
I didn’t hope for much but sent my CV. I was quite close to his base of operations after all, which was in La Louviere, Belgium. And I was still in Paris. Only a couple hours away by train.
Three days after, someone from Dragone Entertainment called me. “Thanks for your CV. It looks great. But we never take interns.”
Then, three days later, they called again. “Actually, we just thought of something. Are you available to come to La Louviere tomorrow?”
“Yes, of course,” I said. And jumped on the first train at 5am the next morning.
On the train I already bumped into someone from Dragone casting. We talked for a long time and so I basically already had my first interview on the train.
Then, in la Louviere, we waited for the casting director to pick us up at the train station. Once he arrived, he and I talked for an extra hour inside the car.
When we arrived in La Louviere, he said, “Actually, now I already know everything I need to know. Come inside and have a look around.”
They showed me around. Even showed me Franco’s office.
And the casting director said, “I was thinking you would be a good match for our casting department. We just started the production for an aquatic show in Macau and the performers have just started training now. And we need some help. Let me call the director of the project.”
At that time, this was Claude Tissier.
The casting director talked with Claude, then gave me the phone. Mr. Tissier was in a hurry. He said, “Ok, then I’ll come pick you up tomorrow and I’ll bring you to the training facility.”
“But I have my train back for tomorrow.”
He said, “Don’t worry. We’ll take care of it.”
So, they put me up in a hotel in La Louviere. I spent the rest of the day watching casting videos and giving notes.
The next day, Claude Tissier picked me up and drove me to the show training facility in Lint.
We quickly went everywhere. Then I found myself in the artistic arts and technical meeting with general stage manager Anna Robb.
I had no idea where I was, or for what exactly. I saw this huge training space. Didn’t know what was going on. Had a hard time language-wise as well. Because at the time, I spoke better German than English.
Finally, the meeting finished, and it was lunch time. Where I bumped into the entire creative project management: Matthew Jessner, Jan Mylle, Claude Tissier. And everyone began asking me questions.
They asked me, “So, when can you come?
I said, “Give me a week to organize my apartment, my cat.
Then they asked, “Can you make it end of this week?”
It was Wednesday. And they wanted me there on Friday.
It was to replace someone who was pregnant. She had been an assistant in the artistic department. So, I ended up assisting Matthew Jessner and Claude Tissier. And I finalized the casting with Matthew Jessner in La Louviere headquarters.
A few months later, beginning of 2010, I was supposed to finish with the internship. But they said, “You did a great job. So, we’ll create a position to keep you.”
This position turned out to be in Macau, during creation, until the opening of the show.
My role changed a bit. I spent a lot of time with the designers, board members, and top management of the production. It was a very intense time. I learned so much.
Again, my contract was supposed to be over with the opening of The House of Dancing Water. But they extended it month by month.
Then, they created a new position for me in La Louviere to become the assistant of Laurent JeanJean, the chief operating officer of Dragone Entertainment. He was in charge of all the projects of the company during production and operation.
I was present in all the board meetings, working with all kind of departments. And I was present when Laurent discussed upcoming projects with new partners, or when we went into operation.
At that time, I was becoming a bit frustrated because I was far away from my personal life and longed to do something artistic myself. Perform, work with my body.
But I learned so much. Especially looking back now. If I hadn’t done all that, I wouldn’t know so very well what to do now for my own production company and my own productions.
Working in my different capacities within Dragone Entertainment has given me such a good understanding of every level, every department. And of what is necessary in each department for the production to properly function.
I was also fortunate to, over time, gain the trust of many people. I had been privy to many private conversations. I had access to everything. And I am very thankful to have been trusted so much.
I am grateful for all I have learned and for all the great opportunities I was given. Especially during the time when we did The House of Dancing Water, when we worked with the best of the best in all levels and departments.
After that, I applied to work on the first Taboo show in Macau. I was given my first management position and was in charge of the show.
We did pre-production, production, and a week after already operation. Each week during operation we added a new act. We had guest artists as well. It was a beautiful and vivid show.
After Taboo, I went back to Dragone Entertainment headquarters for a while.
Then I became involved in the Han Show. I was supposed to only go to China for 3 months. It ended up being 15 months. And I ended up taking over the direction of casting. Because everyone else left. But I stayed and saw it through.
This is where I met Brandon Birchak who I am now working together with for our first project with our own company, the SFC Foundation: The Chimera Gala.
Homepage Six Foot Creations Foundation
One Tree Planted Orcas and Trees
The Six Foot Creations Foundation Presents the Chimera Gala
The Ocean Decade Exhibition Just Started in Lisbon, Portugal
Liam Klenk was born in Central Europe and has since lived on four continents. Liam has always been engaged in creative pursuits, ranging from photography and graphic design, to writing short stories and poetry, to working in theatre and shows. In 2016, Liam published his first book and memoir, 'Paralian'.
Read Full Profile
© 2021 TheatreArtLife. All rights reserved.
Thank you so much for reading, but you have now reached your free article limit for this month.
Our contributors are currently writing more articles for you to enjoy.
To keep reading, all you have to do is become a subscriber and then you can read unlimited articles anytime.
Your investment will help us continue to ignite connections across the globe in live entertainment and build this community for industry professionals.
